Harry Potter and the Order of the Phoenix Reviews

• He who has never been named ...

  
  By A21M6XJHHBQSEC on 2007-07-11
  Introducing: Nicholas Hooper.
  That a new composer enters an established film franchise is not exactly a novelty, but that someone with a background that includes indeed nothing but television shows and documentaries is suddenly scoring a Harry Potter film, that is special, not to say unique, even if he and director David Yates have a long record of collaborations.
  And indeed, the studio had to be convinced that Hooper was up to the task by delivering a series of demo tracks.
  This album runs around 55 minutes, being considerably shorter that all four previous Potter soundtracks. The tracks are out of film order, which is a move I don't understand at all. Some say this ensures a better listening experience, but I strongly disgaree. Thematic development and musical coherence should already be present in the film itself, there should be no need to rearrange things.
  
  The album opens with quite a brave move, the inclusion of a distorted electric guitar for the firework unleashed by the Weasley twins. Personally, I find it very jarring and disturbing, even if it depicts the twins' tendency to break rules. The rest of the track bears a strong and strange resemblance to Howard Shore's firework music in Fellowship Of The Ring.
  We then get a concert arrangement of Professor Umbridge's theme, which is reprised later on in "The Room Of Requirement" and "Umbridge Spoils A Beautiful Morning". When exactly did the unwritten rule emerge that every Potter film needs a goofy comedy march? It was required for Lockheart. It was a fun and isolated idea to score Aunt Marge with a waltz. It was fitting for Rita Skeeter. But Professor Umbridge is a character that requires anything but such a fluffy and tingling theme. Yes, her funny appearance should be touched by the music, but at her core, this woman is a devil. Does Hooper pick this characteristic up? No, not even in one bar.
  Hooper's treatment of Hedwig's Theme, however, is the best since Prisoner Of Azkaban, even if it just appears two or three times on album. He juices it up a little with different orchestrations and counterpoints that just sound fresh, compared to Patrick Doyle's bland interpretation.
  It bothers me, though, that the Harry Potter legacy John Williams left behind always gets reduced to this.
  
  So far, so good, but slowly we should get to the main theme of the film, shouldn't we? Well, if my ears don't cheat me, there doesn't seem to be any concert arrangement or anything of the main theme. I'm not even sure whether Order Of The Phoenix has a prominent main theme. There are some moments of sweeping glory that are definitely thematic, but these are short, and leave you unsatisfied. This is a major drawback of this score, you are simply not able to identify it with any particular music, except Umbridge's piece of fluffy nothingness.
  This score is highly non-thematic, and that is not only highly surprising, it is, let's be honest, highly unsatisfying. No matter at which important part of the score, where you would expect some moving pieces, you look, you will always find nothing substantial. May it be "Death Of Sirius", "The Sacking Of Trelawney", "Darkness Takes Over" or "The Kiss", you will fail at finding thematic material.
  The whole album flies by without leaving an impression, you're like a spectator, waiting for something interesting to happen.
  
  Just like Patrick Doyle, Nicholas Hooper doesn't quote previous scores, which, yet again, doesn't help the continuity. And in the one place he does quote, "Darkness Takes Over", he quotes Doyle's pale Voldemort motif.
  Speaking about Voldemort, Hooper wrote a piece for the Dark Lord's slow taking over of Harry's mind, appropriately called "Posession". This features maybe the score's best moments, with the kind of Viola writing that I would love to hear more of in today's scores. And, intentionally or not, he quotes a strain from the brilliant "A Window To The Past" in this track.
  
  Another thing that is worth to be pointed out is the strangely small- sounding tone of the whole score.
  This could have something to do with the orchestration of this score. It is miles better than anything Patrick Doyle wrote for Goblet Of Fire, but it has different flaws. It is not a flaw exclusive to Order Of The Phoenix, it's a general flaw of many modern scores. Too many senseless and directionless string runs, and a ridiculous reliance on french horns for anything that resembles a thematic phrase. Just listen to "Flight Of The Order Of The Phoenix". You couldn't possibly come up with something more bland.
  And there are even a few technical "mistakes", if you can call them that. For instance, in "Dumbledore's Army", the clarinets play in the instrument's most uninteresting register, resulting in a distinct atmosphere of dullness.
  
  The score, generally speaking, just lacks largesse. I'm very sorry, but you just hear Hooper's background in television. The minimalistic approach, the instrumentation.
  It does, however, one thing that Patrick Doyle's score never could achieve: it sounds like Harry Potter. And that's why this score, while not particulary outstanding is at least sufficient and appropriate.
  
  Nicholas Hooper is seemingly returning for Half-Blood Prince as well. Why is that?
  Apparently the only demand the studio has for the composer is to not
  completely suck. Don't get me all wrong, I'm happy for Nicholas Hooper that he found his way to the big screen, but it is apparent that the has no experience whatsoever with the medium. Do we really need to hear him practise in some of the most anticipated films in history? There are dozens of talented, experienced film composers out there that never got, and may never get, a shot at such a big budget project. That is not exactly fair. It's like the sudden rise of Gustavo Santaolalla, who was just attached to a prolific film.
  
