IT (composed by Benjamin Wallfisch)
Every 27 Years
Georgie, Meet Pennywise
Makes perfect sense that a good chunk of the score of IT is appropriately child-like. This can be heard in its nursery-like chants and what-not, but also in its piano keys and moderately sized orchestra. Songs like Derry and Blood Oath evoke true senses of childlike wonder and exploration, absent of fear and dread. IT is just as much of a coming of age story as it is a full-on horror.
But the horror cues and sounds are present, none creepier than Slideshow, perhaps the most unnerving sequence of the entire movie. The overall sound of IT is reminiscent in a way to the score of the Dead Space games, those games dealing a lot with isolation in space. While IT has nothing to do with space and it is obviously much more ensemble-driven narrative-wise than Dead Space, there is an element of isolation and the fear each youngster has that can only be confronted when in a group. It’s a great score.
Stronger (composed by Michael Brook)
Part of the reason Stronger is so great is because it doesn’t fall into the overly sappy and forced emotion and narrative script so many other similar films do. The score composed by Michael Brook is an extension of this, never feeling too in-your-ear bombarding the eardrums and saying how the viewer should feel. It makes for an understated score, one that doesn’t necessarily make for a great listen outside of the movie, but still worth some recognition.
Kingsman: The Golden Circle (composed by Henry Jackman and Matthew Margeson)
Eggsy is Back
The Gondola Experience
No Time for Emotion
Henry Jackson and Matthew Margeson come back to helm the music that fills the circle that is Kingsman: The Golden Circle. Once again, their main motif, beginning with Eggsy is Back and continuing throughout, comes to define the series in its regal yet chaotic feeling. This time however, there’s a mashup with the more western, county-folk like aspect featuring the Statesman in a few cues. But the best musical moments are that of No Time for Emotion and Poppy, the former garnering the most emotion in the movie, and the latter playing as a cute yet dark introduction to the one-note lead villain.
Blade Runner 2049 (composed by Benjamin Wallfisch and Hans Zimmer)
Who does a director go to to recreate a score when one of the best—if not the best—composer today isn’t cutting it? Hans Zimmer, with substantial help from up-and-comer Benjamin Wallfisch, of course. The pair were tagged to replace the excellent Jóhann Jóhannsson and keep the legacy of the original’s music that was laid by Vangelis.
They’ve done a great job. Starting immediately with the apt 2049, filling the screen with immense moodiness and spectacle. It’s impossible not to get sucked in.
Flight to LAPD
Tears in the Rain
I strongly believe that a Jóhannsson-helmed Blade Runner 2049 score would outdo what Zimmer and Wallfisch managed to do here (re-listen to Sicario and Arrival for proof). There’s another layer of atmosphere that the duo lack, but still, cuts such as Sea Wall and Furnace and the rest of the above paint a wonderful sonic picture of a future maybe not completely far off from ours, a future with potential but rife with mystery and fear of the unknown. Tears in the Rain leaves us with a little hope though, that as long has humanity has purpose, we’re on the right track.
Marshall (composed by Marcus Miller, contributions by various artists)
Marshall Meets Sam
Marshall V. Friedman
More background filler than true story aid, still the score for Marshall is a solid accompaniment to the on-screen court matters and builds the time period it takes place in. The jazz-heavy score, sometimes light swing, occasionally bebop, and every now and then blues and more classical tracks, isn’t an listen that is unforgettable but it is a chill, smooth one.
Thor: Ragnarok (composed by Mark Mothersbaugh)
Where Am I?
No One Escapes
A new approach to the God of Thunder demanded a different sound. Granted, the score to Thor: Ragnarok isn’t a complete step in a bold new direction, but it is amazing what some 80’s synths and wah-wahs can do to accentuate a movie. It’s a fairly fun and irreverent movie with a score that doesn’t ask its audience to think much beyond that.
Murder on the Orient Express (composed by Patrick Doyle)
The Wailing Wall
Jaffa to Stamboul
Twelve Stab Wounds
Murder on the Orient Express is a movie I’ll remember more for the throwback style and production values than anything else. The score crafted by Patrick Doyle is lush and beautiful in its traditional orchestral sounds mimicking the events on screen in lockstep. Justice in particular is one of the best standalone score of the entire movie year. Kind of does sound like a Clue movie come to life (which I know was actually made in 1985).
Batman on the Roof
I like character themes. It’s a little bit of a shame, though, that we don’t get real definitive, standout ones in Justice League for the new heroes in Cyborg, Flash, and Aquaman, but perhaps those will come during their own solo outings. Danny Elfman replaces the talented Junkie XL in this DC outing, and he’s probably a better fit, honestly. That’s no indictment of Holkenborg, who makes great epic music, but here and there, it can go into noise noise noise mode. What Elfman does here isn’t legendary, but, some rich, moody tracks and textures are built. I wonder if with a little more central focus on one character in the next go-rounds will make for more memorable scores.
Photo credits go to asturscore.com, heroichollywood.com, filmmusicreporter.com, jonburlingame.com, maxthetrax.com, imdb.com, batman-news.com, and filmmusicmag.com.
Only one (possibly two) more installments to go!
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