The Score Board: The 5 Best Scores Of 2014 So Far
While the average audience member might not automatically process this, the overall sound of a film is pivotal to our enjoyment. When it comes to composers, it's almost as if they're engineering their own films away from the filmmakers, with elevated action, moody drama and swooning romance. What's unique is hearing the music of the film, then heading home and hearing it on your own. The mark of a great composition is that it complements the movie perfectly, but on an independent listen, it creates new images all its own inside your head.
This week, we're halfway through 2014, and the sounds of the year have made their presence known. I've decided to parse through the year's offerings and find my five favorite scores, the one I've been listening to all year, the ones that both enhance the films they accompany, but also stand on their own wonderfully. If I've missed any, comment below.
Honorable Mention: Alexandre Desplat, Godzilla & Monuments Men & The Grand Budapest Hotel; Dickon Hinchcliffe, Locke; Victor Reyes, Grand Piano; Antony Partos, The Rover
Dishonorable Mention: Pedro Bromfman, Robocop.
5. Hans Zimmer And The Magnificent Six's The Amazing Spider-Man 2The summer's most disappointing film features a schizophrenic score that earned several catcalls when it debuted, mixing aggressive dubstep with operatic symphonies. But Zimmer and his dream team, which included Pharrell Williams, Johnny Marr and Junkie XL, produced the year's most ambitious mainstream score. Skipping between genres, The Amazing Spider-Man 2 at the very least as a pop sensibility absent to the Raimi pictures, a youthful energy that finally provides a signature sound to a world of superhero adaptations thus far lacking definition.
Back to top