  In the end, Order Of The Phoenix is a good score, fitting for a Harry Potter film, but too small on thematic and orchestrational scale.
  Although everybody wanted Nicholas Hooper to excel, it is what many feared it would be: a TV score by a TV composer.
  
  

• Thematically awash in nothingness.

  
  By A1VBWYIOZQQIDQ on 2007-08-01
  John Williams in the first three HP movies composed wonderful themes for each and every character/moment. After Star Wars, where he was forced to repeat and work with themes over and over, HP gave him a new lease on life. But here Mr. Hooper lets us down. First, he only uses "Hedwig's Theme". Aren't the others available or equally interesting?
  
  His music is very atmospheric - that's good - but each track apparently goes no where. It all sounds like background music for a theme that's missing. "Delores Umbridge's Theme" is jaunty enough - anachronistic to her character, without a trace of evil - but we at least hear a theme. The "Fireworks" track - Fred and George leaving Hogwarts - was delightful. I actually like the folk element entering into the story a bit. But track after track sounds like accompaniment to a theme that no one played. Come on, Warner Bros., surely you can do better than this! (Don't get me started on the director either.) In my worst days as a composer I wrote as well as that.
  
  THe other problem is the ordering of the tracks. Okay, JW did this on the early Star Wars movies, too, and we all hated it then. Some Broadway musicals had to re-order things, too, to accomodate the side breaks of LPs. They re-ordered stuff when CDs came out. So did the "Final" version of Star Wars 4,5 &6. There is no sense of pacing corresponding to the movie. It sounds great! But to quote a famous author, it is "full of sound and fury, signifying nothing."
  
  

• good score, bad CD

  
  By A33G2XG1S5NSH1 on 2007-07-15
  While watching the terrific movie this score comes from, I was very positively impressed by the work Nicholas Hooper has done: it works extremely well within the context of the movie, which, after all, is the ONLY job a score is required to get done.
  
  However, when I got the CD and listened to it, I was VERY disappointed with it. This has got to be THE most poorly sequenced score CD I have ever heard. The CD has absolutely no dramatic flow, but what's worse is that much of the best music seems to have been left off, so that you can't even make a particularly good self-sequenced album out of it.
  
  There are still a few good tracks here -- the "Dumbledore's Army" sequences, at least, are fairly well represented -- so hardcore score collectors will enjoy having it. For most everybody else, it's an enormous letdown.
  
  Here's hoping that someday, when the series is complete, we'll get nice, complete presentations of all seven scores. It's sorely needed in this movie's case.
  
  

• Excellent Mood Contrasts

  
  By A2TUA4VWCMNXI on 2007-08-01
  I was highly impressed by the contrast between the light hearted and the dark in this soundtrack. That is part of the special magic of the Harry Potter books, of course, but I've never felt the movies, except for the first one, really captured it until now. The soundtrack for The Order of the Phoenix is relatively short, around 45 minutes in total. The tracks are arranged more by mood than by their placement within the movie, which can be a bit confusing at first, but I enjoyed the sprightly beginning of "Fireworks." I also found "Dumbledore's Army" and "The Room of Requirement" especially appealing. The tracks relating to Dolores Umbridge are interesting, too, in that they are able to convey her cloying surface charm and inner nastiness highly effectively. This is also true of "The Ministry of Magic".
  
  The darker tracks, especially "The Death of Sirius" and "Possession," were well able to depict the tension and horror of those moments. I also enjoyed the forboding qualities of "Another Story" and "Journey to Hogwarts."
  
  This CD well encapsulates the best qualities of the Harry Potter books and movies, and I recommend it wholeheartedly.
  
  
  
  

• Yes... even better than Williams!

  
  By A30JGXL2O6C64S on 2007-07-10
  Nicholas Hooper's score is a beautiful hour of music that fully complements the magic of the darkest book and film to date, Order of the Phoenix.
  
  I thought the first four scores were adequate, but I had just a few problems. Good old John Williams, undoubtedly a great composer, scored the first three films, but much of the time just copied the trumpets and clarinets of Star Wars, Indiana Jones, Hook and Jurassic Park. That's not to say he had no original material, as Prisoner of Azkaban was a great improvement over 1 and 2, but his usual repetiveness and over-scoring of the films (count the amount of times Hedwig's Theme is played in the first film) began to overwhelm the film and its source material.
  
  Patrick Doyle, god bless him for trying, took a far too conservative approach to Goblet of Fire. He was able to capture some of the growing romance with his cute waltzes, but failed to capture the more action-packed scenes. At times some of the lighter fare seemed more appropriate for a British romantic-comedy.
  
  The reason I like (rather, love) Hooper's score is the fact that the studio could have chosen any big name composer (Williams, Zimmer, Elfman, Howard), but chose a relatively unknown BAFTA winner with a modest televison resume. It is with these low expectations that perhaps made the score such an amazing listen. Take one of the best tracks, "Dumbledore's Army," which takes a light approach, but unlike Doyle, avoids the tongue in cheek comedy loops that hurt Doyle's comparative work. "DA" is playful without being overcooked, a la Williams. Consider the opening track, "Fireworks," which takes the unconventional orchestra and electric guitar and turns it into two minutes of rebellious broom flying with a hint of Irish influence. No evidence of the Star Wars theme or Indiana Jones, just original and innovative music.
  
