The International Film Music Critics always feel a bit late out of the gate with their yearly awards, but I'm usually glad to see them. Their compartmentalization of various genres helps shine a light on the many composers who don't crack the lineup of the Academy's insular music branch. I'm pleased, for instance, to see Cliff Martinez and The Chemical Brothers each pop up here, even though it's not in the Film Score of the Year category.
Film Score of the Year
The Adventures of Tintin (John Williams)
The Artist (Ludovic Bource) Will win
The Greatest Miracle (Mark McKenzie)
Hugo (Howard Shore)
War Horse (John Williams) Should win
Showing posts with label Chemical Bros. Show all posts
Showing posts with label Chemical Bros. Show all posts
Friday, February 10, 2012
Sunday, January 15, 2012
My Awards nominations: Original Score
My options for the best Original Score of the year:
The Adventures of Tintin (John Williams):
Busy orchestrations with lots of jazzy ornaments mixed in for distinction, actually making it a closer cousin of Williams' Catch Me If You Can than Indiana Jones, but still with loads of exciting fast-paced compositions.
The Artist (Ludovic Bource):
Hard not to enjoy the romantic swells and antiquated whimsy of Bource's music. He has to become the voice of the entire picture, and he takes up the challenge with aplomb.
Hanna (The Chemical Brothers):
The hypnotic electronic rhythms are a key aural element to this stylized actioner, lending a unique sonic flavour to each scene in which it is used. Another notch on the belt of progressive scoring.
The Ides of March (Alexandre Desplat):
Quietly dissonant background strings masked by more obvious stoccatic beats, kinda like how the drama of dirty campaign managing is masked by the frontdrop posters, platforms, and politics.
War Horse (John Williams):
A sweeping, old school Williams score with melodious themes and robust arrangements. It basically comes down to whether or not you like old school Williams scores, and I do. I really do.
Just missed:
The Girl with the Dragon Tattoo, Hugo, Tinker Tailor Soldier Spy
The Adventures of Tintin (John Williams):
Busy orchestrations with lots of jazzy ornaments mixed in for distinction, actually making it a closer cousin of Williams' Catch Me If You Can than Indiana Jones, but still with loads of exciting fast-paced compositions.
The Artist (Ludovic Bource):
Hard not to enjoy the romantic swells and antiquated whimsy of Bource's music. He has to become the voice of the entire picture, and he takes up the challenge with aplomb.
Hanna (The Chemical Brothers):
The hypnotic electronic rhythms are a key aural element to this stylized actioner, lending a unique sonic flavour to each scene in which it is used. Another notch on the belt of progressive scoring.
The Ides of March (Alexandre Desplat):
Quietly dissonant background strings masked by more obvious stoccatic beats, kinda like how the drama of dirty campaign managing is masked by the frontdrop posters, platforms, and politics.
War Horse (John Williams):
A sweeping, old school Williams score with melodious themes and robust arrangements. It basically comes down to whether or not you like old school Williams scores, and I do. I really do.
Just missed:
The Girl with the Dragon Tattoo, Hugo, Tinker Tailor Soldier Spy
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