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Thank you, OzMan, for citing both The Silence of the Lambs and The Fly as two of Howard Shore's strongest scores. Shore's simple genius lies in his insistence on composing music that speaks to the needs of the narrative, rather than imposing a standard, musical signature on every feature. Although he remains an eclectic and exciting artist (The Aviator, The Departed), I fear that the Lord of the Rings trilogy has had the unfortunate effect of homogenizing his name, and I'm always frustrated with an industry that dismisses some of their major talents until they score a mass consumption hit. I might have guessed that the Music Branch would nominate Shore for Silence in '91, but alas, they missed the boat on a brilliant, methodical, dread-inducing score.
In answer to your question, "The Abduction," "The Cellar" and the "Finale" are all terrifically disquieting cues.
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