how well integrated they are in the film. This is not a film where we get a "Count Olaf's March" or where there are individual themes for each of the Baudelaire orphans. Instead of having the music carry the moment, Newman is content to have such things suggested: the plight of the children is captured by the sound of a music box in both "Baudelaire Orphans" and "VFD" (and this is not Harry Potter's music box either, so do not go there either for your musical reference from the history of cinema directed at the wallets and pocketbooks of young children). There are some lovely themes here, as in the piano pieces "Resilience" and "Letter That Never Came," each as subtle as the rest of the score and yet perfectly suited to the mood at those points in the narrative. If you are familiar with Newman's score for "American Beauty" or the theme song for "Six Feet Under," then you can see this work as a continuation along those same musical lines (e.g., "Hurricane Herman"). Ultimately, it is the rhythm of the music helping to move the tragic tale along that stands out most. Besides the optimistic voice at the beginning, there are no vocals, but rather a few sound effects added to spice things up (and fit into the developing rhythmic pattern of the music as well). Newman employs a variety of instruments throughout the score, such as the violin in "Verismilitude," the xylophone (?) in "Concerning Aunt Josephine,"