A wealth of films with memorable and dynamic music scores have been released in 2013 but with the year gradually drawing to a close, I look back on some of the best. Granted, the majority of these won’t win the Academy Award for Best Original Score but all have their own merits and individual flourishes that set them apart from the rest.
10. Oblivion (Anthony Gonzalez, M83, Joseph Trapanese)
In a surprise addition to the list, the score to Oblivion gets its deserved recognition right here! Though the film itself is questionable, the quality of its epic and futuristic-sounding musical accompaniment must be addressed; praise should be given where it’s due. Anthony Gonzalez, Joseph Trapanese and French band M83 have united to create an underrated group of sounds that set Oblivion apart from the rest; intertwining the score with an original song, the composers’ achievements are on par with the fantastic cinematography of the film. You may not like the film itself, which is shoddily done and frequently exploitative, but appreciate a fine and original score!
9. Man of Steel (Hans Zimmer)
Making his second appearance in the list with the film that is the least likely to win him an Oscar, Hans Zimmer gets his deserved recognition for his contribution to this heroic blockbuster! The music is on the epic level of the action and evokes that sense of awe and inspiration within the audience, as well as goosebumps at just how satisfying it is to listen to. It’s just a dire shame that the film itself isn’t worthy of such an epic and memorable accompaniment. If you thought Man of Steel couldn’t be any worse, just imagine it without Hans Zimmer. Sheer horror!
8. Only God Forgives (Cliff Martinez)
Cliff Martinez is a dab hand at artistically constructing mood pieces. Supposedly being told by Winding-Refn himself that the score to Only God Forgives should sound nothing like that of Drive, Martinez has once again stepped up to the mark with a contribution that sounds nothing like that of the hailed predecessor, but is every bit as commendable. The music sequences are atmospheric and brooding, fitting in perfectly with the ominous mise-en-scene of the film. Though Only God Forgives has proven to be a divider of audiences, there is no denying that the score is a disturbing and brutally brilliant masterpiece.
7. Star Trek Into Darkness (Michael Giacchino)
Michael Giacchino’s scores of Star Trek Into Darkness and its predecessor Star Trek are easily the highlight of each film. Although some narrow-minded watchers can’t look past the flaws of Into Darkness, those with the capacity for appreciating a finely crafted musical masterpiece can surely tip their hats to Giacchino for the ominous and riveting music contributed to Abrams’ film! The John Harrison theme in particular is a chilling piece that succeeds in setting the audience on edge and establishing the dark atmosphere of the film. It won’t win an Oscar but it certainly is one of the better scores of the year.
6. Saving Mr. Banks (Thomas Newman)
When Thomas Newman scores films, the world rejoices. Although some believe that he’s far past his glory days of American Beauty (despite this year’s Oscar nomination for Skyfall!) it seems that Saving Mr. Banks has come along just to prove all of those cynics wrong. This jazzy and upbeat accompaniment of a touching and heart-warming story of lost and found is the highlight of a film already brimming with noteworthy aspects. Furthermore, Thomas Newman is long overdue an Oscar and the studio are normally good at nabbing them anyway, so fingers crossed for 2014. You deserve it, Newman.
5. Under The Skin (Mica Levi)
Although this unusual film doesn’t get its cinematic release until March next year, its string of playing at every film festival imaginable allows it the leverage it needs to make this list. Mica Levi’s disturbing and unconventional score aren’t like anything you are likely to hear from a film again, nor will have heard before. Fitting in with the alien perspective of Under the Skin, the music follows no convention and bears no relation to typical accompaniments. Like the premise itself, the score is alien.
4. 12 Years A Slave (Hans Zimmer)
Although this does seem the obvious choice for the Oscar victory thanks to the Best Picture heat it’s receiving, one can’t forget that it is indeed one of the best scores of the year. Hans Zimmer has once again proven himself a diverse and capable composer able to tone down his usually epic scores for a sound more gentle in nature. If the premise and narrative of this film won’t haunt you when you leave the theatre, the music certainly will.
3. Cloud Atlas (Tom Tykwer, Johnny Klimek, Reinhold Hell)
The score to his heinously underrated film is at the soul of the narrative, lifting it and carrying it with truly heart-warming and touching sequences of music that haven’t been heard since the days of American Beauty. The score is ambitious, covering numerous characters in numerous eras and time zones and has received little of its deserved recognition. The light strokes of the piano are capable of evoking such emotion; the audience can’t help but be left positively impassioned by the melodies.
2. Gravity (Steven Price)
At least 50%, give or take, of why Gravity is so successful is because of its music score. The music reaches agonizingly climactic spikes that set hearts pounding during some of the hardest to watch scenes of the film. This building and breaking of tension thanks to the music make Gravity riveting and at times excruciating to watch. Price has crafted a musical accompaniment as thrilling as the premise of the film and, come Oscar season, looks to be a strong contender for that coveted statuette.
1. The Hobbit: Desolation of Smaug (Howard Shore)
If there is ever a list of music scores with a coveted top spot, any Howard Shore offering pulled from a Peter Jackson-helmed film takes the cake. Shore’s thoughtful and nuanced pieces tinged with fond nostalgia evoke an array of emotions within the watcher; The Desolation of Smaug is no different. The heart-strings of the audience are plucked and manipulated by a true master of the art with a score that succeeds in intensifying emotions brought on by the film, complementing and adding to the cinematic experience as a whole. What would Peter Jackson’s Middle Earth endeavours be without Howard Shore? And more to the point, what would the audience be without Howard Shore? Probably not weeping hysterically in their seats when “Concerning” Hobbits plays.
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