  Whether it is loud and fast paced ("The Serious Deception," "Flight of the Order of the Phoenix") or soft and romantic ("The Kiss," "Loved Ones and Leaving), Hooper packs an amazing array of diversity into this relatively shorter than average score. Dare I say its even worth an Oscar nod? Give it a listen.
  
  
• Time to BRING BACK JOHN WILLIAMS!!
  By AQS1D1OXQIBI2 on 2007-07-12
  Sadly, this soundtrack turned many of John Williams' beautiful themes into death marches and left nothing new to be desired. It was much like a bunch of sound effects rather than a score meant to tie the movie together into an artistic whole. Obviuosly, Warner Brothers is trying to make the Harry Potter movies as cheap as possible since they know the fans will come no matter how poorly they make the films. John Williams has said that he would love to do Harry Potter again, and they need him to strengthen his wonderful themes to tie all the movies together before it's too late.
  
  
• Poor Music written ignoring the other soundtracks.
  By A3RD5XSEDNNOVV on 2007-07-29
  Compared to the other Harry Potter Soundracks, this is just a huge sequence of orchestral chords with some crescendos and diminuendos, but nothing to do with the tradition of music in Harry Potter films. It has no powerful melodies, which were a main characteristic in the previous soundtracks, specially those made by Williams. I say a good melody is the one people can easily remember and even sing, and this soundtrack can be easily forgotten!
  
  We have to accept it's hard to make a soundtrack as good as John William's. And I don't say this just because I like him as a composer, but because of the experience he has on film music making. But Patrick Doyle made something real good with the Goblet of Fire soundtrack (previous to this), a bit far from William's work, but definetely fitting in the movie. But this Hooper made just amazingly weak music for this movie. The peaks on tho movie just don't have peaks in the music.
  
  
  
  
  
  
• Horrible
  By A19FPYCKEMAUGC on 2007-07-30
  All I can say is this. If the producers want the last two movies to do well, one of the main things they need to do is get a decent composer. Seriously, do absolutely whatever it takes to get John Williams back, or get James Horner, or Howard Shore, or Danny Elfman. Really, anyone that is a serious film score composer and knows how to write for an epic action adventure movie. Stop hiring people whose only credits are writing jingles for stupid TV shows.
  Not related to the score, they need to also get a real director who has had experience with large film budgets. Get Spielberg or Bruckheimer to produce it. And please, please, PLEASE recast Dumbledore. Michael Gambon may be a great gangster, but he is a horrible Dumbledore.
  
  
  
• Hooper Drops the Wand
  By A38D0E3AEHEHTV on 2007-07-12
  When the soundtrack for "Harry Potter and the Goblet of Fire" was released in 2006, John Williams fans rose up in outrage. They didn't appreciate composer Patrick Doyle's big, loud, unvarying score. They demanded back the whimsy and nuance that lost out to tense and ominous overtures in "Goblet of Fire". And they were rewarded with...Nicholas Hooper, and a soundtrack filled with whim and nuance...but not much else.
  Don't get this reviewer wrong--there are some brilliant moments in the soundtrack. "Dolores Umbridge" is filled with over-the-top cuteness--and it carries over well onto the big screen. "Journey to Hogwarts" is a reminder of Williams' theme, and plays out with a touch of urgency that lends itself well to the listening experience. And when Hooper wants his score to be tense, it's tense.
  Unfortunately, those moments are few and far between. While I can forgive Hooper for choosing to rearrange the track order for better effect, the interesting bits remain quite sparse and aren't enough to keep someone listening through the rest of the score, which, when not filled with complete silence, consists of instruments playing so softly and unmelodically that you could swear Hooper was simply running the orchestra up and down scales for all anyone could tell.
  Despite its shining moments, "Harry Potter and the Order of the Phoenix" fails to reach the musical heights achieved by John Williams and makes Patrick Doyle's sweeping and grandiose soundtrack look like a giant by comparison. Everyone who has ever caught a scene from a film sans music knows how much its soundtrack is worth--when well done, music adds layer upon layer of depth, emotion and intensity to a scene. But Hooper does not achieve this, and it's unfortunate because the film could have been much more interesting had he done so. Ultimately, the final track, "Loved Ones and Leaving", sums up the entire disc--it plays a few quiet strains, has no climax, and quietly fades away, leaving but the faintest of an impression.
  Let's hope Warner Bros. decides to rethink their director/composer duo come "Half-Blood Prince".
  
  
• out of order and out of touch with Harry Potter
  By A1RDOFHT0JU3P8 on 2007-07-20
  One of my biggest pet peeves of soundtracks is when they put the music out of order from the movie, as they did with this case. If I wanted it out of order then I would just hit the shuffle button on my CD player.
  
  Nicholas Hooper's score to Order of the Phoenix is improved to that of Patric Doyle's score in the Goblet of Fire but it still is nowhere near that of John William's Harry Potter scores. Hooper's music is disappointing in that it doesn't capture the mood of the movie like it should. Umbridge's theme is peppy because she may look nice, but it doesn't hold that she is downright evil. We don't feel Harry's angst as he is entering the prime of his teenage years. The music wasn't as complex as I thought it would have been and overall, it just didn't seem very "Harry Potter-like."
  
