Over the course of the ten years covered by this retrospective, Craig Armstrong has established himself as one of Britain's premiere soundtrack composers, one to rival current darlings Thomas Newman and Howard Shore. However he has a crucial edge on these two in his willingness to incorporate electronic drum tracks into the mix, bringing a pop sensibility that no doubt appealed to Massive Attack, the fruits of their labours two tracks on the Protection album.

Neither appear here of course, although the 'film works' umbrella doesn't prevent the compilers from slipping in an advert at the end, Armstrong's lush arrangement of Debussy's Clair De Lune a home banker for Chanel No.5.

In fact a fair proportion of Armstrong's music is heavily perfumed, which is where the only true criticism lies on this album, in a tendency to lay on the strings like thickly sliced butter, such as the main theme to Orphans. After several numbers in this vein the texture cloys, and it's a relief when the more economical setting of New York City from The Bone Collector takes over, a good example of his subtle way with percussion, supporting the large-scale theme. A much bolder dance track dominates The Ball from Plunkett and Macleane, a driving force that sweeps all before it.

Having noted Armstrong's way with string arrangements, it is to be noted that his track record for romantic films is excellent. Baz Luhrmann's Romeo And Juliet is chief beneficiary, along with Love Actually and a romance with a twist in Cruel Intentions - all expertly done, unhurried and genuinely moving. Romeo And Juliet, however, has far more dramatic impetus in the post-Verdi choral rush of O Verona, a shot of adrenalin with which to open, and a piece of music used by Adam F at the start of his KAOS album.

Moulin Rouge, another of Armstrong's Luhrmann successes, features in the Bond-like pretensions of Nature Boy and the big budget orchestration of One Day I'll Fly Away, the composer just about getting away with an overindulgence, the orchestra arriving in a big whoosh for the final chorus. Meanwhile The Quiet American is the more economical side of Armstrong, a soft piano line retaining a most impressive tension as it holds above the strings.

A most impressive canon, then, from a man held justifiably in high regard. It would now be interesting to hear him try some genuinely comedic music, or to break fully with an understandable reliance on string textures, given his aptitude in writing for them. With two previous pop albums in the bag, not to mention classical works, it's quite clear that genre is no issue for this extremely versatile composer.

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