The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe original soundtrack features a limited-edition 3-D cover, the score by acclaimed composer Harry Gregson-Williams, plus songs by Alanis Morissette, Imogen Heap, Tim Finn, and Lisbeth Scott.
Blockbuster filmmaker Jon Favreau directs Daniel Craig and Harrison Ford in an event film for summer 2011 that crosses the classic Western with the alien-invasion movie in a blazingly original way: Cowboys & Aliens. 1875. New Mexico Territory. A stranger (Daniel Craig) with no memory of his past stumbles into the hard desert town of Absolution. The only hint to his history is a mysterious shackle that encircles one wrist. What he discovers is that the people of Absolution don’t welcome strangers, and nobody makes a move on its streets unless ordered to do so by the iron-fisted Colonel Dolarhyde (Harrison Ford). It’s a town that lives in fear. But Absolution is about to experience fear it can scarcely comprehend as the desolate city is attacked by marauders from the sky. Screaming down with breathtaking velocity and blinding lights to abduct the helpless one by one, these monsters challenge everything the residents have ever known. Now, the stranger they rejected is their only hope for salvation. As this gunslinger slowly starts to remember who he is and where he's been, he realizes he holds a secret that could give the town a fighting chance against the alien force. With the help of the elusive traveler Ella (Olivia Wilde), he pulls together a posse comprised of former opponents — townsfolk, Dolarhyde and his boys, outlaws and Apache warriors — all in danger of annihilation. United against a common enemy, they will prepare for an epic showdown for survival. Composer Harry Gregson-Williams, veteran of such blockbuster hits as The Chronicles Of Narnia, The Town and Kingdom Of Heaven, takes his first trip to the American West in his latest score.
The ORIGINAL SOUNDTRACK to the highly-anticipated second film from the worldwide blockbuster NARNIA!
THE CHRONICLES OF NARNIA:PRINCE CASPIAN features an unforgettable and heart-pounding score by GRAMMY AWARD® -winning and GOLDEN GLOBE® nominated composer Harry Gregson-Williams plus the brand new SWITCHFOOT single and video "This Is Home"
The 3D, CG-animated family comedy Arthur Christmas, an Aardman production for Sony Pictures Animation, at last reveals the incredible, never-before seen answer to every child's question: 'So how does Santa deliver all those presents in one night?' The answer: Santa's exhilarating, ultra-high-tech operation hidden beneath the North Pole. But at the heart of the film is a story with the ingredients of a Christmas classic - a family in a state of comic dysfunction and an unlikely hero, Arthur, with an urgent mission that must be completed before Christmas morning dawns.
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Filmmaker Ridley Scott has long been intrigued by historical events and their contemporary echoes, a fascination that evinces itself again here in the violent tale of Balian of Ibelin (Orlando Bloom), a Jerusalem blacksmith who rallies his people against foreign invaders during the Crusades of the 12th century. Breaking with a successful modern collaboration with Hans Zimmer that yielded such eclectic riches as Gladiator, Hannibal, Black Hawk Down, and Matchstick Men, Scott turned here to fellow Englishman/former Zimmer associate Harry Gregson-Williams for his new film's music. The composer, perhaps weary of the electronica-suffused action film cliches he's so often been associated with, rises admirably to the occasion with a sweeping orchestral score that masterfully trades on a wealth of disparate historical and stylistic influences. Gregson-Williams echoes the film's religious and cultural conflicts via the tense musical axis at the soundtrack's core, one that sets the invading Church's medieval choral ecclesiastics on a collision course with the ancient Arabic modalities of the film's hero. The resulting score may occasionally trade on hoary Hollywood romantic traditions, but the composer infuses them with such bracing doses of historical/ethnic antecedents—and his own decidedly contemporary instincts—as to create a compelling new whole. Even the obligatory, pop-oriented version of Ibellin's Theme ("Light of Life") by Natacha Atlas shimmers with Middle Eastern-inflected enticement. --Jerry McCulley