  I have heard that Hooper is set up for Half-Blood Prince and I hope that he makes the music far superior to that of Order of the Phoenix in capturing the mood, which will be a difficult task as Half-Blood Prince is the darkest of the books and the darkest of the movies so far.
  
  
• Disappointing
  By ACIYH3WK3SOQQ on 2007-07-30
  The soundtrack from the Order of the Phoenix was terribly disappointing. It does not incorporate much of anything from the previous soundtracks, making one wonder if this was, in fact, music from the movie. Not worth the money.
  
  
• Could be Harry Potter, Could be any PBS/BBC production...
  By ALNT4M90TNI5I on 2007-07-10
  I was sad because I really like Patrick Doyle's music, who composed Goblet of Fire. And of course John Williams is great as well. There is very little John Williams source material here, Another Story has a taste of previous themes, then quickly abandoned. A Journey To Hogwarts also offers previous themes. The opening track on the new album has this electric guitar solo, that just sounds wrong, not in keeping with the Harry Potter world at all. This is a very different score and it's not my favorite. Nicholas Hooper has scored many movies and television shows, but ones you likely haven't heard of. Most of this sounds as if it cold have been from any one of those shows. I understand that John Williams didn't want to spend the rest of his career scoring Harry movies. This may be the weakest score yet. IMDB lists him for Half-Blood Prince as well, that's sad. Hopefully Williams will return for the final episode.
  
  
• Snooooooooze
  By APCGKWFKN5BAQ on 2007-07-10
  I was seriously hoping Patrick Doyle would remain to compose the soundtrack for OOTP. Williams' work for the third film was amazing(ironically the worst of the existing 4 films). Doyle did a wonderful job with the improved film Goblet of Fire, even if he did abandon the themes of Williams. This score by Hooper will suffice for most viewers, but as a whole, it is quite disappointing. The guitar riff in "Fireworks" is completely out of place and most of the music is, for lack of a better word, boring. This is the first Potter score that I am very underwhelmed by. Hopefully Hooper will not compose the next score and whoever does revitalizes the music.
  
  
• SKIP IT
  By A3JPR7BUSV283S on 2007-07-12
  With all the incredible talent out there, why this guy was selected for the score reminds us that directors and the guys in the suits usually don't know anything about the power of REAL film music.
  Stick to TV shows, Mr. Hopoper.
  
  
• Noise noise noise noise
  By AVC8ZAFPYOHZL on 2007-07-12
  Received the soundtrack prior to having a chance to see the movie since the movie just came out for us yesterday. I was disappointed in the sound track since from Williams' first the HP music has been fun to listen to even as background music while working or whatever. But HP 5 just seemed tune-less. The Umbridge theme is there and annoying as it was designed to be -- increasingly so -- as designed to be -- but this is well, annoying music. Good job. Well, I waited to see the movie before making a judgment on the soundtrack since after all it is music for the movie and the main thing it should do is work well with the movie. And while watching the movie I noticed that it is appropriate noise for the movie -- but, and I realize one of the rules of music is to be not only invisible but inaudible -- not distract from the action -- it is never distracting. It seems never good enough to distract attention from the action. Is this how the science of directing our emotional sense during the movie is going? There will be little point in buying soundtrack noise then. So this is a disappointment. I miss Williams' themes even if they remind us of Star Wars or Indiana Jones or Close Encounters. You can sing some of those. With HP 5 the only thing I can sing is annoying.
  
  
• excellent
  By A9GNNYKUEN8WR on 2007-07-10
  As a musician I have really enjoyed this album so far, as I am writting this review, I have listened to half the CD. But already I love it. As much as I enjoy a good Williams score, he does recycle many of his themes from different movies. It just gets old. This soundtrack breathes new lide into the movie series.
  
  
• Worth playing again
  By A1CMMEEJXSDPRW on 2007-07-11
  I love John Williams' music for the Harry Potter soundtracks and was disappointed he wasn't the composer for Goblet of Fire. I wasn't sure what to expect with the 5th movie, but I am happy with the result this time! It matches the moods in the film nicely and is great for just listening on its own. I have to add that I do not favor the Goblet of Fire soundtrack very well... thought it had too much high volume instrument noise and not enough variety in sound. This one does have a variety of sound and personality and is a pleasure to listen to. The Order of the Phoenix soundtrack is just what I was hoping for!
  I just have one comment, and the reason I gave it 4 stars: why on earth is it out of order? I had thought movie scores follow the fluidity of the movie itself... I could be wrong but I thought the first 3 followed an order... and the Goblet of Fire music seemed to follow the movie order except for the Yule ball tracks at the end, which was a smart move. OoP soundtrack starts with Fireworks, which I think is a great track, but the music actually occurs at a later point in the film itself. A bit weird.
  
  
• A fine effort and a great improvement over Doyle
  By A1C05VUN5OTXE6 on 2007-07-11
  Well, I've long since stopped mourning the loss of John Williams from the Harry Potter series. After composing the best score yet for "Azkaban," the prolific Williams left the Harry Potter fandom to wallow in the cutesy waltzes and themeless chromatic atmospherics of "Goblet."
  
