Horner’s Avatar score was largely derivative of his other work. I kept hearing Titanic and Aliens over and over again.

I couldn’t immediately recall Desplat’s score for Fantastic Mr. Fox, but when I listened I realized it’s really damn good. He’s been one of the best and most prolific composers writing for movies in recent years. And such different scores too. Last year alone he provided musical scores for New Moon, Julie & Julia, Coco Before Chanel, A Prophet and Cheri.

Zimmer’s score for Sherlock Holmes was a real treat and I’m glad he was recognized.

Giacchino won for his Up score simply for that 5 minute montage showing the progression of Carl and Ellie’s life from marriage to her death. Really beautiful stuff.

I think it may be worthwhile to say WHY I think that “Up” will win best score and “The Weary Kind” will win for Best Song.

Of course, these are only NY opinions and anyone can disagree.

Avatar: While this may be a film the world is in love with, James Horner’s score tries a bit too hard tugging at our heartstrings for me to
really vote for this. While I love many of Horner’s scores, this one is too manipulative and typifies Hollywood scores that are too
obvious to be truly outstanding.

Fantastic Mr. Fox:
Managing to sound both BIG and SMALL at the same time, Alexandre Desplat is a master of
making this score be the perfect companion to the film.

If I were an Oscar judge, I would have had a very tough time deciding between this score and a few others. It is a delight to the ears and serves the film so beautifully.

The Hurt Locker:

An amazing score. Beltrami and Sanders blur the line between sounds effects music and scoring with a result which is both completely UNDERSTATED and subdued. What a welcome change of pace this is, especially for a war movie.
Very unique and original.

Sherlock Holmes

I must confess that I’ve always enjoyed Hans Zimmer’s music, even if he does tend to write for anyone who will pay. That said, this score sounds nothing like anything we’ve heard from him before and as any composer will tell you- that’s not an easy feat.

He uses such an interesting combination of instruments in this score. In the quirky world of Guy Ritchie, this score is the perfect companion. Zimmer’s score certainly does enhance the film.

Up:

Yes, this already won the BAFTA,Grammy and Golden Globe awards but that’s not why I’m picking it for Best Score.

Giacchino’s decision to use a character based score pays off and the viewer is treated to different renditions of similar compositions over the course of the film to depict changes in the characters.

It works well in conveying both meaning and emotion. It also adds a human layer to the computer animated film, adding more depth to character emotion than any tweak to eye movement or facial animation ever could.

The Waltz heard in this film is something the audience is not likely to forget. It has a MELODY and is hummable and we should never forget the importance of that element in music.

It is a brilliant score- so well thought out and easily one of the most interesting nominees in recent years.

Best Song: “The Weary Kind”

This award seems destined for Ryan Bingham and T-Bone Burnett’s ‘The Weary Kind’ from ‘Crazy Heart.’

The song is so integral to the story and to the Oscar-bound performance of Jeff Bridges that it has to be the winner.

No, it’s not my favorite song but I’m not sure I have one this year.:)