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I'll try to explain myself more with the scores I wasn't a big fan of. I really like a lot of Gears of War 3. It has a lot of faster paced, melodic action cues, and the cues from Gears of War 2 are improved. Its main problem is it's not very memorable, which Jablonsky is usually able to produce. <br><br>Ender's Game I found to be a bit of a slog. There was a lot of ambient/sound design cues which I found incredibly dull. However, it's possible I was expecting too much, or maybe I was too harsh on it. I'll try to have another listen to that one. <br><br>Gangster Squad was one where I just looked at the comments to see what people thought about it, and the consensus was "it copied every recent Hollywood score", so I just skipped that one. <br><br>TF3 had a lot of good thematic material, and the finale's action music was a lot of fun, but it lacks the memorability and excitement of the first 2, or the subtlety of 5, making it fall in the middle for me. Plus the Inception sound was pretty annoying. <br><br>Gears of War 2 falls into mediocre for me. The main theme is solid, but the action is repetitive and doesn't have much variation. Plus it also wasn't very memorable. It's basically a worse version of Gears 3 to me. <br><br>Transformers 1 and 2 don't really count to me because those were more an RCP effort than a Jablonsky one. Just to clarify, I don't hate that Jablonsky went down this route. I first learned of his existence through the Transformers scores for god's sake. It's just that listening to Steamboy, it makes me sad there wasn't more of this side of Jablonsky. Oh, and honorable mention to TMNT: Out of the Shadows, that was a great superhero score!Gangster Squad was Ok, but i prefer Ender's Game, actually the sound design in that i find it certain interesting.<br><br>In Battleship, yeah, it's nothing original, but for me, is a guilty pleasure, i love the percussion (i'm a big fan of the taiko sound)<br><br>Enderís Game isnít bad at all, there are some cool power anthems and orchestral moments in it. As for Battleship, while I find most of it generic, I genuinely do like the alien ďMRIĒ sound design he incorporated.<br><br>And one of Jablonskyís most underrated scores imo is Gangster Squad. If you want a fun Jablonsky score that strays away (mostly) from the Zimmer sound thatís it. Any score using Antz as a temp track is fine by me!I will disagree with TF3, Ender's Game, Gears of War 2 and 3, there are good scores, altough i'm a massive fan of that guilty pleasure is Battleship ;D<br><br>And A Nightmare on Elm Street was cool.John Powell to receive Henry Mancini Award. <br><br>Look it up at filmmusicreporter.<br><br>Congrats John
Edmund's right. It's really just sad that Jablonsky could have been one of the greatest composers ever, one with more notoriety and respect from the music community, but instead settled for being... a decent composer.<br><br>TF5 was a step in the right direction, D-War was a great monster movie score, Your Highness came close to Steamboy levels, and IDEA felt like Jablonsky's symphony in a lot of ways. But on the other end you have Ender's Game, Transformers 3 and 4, Battleship, Gears of War 2, Gears of War: Judgement, and a few others that range from ok, to flat out awful. Occasionally though you get some decent ones like Gears of War 3, and A Nightmare on Elm Street.<br><br>My point is, we get a composer overridden with bland projects, and musically inept directors, when he had the potential for being Oscar level.This just occurred to me. 1:44-2:10ish in Remember Who You Are kind of sounds like part of Mozartís Ave Verum Corpus...and we know Hans is a fan of that piece...@mpolonest: I'm the opposite side: BvS grown each time i listened.<br><br>Not the same for MoS ;D@DS<br><br>You are absolutely right, and it was something that I did think about while I was writing the post, I just never clarified it. <br><br>But that also has the opposite effect as well. I've had plenty of scores/songs which originally I liked that I gradually grew to dislike or simply lose interest. One of the most recent ones is BvS, which I enjoyed when it came out but looking back is probably one of my least favorite Zimmer scores.@Edmund @Ds totally agree! This days the only composer that convince me is Steven Price.
