His BttF and Mummy Returns scores are fantastic, imho.
Hans Zimmer on "Man of Steel" Music - Ditch Theme
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His G.I. Joe score wasn't that bad.
I was a bit hypocritical when I said this:
As Dennis pointed out, just because we are familiar with something on this board, doesn't mean that the casual moviegoer or fan is familiar with it.
So, this is a memorable theme (for me), not very memorable as is the Star Wars theme or Indiana Jones theme....but a very well done, IMO, theme nonetheless.
I'll have to give those a listen...
As Dennis pointed out, just because we are familiar with something on this board, doesn't mean that the casual moviegoer or fan is familiar with it.
So, this is a memorable theme (for me), not very memorable as is the Star Wars theme or Indiana Jones theme....but a very well done, IMO, theme nonetheless.
His BttF and Mummy Returns scores are fantastic, imho.
I'll have to give those a listen...
My opinion, too. I am very disappointed.
Silvestri has done some good stuff in the past, but by far his most memorable work recently is the score to Van Helsing. Sure, the movie sucked, but the score is massively under-rated.
I agree that he's become a little stagnant over recent years, which is why I was so pleasantly surprised with his work on G.I. Joe. The score is actually what finally made me watch the movie.
*blink* I haven't heard the VH score, but... more memorable than this?
[yt]http://www.youtube.com/watch?v=XTGyeGgMpk8[/yt]
Or this?
[yt]http://www.youtube.com/watch?v=W7voy1vit6Y[/yt]
The poster stated RECENT work not previous work that he's well known for.
Well, if you've got yourself a DeLorean then time just doesn't matter. Cue BTTF theme above. 
NIAGARA FALLS!!!!!! I can't forgive Horner for using the same themes on about 20 movies. I can't watch TWOK or Aliens because of use of his stock themes.
You know, there was a time that I thought it was an interesting novelty that Horner's Cocoon score reused an element from TWOK and developed it further. But that was a long time ago.
Horner is certainly the working composer most guilty of copying his own work.
But honestly every mainstream composer working in movies is guilty of it. I can generally name the composer of a film score before their name pops up in the credits just from the orchestration and type of instruments involved.
Sure it isn't the outright inserting of leitmotifs(Why'd you put the Glory theme in Avatar, Mr. Horner? WHY?!), but we just have to accept that the majority of composers get creatively drained at some point in their careers.
Unfortunately the newer composers out there aren't very compelling yet, aside from perhaps Giachino and Tyler who I think have yet to reach their peaks.
But honestly every mainstream composer working in movies is guilty of it. I can generally name the composer of a film score before their name pops up in the credits just from the orchestration and type of instruments involved.
Sure it isn't the outright inserting of leitmotifs(Why'd you put the Glory theme in Avatar, Mr. Horner? WHY?!), but we just have to accept that the majority of composers get creatively drained at some point in their careers.
Unfortunately the newer composers out there aren't very compelling yet, aside from perhaps Giachino and Tyler who I think have yet to reach their peaks.
Bernard Herrmann ripped off his own melodies sometimes too. His theme for Marnie is essentially the bridge from his theme for The Seventh Voyage of Sinbad.
TNG composer Dennis McCarthy also cribs his own melodies sometimes, though he justifies it by saying he does it to see if people are paying attention (and by invoking Herrmann). A while ago, I caught an episode of V: The Series from the '80s, McCarthy's first SF show, and I was startled when an arriving Visitor dignitary was greeted by a fanfare that was almost identical to the fanfare that introduced "Judge Q" in "Encounter at Farpoint." (Although I seem to recall that the fanfare on the soundtrack album for "Farpoint" was different from the aired version, so maybe his first one was rejected and he had to replace it in a hurry, so he fell back on something he'd done before.)
TNG composer Dennis McCarthy also cribs his own melodies sometimes, though he justifies it by saying he does it to see if people are paying attention (and by invoking Herrmann). A while ago, I caught an episode of V: The Series from the '80s, McCarthy's first SF show, and I was startled when an arriving Visitor dignitary was greeted by a fanfare that was almost identical to the fanfare that introduced "Judge Q" in "Encounter at Farpoint." (Although I seem to recall that the fanfare on the soundtrack album for "Farpoint" was different from the aired version, so maybe his first one was rejected and he had to replace it in a hurry, so he fell back on something he'd done before.)
Yes while listening to the "Avatar" score I shake my fist and exclaim "Khaaaaaaannn!!!!" if you've listened to it you know why.
I didn't catch that. But the fight between Quaritch's mech and Navi-Jake had a lot of the fight between the Alien Queen and Ripley, if memory serves me right.
The music played during the battle in the Mutara Nebula is clearly repeated all through out the album, featured most prominently in "War".
There's a little fanfare that reprents Khan being agressive (which can be heard about 20 seconds into this track) which shows up in Avatar several times. I didn't even need to look at the credits to know it was a Horner score after that.
There was an excellent analysis posted on the forums for jwfan.net not long after the set's release which will explain in far greater detail than anything I could come up with.
Here it is: http://jwfan.com/forums/index.php?showtopic=17627
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