It is unfortunate that this score shall receive absolutely no Academy Awards, Golden Globes, or other official forms of recognization, as it is the finest film score of the first decade of the 21st century.

Danny Elfman, who is a marvelous composer by any standards, nevertheless has his crutches (this is not necessarily a bad thing; as a fellow composer, I can attest that we all develop a certain musical voice that manifests itself in particular ways). Elfman's crutches specifically involve minor key "oom-pah" sets and augmented fourths throughout his melodies. Again, these are not bad qualities, they're just distinct; when you hear the trombones pipe up in Beetlejuice-style glory, it's a pretty safe bet that you're listening to Elfman.

What makes the score to Charlotte's Web so incredible, however, is that Elfman completely reinvents himself musically. Yes, there's still plenty of the "oom-pah" we all know and love, but it takes a supporting role. Instead, we are treated to the most fascinating polyphonic sounds an orchestra can possibly make! Within the first sixty seconds of this film, I knew it was the greatest film score of the decade. I didn't have any clue that it was an Elfman score until the end credits.

And that's why it's awesome.