  But "Order of the Phoenix" sees yet another composer: Nicholas Hooper. I'll admit I was wary at first (I believe I wrote a blog on him a long time ago), but after listening to the entire score streaming through AOL Music, my opinion has changed.
  
  Although nowhere near the quality of Williams, Hooper brings a new atmosphere to the soundtrack series. Although his darker tracks like Darkness Takes Over and Possession may get a little boring with the endless, near silent violin tremolos, puncuated by the occasional bang that makes you jump out of your seat, it's the lighter tracks and the more emotional core of the soundtrack that really impressed me.
  
  For the first time in the entire series, Hooper has hesitantly used a piano at the forefront of one track, accompanied by violins, and the result is heart-wrenching. Recorded beautifully as well, I reluctantly say that these bits may have served the Mirror of Erised scene in "Philosopher's Stone" much better than the numerous repetitions of "Hedwig's Theme" or "Harry's Wondrous World." I wish Hooper had used more solo piano on the album as it is some of the best stuff on there. Another emotional point in the album uses the flute and soaring violins, possibly to depict Harry and Sirius's close relationship.
  
  The opening cue, Fireworks, is comparable to the Quidditch World Cup cues from "Goblet." Staunchly Irish in its rhythms and melodies, the cue has an energy to it befitting the scene which it scores.
  
  The Dumbledore's Army music is some of the best, and really suggests a fun time, with great learning, and underscores the idea of a rebellion, but not something like Guy Fawkes, but something you'd expect from school kids. I sorely wish Hooper had expanded on that more, but sadly, you only hear about a minute of it on the entire album.
  
  The Umbridge music fits very well, even if it is a bit reptitive, but I really liked the Room of Requirement music (which has been incorrectly named the Room of Requirements). It's mysterious and quirky at the same time, and evokes a hidden, ancient magic that has a mischeivous mind of its own. And knowing that Hooper will probably be back for "Half-Blood Prince," because the David Yates, the director will as well, I know he'll be able to weave the slightly naughty Requirement theme into a much darker tapestry when Malfoy uses it to break into Hogwarts.
  
  One great aspect of the score is Hooper's willingness to revisit Williams' lasting mark on the score: Hedwig's Theme. He uses it subtly, but noticeably, paying homage to the old master, but also varying it and changing its mood from dark to light to moody where it is needed.
  
  The music for the famous kissing scene suffices, in my opinion, and I'm sure it works well with the on-screen visuals, but I don't feel the magic in it very much, or nearly as much as I did when I read the scene in the books. I think it could have done with a few more flute trills and runs, possibly some soaring violins to depict the fluttering of Harry's heart, but it's a much slower, calmer piece with a few long chords and modest bells.
  
  The driving music found in the climactic cue Sirius Deception really reminded me a great deal of the better action movies of late. I can't wait to hear it in conjunction with the film's visuals. I can just see Harry and co. marching down to the forest and then soaring away on the thestrals, whose music gives me goosebumps, because it really feels like an epic flight. Next to Williams' amazing cue Buckbeak's Flight in "Azkaban," I'd say this cue comes closest to matching that swooping feeling in the pit of your stomach when you soar into the air.
  
  The cue for the death of the major character (I won't spoil it for those that haven't read the book) is very unsatisfying. It is one of those moments where dark atmospherics take precedence over melody, and as a result, the emotional impact that the cue should have is conspicuously absent. I'm sure it works well in the film, but I still would have expected something more gut-wrenching and heartbreaking. Then the cue launches into an ugly boisterous section which I can only imagine depicts Harry launching himself into a heated duel with Bellatrix. I can only describe it as noisy. In its final moments, the cue tries to become emotional, but it doesn't try hard enough and it only sounds like a weak attempt at tears.
  
  Being a flute player, I love the opening of Umbridge Spoils a Beautiful Morning, because it is a lovely flute serenade, which then breaks into a string pizz version of Umbridge's bouncy, insidious theme.
  
  The Ministry of Magic music is very funny in its quirky, bouncy sense, and is almost reminiscent of Sorcerer's Apprentice. Although I would not have thought the Ministry of Magic would warrant bouncyness, perhaps the method in which it is depicted calls for such motifs. The amazement at the Ministry's massive size is somewhat poorly scored, relied on somewhat idiotic downward arpeggios that seems a bit obvious. The mischief continues through to the end of the track, however.
  
  The one thing that annoyed me was how the music for Trelawney being sacked fit more with the emotional impact of the big death in the film.
  
  The Flight of the Order of the Phoenix, which depicts the Order's picking up Harry and flying back to headquarters, was okay in the sense that it was flying music, but it somehow felt too ordinary.
  
  The horn is also used to create a sense of deep, tragic loss, and great scope, as it always will be, but its effect is somewhat diminished as Hooper shies away from the more soaring, incredible chords and triads that the horn does so well with.
  
  The ending of the album finally hints at a somewhat great, emotional, soaring happiness, but it is never fully developed to be truly appreciable.
  
