Please don’t stop the music. Part 4 of the yearly Music in Movies series continues. If you missed parts one, two, and three, they’re available here , here, and here. Let’s do it.

Dunkirk (composed by Hans Zimmer, with contributions by Benjamin Wallfisch, Lorne Balfe, Andrew Kawczynski, and Steve Mazzaro)

The Mole

Supermarine

Home

Rag on the overkill volume levels all you want (seems to be a common occurrence in Nolan films), but that doesn’t take away from the fact that Hans Zimmer (along with company this time) has made another memorable score in Dunkirk. Desperation and constantly swelling tension describes Dunkirk to a T. Starting with The Mole around the 2:30 mark, the sound that most will remember—Nolan’s ticking clock—signifies the delicacy that is time in this film. Zimmer’s work here is atmospheric and bleak. Yet, it’s the type of musical pieces one feels throughout their whole body. He’s made a score in which his music is easily a bigger character than anyone that appears in Christopher Nolan’s WWII epic.

Atomic Blonde (soundtrack by various artists, score composed by Tyler Bates)

C*cks*cker

Demonstration

Finding the UHF Device

Viewing Atomic Blonde is akin to watching a music video from the 80’s. There’s bold style, vivid colors, and little substance. But boy, can it be fun to look at and listen to! Most of the music appearing in the movie is licensed, anything from A Flock of Seagulls to a cover of “Blue Monday” by HEALTH, truly giving the film the 80’s authenticity it’s going for. But the few synth-heavy score cuts by Tyler Bates do the job as well, adding a shady and dangerous sounding vibe to the events on screen.

The Big Sick (composed by Michael Andrews)

Two Day Rule

The Big Sick is charming from the get go in all of its sweet awkwardness. I’d like to think this opener of a song, Two Day Rule, is a wonderful foreshadowing of what the resulting relationship will be. Quirky, refreshing, yet a little troubling, like a rainbow that emerges after a long thunderstorm. Really does set the tone for the rest of the movie.

The Hitman’s Bodyguard (soundtrack by various artists, score by Atli Örvarsson)

Hitman’s Bodyguard

One of the Good Guys? 

If most of The Hitman’s Bodyguard was like the tracks posted above, maybe it would be a better movie? Atli Örvarsson’s le motif drawa upon a couple of genres in funk, gospel, classical, and jazz to create a loose and fun theme with a lot of swagger. He then tapers it down for what serves as the movie’s most somber and reflective moment in One of the Good Guys? Unfortunately, Örvarsson’s contributions here to the music are rather limited, taking a backseat to licensed music, but i wish they weren’t.

Wind River (composed by Nick Cave and Warren Ellis)

Snow Wolf

Breakdown

Meth House

Three Seasons in Wyoming

Memory Time

Wind River

Wind River is easily one of the more somber viewing experiences of 2017. Cold and uncompromising, the heavy-string score and soft keys chills down to the bone, not unlike a harsh winter. The occasional vocals sound like people crying out for help where there is none in the open West that is Wyoming. This is a score that is very introspective and haunting. I’ve never experienced loss like some of the characters in Wind River, but after listening to the score, I feel like I have.

Logan Lucky (soundtrack by various artists, score by David Holmes)

Original Score Medley

Hearing Original Score Medley from Logan Lucky makes me wish there were more actual score music in the film. The piece by David Holmes is that good and fun to listen to; eclectic, southern funky, and kind of grungy all in one with the electric guitar, church organs, drums, and underlying 808s. A shame, in my opinion, Steven Soderbergh’s longtime companion was relegated to only one track. Once again, can you tell I’m more of a score person than a soundtrack person?

Photo credits go to moviemarker.co.uk, iris.theaureview.com, mubi.com, lmo.co.uk, consequenceofsound.net, and bbc.co.uk.

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