The score won a total of nine award and was showered with high praise across the music industry. The composition from Trent Reznor and Atticus Ross for David Fincher’s 2010 film The Social Network is an eclectic score of electronica and dark ambience. The Social Network – Trent Reznor & Atticus Ross A mind-bending score for a mind-bending movie. The film single-handedly inspired me to learn lucid dreaming and the score is an equally impactful 49 minutes of industrial bass excellence. The sonic ingestion of DUMMMMM is something that has still implanted itself in my mind amidst the over complex plot.
#BEST TV THEME SONGS OF THE 2010S MOVIE#
Single handedly changing movie trailers forever, Hans Zimmer’s score for Inception is one of the best movie soundtracks of all time. It’s the perfect representation of nature encompassing a wounded man scrambling through the tundra because it represents Sakamoto’s journey through the outskirts of death. The piano strikes are dissonant before they rumble forwards like rapturous thunder. Six months later Sakamoto wrote one of the greatest modern film scores capitalised by it’s terrifying space and haunting symphonic pulses. Gaunt and ravaged after just waking up Sakamoto accepting his offer to score The Revenant. The following year Sakamoto endured an intense round of chemotherapy, after which he received a dire call from director Alejandro González Iñárritu asking him to fly to L.A. In 2014 Japanese composer Sakamoto Ryuichi was diagnosed with stage three throat cancer. 1 topped the album charts and to this day it’s the first movie soundtrack to do so without one original song. After the first week Guardians of the Galaxy: Awesome Mix Vol. Collecting songs that he though Peter ‘Star Lord’ Quin would like, Gunn dipped into the seventies compiling David Bowie, the Runaways and Jackson 5.
The composer of the first two Mad Max movies, Brian May, was employed for the long awaited fourth film and did a resplendent job of encapsulating the madness.ĭirector James Gunn’s single desire when crafting the soundtrack for Guardians of the Galaxy was to find familiar songs that aren’t your classic radio staples. Almost the entire film is a chase, therefore it’s no wonder the score is so relentless. From Prelude: The Atlas March to the wonderful ‘All Boundaries Are Conventions’ the score certainly succeeds in it’s originality where the film failed.ĭrums are back thanks to Zimmer! Mad Max: Fury Road is a chugging, gurgling throbbing warp of bongo mayhem.
Johnny Klimek, Reinhold Heil and Tom Tykwer have created something that, while not instantly recognisable, certainly feels fresh. However, it’s not the inherently heroic moments that define the work from the trio. There is certainly an epic quality to the score of 2012’s Cloud Atlas.
Cloud Atlas – Johnny Klimek, Reinhold Heil and Tom Tykwer Ultimately it’s Greenwood’s reserve that marks his maturity as a composer and willingness to subtly serve a film. The touches of new-wave are a sign of measured sophistication as Pheonix gets behind the wheel or haunts his prey. To match the mentally cold, hired retriever of kidnapped children, Joaqin Pheonix, masterful composer and Radiohead spearhead Jonny Greenwood has crafted an exceptional and calmly brutal score. You Were Never Really Here – Jonny Greenwood As such the soundtrack includes Emily Browning’s haunting rendition of Eurythmics’ Sweet Dreams (Are Made of This) among many others.Įach intense battle is bracketed by another cover including: Iggy Pop’s Search and Destroy from Skunk Anansie, The Beatles’ Tomorrow Never Knows with Alison Mosshart and Carla Azar, and Jefferson Airplane’s White Rabbit sung by Emiliana Torrini. Snyder is also a big fan or interpretations. Zack Snyder’s brilliant film about five women trying to escape from a mental asylum also comes with an amazing soundtrack. The edgy bouts of brooding malevolence are a perfect companion to the hyperreality of Darren Aronofsky’s disturbing film.Īs a formidable composer-director duo, Mansell has done an impressive job with Black Swan by re-invigorating his old source material with a spike of contemporary darkness. Mental decline and distorted realities have never been better represented than in Clint Mansell’s exhilarating score.
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