Novelist Chris van Allsburg's children's book Zathura, a follow-up to Jumanji, has now been turned into a film.  Set in space, it sees children playing a "real-life game" and having to win in order to get out of it.  Directed by Jon Favreau (whose choice of films to direct is curious indeed, this being the follow-up to Elf - somehow I can't help but imagine him directing films featuring people being beaten to death with spades and saying a lot of four-letter words) and starring Tim Robbins alongside the children, it's garnered more positive reviews than Jumanji, but not the same box office.

Nevertheless, it got enough box office on its opening weekend to produce a remarkable fact for composer John Debney to put on his resumé, because it was one of three films in the top ten at the US Box Office at the same time which he had scored (the other two being Dreamer and Chicken Little).  Amazingly, the hard-working Debney has now worked on nine films released in 2005 (and there's another one on the way).  While Ennio Morricone could probably score ten films in a day (and no doubt, he has) it is rare indeed for anyone other than him to reach double figures in a year.  Admittedly, a couple of them were collaborations with other composers or just saw Debney provide a theme or two, but nonetheless, in terms of quantity he has certainly been the most productive film composer of the year.

Of all those scores, Zathura is the best.  It doesn't particularly break new ground, but is probably Debney's finest effort since his landmark Cutthroat Island a decade ago.  The album opens with the expansive main theme, firmly written in the style of themes for cinematic space adventures of the past, and thoroughly enjoyable.  The opening of the album features some wonderfully lyrical writing for orchestra and choir, all of it broad and colourful (particularly the magical "Finding the Game"), and if it reminds me of one score in particular then that would be Bruce Broughton's superb Lost in Space.  In the middle section, film and score become rather darker, but Debney continues to excel.  With surprisingly complex orchestration, occasionally with a hint of Goldenthal, the composer does a great job of conjuring up the mixed emotions of wonder and fear, with some particularly aggressive music included.  The lengthy action sequence "Stealing the Game" is one highlight, the vaguely comical march heard in "Zorgons' Appearance" (and elsewhere) another.

The heroic "Robot's Revenge" ushers in the several cues which make up the album's finale, which is predictably rousing and satisfying.  ("Shooting Star Card" is probably most magical of all.)  This is a particularly enjoyable effort from Debney, seemingly allowing him to show what he can do when is let loose and allowed to do his own thing rather than being constrained by lesser directors.  It's a completely different score from James Horner's seriously underrated Jumanji, but no less enjoyable.  Anyone who enjoys the composer's large, orchestral efforts is going to love it.