  I know I make it out to be a horrible album, and I admit, if it wasn't Harry Potter, I would not have picked it up. I only feel that it doesn't come anywhere close to the perfection that was "Azkaban." Having said that, this score really isn't too bad, although the current masters of today like Elfman, Williams, and (I can't believe I'm saying this, but the Pirates 3 score was phenomenal) Zimmer would easily have done a better job, I think Hooper has done an admirable job of rescuing the score from Patrick Doyle.
  
  An essentially dark score, puncuated by light, bouncy, quirkiness, the music shines at certain moments and snores at others. Overall, I would give it a 7 out of 10.
  
  ~ Adhish
  
  
  
• Very impressed and pleased
  By A1IZ42UKT45X4X on 2007-07-17
  Unlike so many others, I find this is an excellent score, more than serving its purpose in fitting seamlessly with the film itself. I have been listening to it since I bought it, more than a dozen times already and find it highly enjoyable. I cannot understand people not hearing any magic in it, though, yes, for the most part it is darker and more mature. So was the story. I am thrilled that Yates and Hooper will continue. At this point I feel there needs to be some continuity in the final films, which will tend to play out like one long story.
  
  Another Story absolutely captures the feel I got when I read the opening of OotP. The element of the oppressive heat and the lonely, mournful piano theme presenting the isolation that Harry is experiencing is painfully gorgeous and wistful and sets the tone for the entire film to perfection. I'm tempted to say it is my favorite track, but the more I listen the more "favorite tracks" I am beginning to have.
  
  Another fine track would be Possession. Hooper, in my opinion, absolutely made this scene what it was on top of the fine acting and direction. I could not for the life of me, when reading it, figure out how they could accomplish this scene without it being too stereotypical of some cheesy horror film. Possession provides just the right underlying momentum, presenting Harry's pain, fear, his grief, and a climbing ultimate release as he realizes what he does have and what is more important than pain or death. I've seen the film 3 times, and each time I become misty, which is pretty unusual for me in any film. Listening to the track, I realize how much of that scene is painted right into the sound.
  
  The extended syncopated section of the bass and cellos in Death of Sirius is another favorite spot. It is so reminiscent to me of a heart beating erratically in fright. It's urgent, pulsating, and totally conveys the drive of the scene.
  
  I found elements of GoF's themes here that worked wonderfully. GoF was like a breath of fresh air to me after listening to JW's first two scores which were suitable for the children's stories the films portrayed, but little else and the PoA's score, which worked hard, had maybe two interesting tracks, but fell far short of the beauty of the film itself. Hooper continues to use a lush pallet and adds some surprising rhythmic elements I love. His work added an underlying urgency that subtly enhanced the tone of the film.
  
  I will be sorely disappointed if they go back to John Williams to score the last film because he is SO busy that little of his music sounds fresh at all anymore. Kudos to Nicholas Hooper. There isn't a track on this score that I don't enjoy for its texture, mood and function.
  
  
• Welcome to Hogwarts Nicholas Hooper!
  By A2VOIE123XM7T5 on 2007-07-18
  
  There is always a sense of foreboding when one learns that a new film score composer has been assigned to an established series where we have already become accustomed to themes and motifs that have illuminated beloved characters and places. Indeed, that music becomes as endearing if not necessary as the actors, the characters, and settings themselves. Thus when it became known that John Williams would not continue to score the Harry Potter series we raised an eyebrow with Patrick Doyle when he took on "The Goblet of Fire," but all proved well enough. When it was announced that yet another, and a less known, composer had been signed to score "The Order of the Phoenix" some nervousness had to be expected. Indeed, this writer put off picking up the soundtrack until after the film had been released and happily viewed. We are most happy to sigh in great relief that once again Harry Potter is in capable musical hands. Welcome to Hogwarts Nicholas Hooper. Of course there is the inclusion of Williams' "Hedwig's Theme," but from that onward this score belongs to Hooper and it is delightful on both the screen and the soundtrack recording. Hooper has ably given new musical wonder and delight to Hogwarts while also serving up a necessary musical sense of dread as the story drifts into darkness. But Hooper always seems cognizant that above all this music must remind us of the wide-eyed wonder that is Harry Potter's world even though the music also reminds us that there are dark and troubling times ahead. One might take some issue with the order of the musical cuts on this album, but Hooper knew what he was doing for it all comes together. The decision to open with music from a great scene well into the film, "Fireworks," is backed up by the immediate realization that this piece works wonderfully well as something of an opening overture: hold on, this is where we are going! His theme for Professor Umbridge captures all of her moods from almost comedic to downright sinister. And there is an abundance of momentary musical gems throughout (note especially the brief but wonderful "Flight of the Order of the Phoenix"). Indeed, welcome to Hogwarts Mr. Hooper, and we hope you stay around for the remaining films. Ably produced and packaged by Warner Bros.
  
  
  
• Worst HP CD
  By A1NVAPE20XT04E on 2007-08-14
  This was the worst Harry Potter CD ever. John Williams really knows what he is doing.
  
  The other cds at least played the music in the order of the events from the movie. This one jumps all over the place.
  
  The sound goes from so low you can't hear it so that you have to raise the volume to so loud that it hurts your ears. Most of the time I feel like I'm listening to nothing.
  