Is there a Balfe score that is not very temped? Every single Balfe score I listened to is basically giving an old score a fresh set of paint.mpolonest123: it's difficult to compare scores that are 10 years old and that you had plenty of time to digest, with brand new scores you've only heard a couple of times.<br><br>You said it yourself, when Clash of the Titans came out you thought it was generic and forgettable. It's only later that you noticed all these themes and all the work Djawadi put into it.<br><br>And actually it works like that with any new album released by any major artist. Fans are always like "it sucks, I prefer their previous albums". And yet 5 years later they love all these songs and know them by heart. :-pEdmund: I see your point, and if everyone could become 100% objective it would be actually true. But in practice, our personal tastes play a heavy role in deciding whether a score is interesting or fun or creative or intelligent or enjoyable. Some people like very classical, orchestral music more than anything else; even if JXL was creating the craziest soundtrack ever, his sound palette and synthetic approach alone would be enough to make these people dislike the score and say it's rubbish. The level of detail he put in Tomb Raider is astonishing, but sadly it'll only be noticed by people who are not upset by this style of brutal and synthetic environment. Of course it also works the other way, dry orchestral scores like Giacchino frequently writes do nothing to me, I don't particularly like this kind of sound, so I never spent a lot of time listening to them. As a consequence, I never was able to dissect them to discover all their (I guess) richness, subtleties, etc. So from my point of view, almost all Giacchino scores sound the same way and are not interesting, and I don't understand how and why he keeps getting all those major assignments. That's to say, our personal preferences will always interfere with our judgment, even if we honestly try to be fair.I feel like I see/have this kind of conversation on film music boards all the time. The approach isn't the problem, it's the execution. For example, when Man of Steel came out:<br><br>me: "I'm a bit disappointed by Man of Steel, it has its moments but I don't think it's a very good score overall"<br>fanboys: "JOHN WILLIAMS WAS YESTERDAY, ZIMMER IS TODAY, THIS IS A DIFFERENT SUPERMAN BLAH BLAH BLAH GET OVER IT"<br>me: "...did I mention Williams?"<br><br>or else Mad Max: Fury Road<br><br>me: "Mad Max is a decent score but I feel like the film deserved much more"<br>fanboys: "THERE'S LITERALLY A DUDE ON A DRUM CAR WITH A FLAMETHROWER GUITAR WHAT DID YOU EXPECT"<br>me: "...a composer who does more interesting things with those drums and that guitar?"<br><br>All over the place. It was really aggravating. This is a similar situation A talented film composer can write interesting, engaging music in all sorts of styles, for all sorts of films and under all sorts of directorial conditions. My issue with Tomb Raider isn't that it's not a traditional Jerry Goldsmith adventure score. I never expected that from this film, and certainly not from this composer. It's just not a very interesting or intelligent or enjoyable version of what it's trying to be, and that's the bottom line.@mrzimmerfan <br><br>I completely agree with you. Tomb Raider definitely didnít need a traditional score at all. And I love all the scores youíve mentioned. I even donít have a problem with the approach he took.<br><br>But I just donít like the score as is. We just have to agree to disagree, no harm done. :-)
I don't think he means that, just that it would have been interesting if Jablonsky had gone more into animated movies like Powell did, rather than mostly Michael Bay. I think maybe we got a hint of what that could have been like with Your Highness a few years ago, a score I'll always defend, but yeah...the lack of follow-up to Steamboy is a great tragedy in Jablonsky's career.@mpolonest: I will enjoyed more Run All Night than Mad Max, hell, even The Dark Tower.<br><br>But with Tomb Raider, this movie is harsh, with a real character, and an adventure score a la Goldsmith or JNH, will not benefit anything about it. And in there, there is a lot of great sounds and ideas pop up in all the score.<br><br>And this is telling you a guy who LOVE The Mummy, The Mummy Returns, the entire Indiana Jones and Jumanji scores.@mpolonest: I will enjoyed more Run All Night than Mad Max, hell, even The Dark Tower.<br><br>But with Tomb Raider, this movie is harsh, with a real character, and an adventure score a la Goldsmith or JNH, will not benefit anything about it. And in there, there is a lot of great sounds and ideas pop up in all the score.<br><br>And this is telling you a guy who LOVE The Mummy, The Mummy Returns, the entire Indiana Jones and Jumanji scores.I don't think Jablonsky is going to be a new John Powell ;)<br><br>But this one of his most notable efforts, i will said that.This is feels like a very temped soundtrack, only that explains why the score is so generic. I wonder which movies music scenes producer-director used to make lorne do this. <br><br>Track 8 - is Tron legacy (dont know maybe he worked on it, powell was involved maybe he was too)

