By all accounts, Howard had to work hard to give credibility to Lady in the Water, but he clearly relishes his Shyamalan ventures (indeed, they are largely nothing like anything else in his ouvre) and has apparently taken the Goldsmithian approach of writing for what the film ought to be, rather than what it is. The start is especially strong; the Prologue introduces the fetching, if rather brief, main theme, but again it's more the atmosphere and orchestral colour which is especially enchanting. The mixture of repeating patterns and delicate chorus conjures up beautiful, mysterious world of water. Fortunately, Howard doesn't use the chorus all that often so its appearances are welcome, rather than another later of aural stodge; things are kept light, but even the gentlest passages, such as The Healing, never resort to mindless, atmospheric noodling.
The film's villains (dogs covered in grass - I'm not making this up) are given a suitably ominous three note motif which Howard uses in a different way each time. It's clearly the same motif, but all the subtle variations keep it continually fresh. Of course, as with all good (and bad) fairy tales, good triumphs and so it is in The Great Eatlon, the dramatic and spine tingling finale which packs a more significant punch in its few minutes than King Kong's protracted finale. The gentle End Titles give way to four Bob Dylan covers which are fine enough, although I can't say I've ever been a great Dylan fan although. The arrangements are distinctly distant from the originals and may bug purists. Even if Shyamalan has started to turn into a self parody, Howard continues to produce some of the finest scores coming out of Hollywood and Lady in the Water is another winner. Highly recommended.
Rating ~ 
Total Time ~ 59:40