"To watch Lisa Rinzler's expressive shots of Harris as Pollock create his paintings, especially the famously acrobatic drip canvases, to Jeff Beal's Aaron Copland-influenced music is little short of thrilling." Kenneth Turan - Los Angeles Times

"Sharp, staccato string cycles and tuned percussion dominate a score that is at once austere in its emotions and surprisingly nostalgic in its evocations." Pulse Magazine

**** Movies are not unlike children, in that they should be seen and not heard -- meaning that if a movie's soundtrack really works, you shouldn't even notice it. That definitely goes for "Pollock." Jeff Beal's score is so well-integrated into actor/director Ed Harris' bio-pic that you might leave the theater without remembering a thing about the music. But the soundtrack holds up superbly on its own, and it doesn't become apparent just how well it fits the film until you consider it as a separate entity. The News and Observer

"The minimalism of Jeff Beal's score for Pollock is just right. The pulsing, layered swirls of sound seem to capture some primal, unseen mechanism that moves the artist." TThe Pentagram Magazine

"Harris balances all that subtlety with a decisively masculine physicality in the way he shows how Pollock went at his work, lunging at a vertical canvas as if he fears it will walk away just as he's figured out what to put on it, or performing a Gene Kelly ballet on a canvas laid out flat on the ground, turning every arc of movement into a part of the finished painting. There are moments when Harris seems to have completely internalized Jeff Beal's terrific musical score, and the complete effect comes off beautifully." Salon Magazine

"With invaluable assists from Jeff Beal's offbeat but effective scoring and Lisa Rinzler's cinematography, Harris builds the film into a frenzy - the drama and dynamism of Pollock's work being created right before our eyes." The Winston Salem Journal

Voted one of the Ten Best Film Scores of 2000 by Venice Magazine, LA's premiere Arts and Entertainment Magazine
"... the film seethes with intensity, riding the rocky waves of Pollock's life, and incorporating some surprisingly energetic, Copeland-esque music by Jeff Beal which beautifully complements the fevered style with which the artist worked." Film Quips

"Harris' direction is self-assured. The sequences showing Pollock's painting techniques are masterful, the best I've ever seen. It is an intricate dance involving Harris, the original music by Jeff Beal, the cinematography by Lisa Rinzler, and film editing by Kathryn Himoff. The music seems to be in perfect synchronization with the beat of the brush strokes." Laramie Movie Scope

"One magical scene shows Pollock creating a mural commissioned by Guggenheim: He stands eyeing the massive, empty canvas, which is set against a wall, and then begins slashing the brush at it in huge, bold, black strokes, a flurry of movement, then a riot of color, all set to a pulsing string score by Jeff Beal. You shudder with delight at this privileged glimpse into the birth of such terrifically vigorous art."
The Austin Chronicle Movie Guide

"In the scenes where Pollock paints, especially the later ones where he adopts his famous drip technique, cinematographer Lisa Rinzler moves the camera as if in time with his thoughts, with Jeff Beal’s score pulsing with the thrill of invention and vision."
Philadelphia City Paper

"Jeff Beal's soundtrack, composed in a scintillating 7/4 time, contributes to a virtually flawless juxtaposition of light and sound throughout the film, but is brought to the forefront as Pollock composes the mural." The Observer Newspaper

"The sequences, artfully choreographed to Jeff Beal's pitch-perfect musical score, become enthralling dance performances. These moments are the film's emotional high." Rainbow News.com

"When Pollock paints, Harris' film comes brilliantly and alarmingly to life – thanks in no small part to Harris's portrayal, the cinematography of Lisa Rinzler (Dead Presidents) and a kinetic score by Jeff Beal (The Passion of Ayn Rand) – and there is both the sense of being in the presence of a great painter and a great filmmaker." MountainX.com

"Ed Harris and his directorial hand dyes this peculiar American legend with Technicolor hues (thanks to director of photography Lisa Rinzler and production designer Mark Friedberg) and the musical palette of Jeff Beal's jazzy score and plucky theme music. You won't find a touch of sentimentality around, just troubling truths aching for an audience." Nitrate Online