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John PowellJohn Ashton ThomasJames McKee SmithBruce Fowler
ComposerAdditional MusicAdditional MusicOrchestrator
X-Men - The Last Stand (Complete Score)
Label: Unofficial Release
Length: 92'44 rating:        4/5
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (4485 votes)


  1. 20 Years Ago (1:11)
    John Powell
  2. Young Jean (1:22)
    John Powell
  3. Bathroom Titles (2:00)
    John Powell
  4. Danger Room Session (2:29)
    John Powell
  5. Scott's Torment (0:35)
    John Powell
  6. Scott, Logan & Beast (0:46)
    John Powell
  7. Raven (1:46)
    John Powell
  8. Stom Sense (0:29)
    John Powell
  9. Not Telling Us (0:30)
    John Powell
  10. Announcing The Cure (1:39)
    John Powell
  11. The Church Of Magneto - Raven Is My Slave Name (3:13)
    John Powell, James McKee Smith
  12. Meet Leech, Then Off To The Lake - Whirlpool Of Love (4:58)
    John Powell
  13. Examining Jean - Dark Phoenix (4:23)
    John Powell
  14. Angel's Cure (2:53)
    John Powell
  15. Jailbreak (3:29)
    John Powell
  16. Jean & Logan - Dark Phoenix Awakes - Rejection Is Never Easy (4:33)
    John Powell
  17. Magneto Plots - Entering The House - Dark Phoenix's Tragedy - Farewell To X (7:10)
    John Powell
  18. The Funeral (2:56)
    John Powell
  19. Skating On The Pond (2:43)
    John Powell, John Ashton Thomas
  20. Magneto's Camp (3:28)
    John Powell
  21. Logan & Storm (1:56)
    John Powell
  22. Cure Wars (2:57)
    John Powell
  23. Fight In The Woods (4:13)
    John Powell
  24. St. Lupus Day (5:09)
    John Powell, John Ashton Thomas
  25. Building Bridges - Shock & No Oars (3:32)
    John Powell
  26. Attack On Alcatraz (3:20)
    John Powell
  27. Massacre - The Battle Of The Cure (4:50)
    John Powell, James McKee Smith
  28. Fight As A Team (3:49)
    John Powell
  29. Phoenix Rises (5:22)
    John Powell
  30. The Last Stand (6:21)
    John Powell
  31. Young Jean (Alternate) (1:22)
    John Powell
  32. Bathroom Titles (Alternate) (1:55)
    John Powell
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Scorefan reply Replies: 2 || 2017-03-09 18:53:44
@Hybrid, what happened to James Mckee smith and John Ashton Thomas? We don't hear anymore from them.

Hybrid Soldier2017-03-09 18:56:53
JAT is a regular orchestrator still, for Alan Silvestri, Theodore Shapiro etc. Still very busy.

McKee, from what I heard he had several health problems linked to the insane world of film scoring, so he decided to stay away. Still writes music but mostly for Production Music companies.

Scorefan2017-03-10 02:54:18
Thank you Hybrid.

thejok3rrules reply Replies: 2 || 2014-05-29 00:08:34
I do believe this one is Powell's best.

badbu2014-05-29 09:43:08
X2! ;)

badbu2014-05-29 09:44:56
oh man...sry :D ottman...:D

alireza reply Replies: 1 || 2013-06-16 19:46:51
ilove you hans zimmer

trent easton navarro2013-06-16 20:09:42
And that has exactly what to do with this John Powell score?

mike reply Replies: 0 || 2009-10-10 00:00:00
john powell forever....

Mikel Siw (a fan from Spain) reply Replies: 0 || 2009-09-25 00:00:00
Powell Forever!!!

Anonymous reply Replies: 0 || 2009-09-24 00:00:00
yes!! is great!!! I want this music!!!

Mario Soundtrack reply Replies: 0 || 2009-07-25 00:00:00
CongratulationS!! John Powell!!!!!!!!!
I arrived late!!
Main Titles are different, yes. Is best the film version, not this.
But Ok, the songs are phantastics.
The final of Church Magneto and Truck are good.

Meet Leeche & Lake are one of the best songs of album. With an small action theme when Cyclops/Scott goes with moto. And the reencounter with Phoenix/Jean are more beautiful.

The Angel's Cure theme which repites in Finale & End Credits are good. A good theme.

The Death of X..Is good, and begin the Phoenix theme.

X Funeral, with a small theme of Phoenix.

Skating!!! This song begins with a mystery love theme. Amazing and Incredible, yes.

Attack On Alcatraz and Battle for the Cure are good themes, but no re the best of the album.

The best song together with Meet Leeche and Lake is The Phoenix Arises, with one simply why: because the Phoenix Theme with a chorus is Genial. I'm loved this theme.

Finale & End Credits is best and the movie version, because two themes are collaged from Meet Leeche, with End Credits. Two minutes more^^

Yes, this message is large, because this album is Incredible!

Anonymous reply Replies: 0 || 2007-10-11 00:00:00
It's essentially a ''complete'' album. Everything in its finished form so no film versions.

Anonymous reply Replies: 0 || 2007-10-11 00:00:00
Is this the film versions of everything? or is it the official release with extra stuff?

Cloud reply Replies: 0 || 2007-07-08 00:00:00
The sound is perfect, can't hear any difference to the OST. Too bad the film version of the Main Titles is still missing, otherwise a perfect album.

Antas, Webmaster reply Replies: 0 || 2007-06-19 00:00:00
Yes -- that means the official release has to be bought even if you have this boot

Sylvos reply Replies: 0 || 2007-06-19 00:00:00
hehehe, it's a bootleg after all, what did you expect OMG? ;-)

OMG reply Replies: 0 || 2007-06-19 00:00:00
Sound quality is not as good as the Varese release :(

Sylvos reply Replies: 0 || 2007-06-17 00:00:00
So, the missing 30 minutes arrived earlier than expected. I wish some other scores would follow the same routine. It seems to me that the good parts are already released on Varese's disc but at least this bootleg is not a gapless album. It may help finding the key tunes we're after faster but listening to a track without a beginning nor ending is weird.© 2001-2017 OST 
X-Men - The Last Stand (Complete Score) soundtrack - John Powell 2006