  For the next cd, they need to get John Williams back. Even if the movies are darker, the music can still sound like HP music. The theme song wasn't there at all.
  
  Sorry I bought this CD
  
  
• The Chronological Order (of the Phoenix)
  By A2NSC9FQQO5FWD on 2008-02-17
  Putting the songs in order is quite a simple process, and it immediately changed my opinion of the album (for the better). I highly recommend doing so. Soundtracks SHOULD be the emotional direction of the movie, and ignoring their chronological order limits the listener's connection to the actual movie. And as for the soundtrack itself, NO ONE is John Williams, and Pat Doyle and Nick Hooper don't try to be. I love JW, but I can also appreciate a unique spin now and then. Let us just hope that he scores the final film (as it would be fitting to see how he would finish the score he so famously started).
  
  HOPE THIS HELPS...
  
  1. Another Story
  2. Dementors in the Underpass
  3. Flight of the Order of the Phoenix
  4. The Ministry of Magic
  5. A Journey to Hogwarts
  6. Professor Umbridge
  7. The Room of Requirements
  8. Dumbledore's Army
  9. The Kiss
  10. Umbridge Spoils a Beautiful Morning
  11. The Sacking of Trelawney
  12. Fireworks
  13. The Sirius Deception
  14. The Hall of Prophecies
  15. Darkness Takes Over
  16. Death of Sirius
  17. Possession
  18. Loved Ones and Leaving
  
  
  
• An Exciting New Addition
  By A2EV72HZZ2C2HQ on 2007-07-10
  While much different then Williams and Doyle, Nicholas Hooper does an amazing job with this next chapter of the Harry Potter movies. Though a relatively unknown composer, his score is magical and brings the fantasy to life. The entire album is absolutely delightful and really captures the sprit and essence of both the movie and the book. There are simple, lighthearted parts, but a darker side overshadows these moments. Just like the darkening plot of the story. The soundtrack begins with 'Fireworks' which is fast paced. The use of electric guitar blended in brings a new sound and definitely picks the up the beat. Professor Umbridge's theme especially captures her character being upbeat and sinister. This magical track is continued with track 13 'Umbridge Spoils a Beautiful Morning'. Track 5 'Dumbledore's Army' is my favorite on the soundtrack for the way it weaves excitement, energy, and mystery which provides a perfect backdrop for the group in the movie. 'The Room of Requirements' is similar in its make-up and just as captivating. The other most notable track is the Death of Sirius, which is filled with emotion that is almost draining. It is almost heartbreaking. Lastly, the soundtrack concludes with 'Loved Ones and Leaving' which follows much of the same composition as John Williams 'Window to the Past'. It is a perfect track to conclude with as it envelops the mood of the movie and will be the perfect link to the future 6th movie. I was pleasantly surprised with Hooper's score and I am definitely looking forward to listening to anything he composes in the future.
  
  
• The Magic is Back (Somewhat...)
  By A2CNQ1JV16GHW2 on 2007-07-10
  Never having heard Nicholas Hooper's work, like so many other "Potter" fans I was unsure of what to expect. I found Patrick Doyle's music for "Goblet" woefully uninteresting, and was a little apprehensive about another Williams-less score. And while no-one can come close to Williams for melodic invention and drama, Hooper's work is a vast improvement over Doyle's. I too find the electric guitar in Track One a little jarring, but in every other respect, Hooper's speaking the same musical language Williams established in the first three films. Some of his themes are particularly evocative, including "Dumbledore's Army," "The Ministry of Magic" and "Professor Umbridge," which skillfully manages to evoke both her fussiness and villainy. So you can all breathe a little easier; the music has returned to Hogwarts.
  
  
• Wonderful yet confusing
  By A17EQ1BYJQKVRJ on 2007-07-11
  This soundtrack is a wonderful addition the the Harry Potter musical library. It has a more mature tone to it than the previous offerings, and it delivers on capturing the moments within this film.
  
  My only complaint falls on Warner Bros. Records decision to publish this soundtrack seriously out of order. I like to listen to the musical score of a film and have it in film order. Warner Bros. has decided to jumble this score to pieces. From having the Hall of Prophecy track as track 6 to having the Flight of the Order of the Phoenix as the 2nd to last track, this soundtrack is an utter mess. It will take me several viewings to determine the "correct" order and make my own copy of the soundtrack.
  
  
• Woefully inadequate
  By A1YZVE0G6E7T9J on 2007-07-14
  First off, I will not throw in the "John Williams needs to be brought back to score Harry Potter" line as its already been well overused at this point. Nicholas Hooper's background in television music is very evident in his score work for Harry Potter and the Order of the Phoenix, and unfortunately, having to overcome the melodic envelopment of John Williams' work in the first three movie soundtracks is not something most people can even attempt to try.
  
  The arrangement of the tracks on the soundtrack is not sequenced as they were played in the movie, which is jarring for those of us that like to follow a storyline based on its music. And sadly, the choice to do the order in this manner just proves that Hooper's music is not textured or rich enough to give each song track its own voice and yet be part of a larger chorus, but rather that each song was cookie cut and freeze dried to be placed anywhere that would keep the listener's attention level up.
  
