Happy Superbowl Sunday, everyone! Today's updates to my own personal awards ballot are all about the music.
It was a remarkably rich and diverse year for film scoring, and I had a tough time narrowing my preferences down to just the five Best Original Scores. It was a bit tougher find suitable candidates for the adapted scores, but I'll get to those this afternoon.
Here are the originals. Have a listen!
Birdman (Antonio Sanchez)
It was a remarkably rich and diverse year for film scoring, and I had a tough time narrowing my preferences down to just the five Best Original Scores. It was a bit tougher find suitable candidates for the adapted scores, but I'll get to those this afternoon.
Here are the originals. Have a listen!
Birdman (Antonio Sanchez)
Though
foolishly disqualified by the Academy's music branch, Sanchez
deserves enormous credit for giving such a unique pulse to this film.
Gone
Girl (Trent Reznor, Atticus Ross)
Reznor
& Ross have developed another trippy score that (appropriately
enough) sounds artificially tender, 'massaging' us into a state of unease.
The
Grand Budapest Hotel (Alexandre Desplat)
Desplat's
folksy Russian-influenced stylings provide a delectable undercurrent
for comedy, but are also highly enjoyable on their own.
The
Homesman (Marco Beltrami)
Beltrami
mixes traditional Western motifs with more modern atmospherics; Wind-swept yet beautiful, like the landscape itself.
Interstellar
(Hans Zimmer)
The
imposing reverberations of Zimmer's organ pipes pay due reverence to
the astronomically grand scale of this epic sci-fi.
Just missed:
Dawn of the Planet of the Apes (Michael Giacchino)
How to Train Your Dragon 2 (John Powell)
Song of the Sea (Bruno Coulais)
The Theory of Everything (Jóhann
Jóhannsson)
Under the Skin (Mica Levi)
