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It wasn't easy, but we've managed to provide you our top 5 film scores of 2016. Review by Matt Cummings It's not easy to find websites which love soundtrack scores as much as the films themselves, but we at SJF think the entire film must be considered when judging its value. Central to any movie's success is its use of music, and 2016 gifted us with potentially the best year we've ever heard. From television to movies and even video games, we witnessed an onslaught that began in January and didn't let up until 12/31. But as with all things, the bill must come due which means taking a moment to remember the top scores of the year. It wasn't easy, but we've managed to fashion together a list that covers all forms of entertainment, something we frankly couldn't have done in previous years. Our immense thanks goes out to The Krakower Group for securing us with these scores. Without delay, here are our top film scores of 2016: X-Men Apoca

The Flash: Original Television Soundtrack Season 2 speeds to thrilling musical pulse. Review by Matt Cummings Season 2 of CW's The Flash was almost as good as the first, expanding the DC universe with new and thrilling villains to contest Flash (played by the great Grant Gustin). And just like its lead, Composer Blake Neely speeds the series' score to new and darker heights, confirming what we already knew: this guy can make music. As he moves on from the defeat of the evil Reverse Flash, Barry Allen (Gustin) is attempting to piece back together his shattered family which includes the release of his father (John Wesley Shipp) from prison. But trouble is on the horizon, as the dangerous Zoom unleashes an army of baddies from an alternate universe where he rules supreme. Faced with the reality that he cannot defeat Zoom alone, Barry cobbles together allies from an alternate universe called Earth 2, which include the kinder, gentler Harrison Wells (Tom Cavanagh) a

Although Season 1 may not be great, Supergirl: Season 1 Original Television Soundtrack is up, up and away. Review by Matt Cummings When CBS announced in 2015 that they would enter the superhero television party and produce Supergirl , audiences were concerned whether a network known for attracting older procedural audiences would actually know what to do with it. More specifically, would they screw it up and totally miss the central themes behind the character? Sadly, the answer was yes, as most audiences backed away by the end of its first season. CW, smartly realizing what it could do with a slightly-damaged product, brought it onboard (a small matter since CBS owns CW) and the early result sees a vastly improved Season 2. One thing that was never in doubt was Composer Blake Neely's Season 1 score, which - like its titular hero - flies to new and different heights, establishing itself as an Übermacht incarnate. When the Kryptonian Kara Zor-El (Melissa Benoist) es

Like the series, Legends of Tomorrow: Season 1 Original Television Soundtrack sets a course for superhero time-traveling kick ass. Review by Matt Cummings CW's superhero shows have become a M-TH staple in my DVR. Whether it's the speed and quick wit of The Flash , the gritty Star City vigilantes of Arrow , or the newest arrival of Supergirl , CW has hit creative gold by assembling this team. Perhaps at the top of these was the surprise hit DC's Legends of Tomorrow , a time-traveling epic featuring several characters culled from Arrow and The Flash . The completely original series from Producer Greg Berlanti sported impressive special effects, more witty banter than three people can stand, and of course a solidly entertaining score from Composer Blake Neely. The bold and unapologetic Legends of Tomorrow: Season 1 Original Television Soundtrack arrives full of superhero kick ass and ready to take the throne as Neely's best so far. The time-traveling Capt

Like the series, Arrow: Season 4 Original Television Soundtrack offers a mixed quiver. Review by Matt Cummings If any of you found Arrow: Season 4 to be...well...a little boring, you're not alone. I've always appreciated the gritty street drama of Star City, and Actor Steven Amell is fantastic as the titular hero. But the series under Producer Greg Berlanti has declined since the amazing Season 2 (remember Slade?!), with too many love stories and far too many episodes. The biggest complaint I had with Season 4 was that Arrow was now fighting fantastic (and unbeatable) villains, something better suited for (better) shows like The Flash and Legends of Tomorrow . Moreover, a paternity story slowed down any inertia which the show was building, leading to a wild League-esque battle royale that set up Legends . Composer Blake Neely's Arrow: Season 4 Original Television Soundtrack suffers from the same lack of direction, serving as more of a setup album than esta

The Music of DC Comics, V2 is an odd outpouring of superhero love. Review by Matt Cummings In the 100+ year history of film, the recent rise and popularity of superhero movies and television shows has represented a relatively small blip on the radar. And yet, the music behind them have in some cases been around since the advent of television. In 2010, that history was celebrated in the exceptional The Music of DC Comics: 75th Anniversary Collection . A greatest hits collection, the disc mined themes from both animated and live-action television, as well as film. And while publisher WaterTower Music is hoping for the same success with this month's release of Volume 2, it's more confusing and not-that-impressive than a must-buy collection. Composers from across the genre are represented here, from John Williams and Hans Zimmer to Arthur Kobb and Blake Neely. Among my favorites are the unearthing of The Justice League of America by Hoyt Curtain - a take-off to

Season 3's score is filled with brash tactics, sweeping epics, and incredible pay offs. Review by Matt Cummings Super heroes and their television drumbeats are undergoing one impressive chrysalis. Ill-content to simply be complimentary to a network's lineup of comedies and procedurals, comic book series have found fertile ground on the small screen with series like Arrow , The Flash , Agents of SHIELD , and others. Composer Blake Neely is helping to forge these soundscapes with big sounds for small packages, drawing the blueprint for the next generation of innovative television soundtracks. With the release of the very good Arrow Season 3 , we get all the proof we need that Neely is in full control of that movement. Produced by La-La Land Records, DC Comic and Warner Bros. Television, the 2-disc set arrives well-apportioned and filled with memorable reminders of why we love Neely's work. Already well-known for blending synthesizers, and violins with sound

The Flash Season 1 shows just how far television soundtracks have come. Review by Matt Cummings As a long-time lover of television soundtracks - no, not the awful rock collections that appear in shows like Vampire Diaries , etc - I had lamented their near total ignorance for the better part of the last two decades. True, the Bear McReary score for Battlestar Galactica was an epic reminder that television didn't have to go the cheap route. Luckily, Composer Blake Neely's submission for The Flash Season 1 is leading the triumphant charge to return television scores to their rightful place. Released by WaterTower Music, the score is a great mix of electronic and symphonic. There's two CD's here - a total of 29 tracks - so a blow-by-blow rundown would take all day. Instead, let's mention several highlights, beginning with tracks 1-5. A show always has to have a memorable theme, which is what The Fastest Man Alive/Always Late exactly does. But jus