  The opening track, Fireworks, was not one of the best introductions to a Harry Potter soundtrack I would ask for but I guess that comes from being spoiled by always hearing "Hedwig's Theme" in its various incarnations opening a soundtrack. Listening to the CD in its entirety, I could honestly say that Hooper's music was so much in the background that most of the time you hardly noticed it. While William's music in Sorcerer's Stone, Chamber, and Azkaban accompanied the movie hand in hand, and Doyle's music was so jarringly in the front that you had to notice it, Hooper's music was so low-key that even in the "taking flight"-style songs you barely notice the music-if at all.
  
  Sadly, Umbridge's "theme" was not something I found appropriate for her character. The theme gave me the impression that Umbridge was more of a character to be ridiculed at a sideshow than the truly menacing Ministry of Magic member to be watching out for. The music in relation to Voldemort felt forced and nothing made it stand out for his level of evil power. I enjoyed the "Flight of the Order of the Phoenix" track primarily because of the high hope feeling it placed upon the listener, but Hooper cuts it short (the song was only 1 min, 32 seconds) before it becomes a truly beautiful and sweeping song.
  
  The finale song, Loved Ones and Leaving sends our Hogwarts family off into the sunset, with feelings of grief for those lost during the journey but hope for what the next adventure is to bring. Beautiful song, but for some reason, the song felt like the ending of a TV series and less an ending for a movie like Order of the Phoenix.
  
  Overall, Nicholas Hooper did a decent job of creating the score for Order of the Phoenix but the score ends up being just another soundtrack to join the other unexciting soundtracks. Unfortunately, there are no tracks in the soundtrack that I will find humming years later such as John Williams' "Hedwig's Theme" and for the most part, only one or two tracks will be replayed due to most of the tracks either being forgetful or just outright not appropriate for the scene it was attached to. Avid Harry Potter fans will fetch this one up just because it IS Harry Potter, but for the casual soundtrack listener, I would say stick to the Harry Potter soundtracks done by John Williams to remember the true musical legacy for the franchise.
  
  
• Needs the magic of John Williams to go with Harry's magic
  By A1DQXH8THS3E49 on 2007-07-16
  Obviously the producers have it figured that they can put in any music that touches on the John Williams theme from the first three movies and it will pass muster and save them money. How sad for us the listeners. This album, as the one before it, show that the way to keep the series with some consistency that also holds them together is to keep the same composer which is not happening any more. All the star wars movies; most of the james bond films; the rocky films; back to the future films; the first two batman films; rambo movies; first few die hard movies, all got this key thing and their sequels were terrifically enhanced. Williams did all three Indiana Jones movies and each was a better soundtrack than the one before; he did the first two Superman films and his score was used in the third too. The fourth Superman movie fell off the wagon and died in the box office. The fifth, Superman Returns, used some unknown composer for most of the score and it was lousy and forgettable.
  This new Harry Potter film is great but the soundtrack is a waste almost entirely and won't hold up by itself the way Potters 1-3 all do/did. Save your money on this one and tell the producers by not buying it that the consumers are not so easily conned and maybe they will pay Williams to do the next movie.
  
  
• No magic here--weak and disappointing
  By A3G8OG9MKN85MQ on 2007-07-17
  Following the sparkling, evocative efforts of Williams and Doyle, this is a generic, dull offering, and certainly brings no magic to the film. It lacks depth and emotional resonance, and actually would work better as background music for a TV movie. Sounds like the composer had little or no visceral connection to the film or to the story and its characters. It's sad to think they've given Hooper the next film to score as well; if neither of the previous composers is available, call in Howard Shore or even James Newton Howard before it's too late. Blah; save your money on this one.
  
  
• The soundtrack made for Muzak.
  By AGXBY8EKIOIFE on 2007-07-17
  I found it mildly amusing that my first thought, prior to reading other reviews here, was "John Williams has clearly left the building." This score was adequate as filler for a movie, but lacked any of the charm and creativity that was evident in the soundtracks from the first three films. In fact, elements from Mr. Williams' compositions have been used in this score as well. Each listener will have different tastes. For myself, I found 2 tracks to be something I would want to keep in my library, which is not really enough to warrant buying the CD.
  
  If you are a hardcare Harry Potter fan, then this CD should also appeal to you.
  
  This soundtrack can really be summed up as filler and music that is fit to listen to in an elevator. Unlike Mr. Williams' scores, which have been played on classical music radio, this one will not.
  
  In short: Save your money. Buy the individual tracks that you like, and the DVD when it is released.
  
  
• Pleasing and Impressive!
  By A3SHZ5D2CQC6WK on 2007-07-17
  For those just giving the soundtrack a bad reviw because they want John Williams back is unfair. This soundtrack is full of life and beautifully draws the picture of the story of harry potter. The use of hedwig's theme is wonderful and umbridge's theme is intoxicating and pleasing to the ears. I thought the GOF soundtrack was a joke and felt this soundtrack to be a breath of fresh air.
  
  

• Harry Potter and the Goblet of Fire
• Harry Potter and the Prisoner of Azkaban
• Harry Potter and the Chamber of Secrets
• Harry Potter and the Sorcerer's Stone - Original Motion Picture Soundtrack
• Pirates Of The Caribbean: At World's End