SERENITY Benjamin Wallfisch Capsule Review

SerenityEthereal, haunting, dreamlike – these are the strands which flow in the opening title track. It is also quite beautiful. Similar strands run through the whole soundtrack therefore negating any discernable themes other than The Beast, a cue which highlights one of the main characters [fishing boat captain Baker Dill played by Matthew McConaughey] obsession with catching a king-sized tuna and how, like the cues ending, there is a tentative heartbeat and climatic ending – as the fish once again slips away from him.

It’s difficult to give any definition to the cues as it all melds together within the same structure, this is not a negative as the structure, which is relatively slow paced, is easy to lose yourself in. You drift and yet stay immersed. Girl At The Bridge is perhaps the stand out cue using a background voice to enhance a dream-like quality that turns eerie with deep notes and tremulous violins. At over just 6 minutes long it’s the scores most powerful piece.

Whilst the film has received none too positive reviews it has been tagged as having a noir setting and same could be said of the score which could also be indexed under sound palette and quickly forgotten but in its sameness it does have texture, it’s a whole rather than a score of parts. It’s Wallfisch in Blade Runner mode and it’s worth a listen.

Rating **1/2/*****
Label: Milan Music

1. Serenity                                          04:45
2. The Beast                                        04:03
3. Suit                                                  02:34
4. Karen                                              01:58
5. Baker Dill                                       02:31
6. Patrick                                            02:56
7. Memory                                         02:18
8. Deliver Me From Temptation   02:32
9. He Wants Justice                         02:27
10. Girl At The Bridge                     06:48
11. I Am The Rules                          04:03
12. Plymouth Island                       01:53
13. I Remember You                       03:46
14. Catch That Fish                         01:57
15. How We See It                           03:16
16. Creator                                        04:43
17. Justice                                          03:12
18. Alternate Reality                       03:03
19. It’s Dad                                        03:45


71c0WXs6ohL._SS500_Take a classic fable, shake it up so that an ordinary young boy who thinks he’s just a nobody, stumbles across a mythical sword.  Turn it into a modern day tale of wizards and an a cunning enchantress where the boy becomes a great leader and you have  The Kid Who Would be King, a different take on the Arthurian legend.

The score would perhaps call for the treatment of say John Powell or Alan Silvestri but here we  are in the hands of the Electric Wave Bureau, a London based collaborative artist collective who compose and source music for film, tv and radio. Previous scores include Paddington & Paddington 2.  Whilst there is heavy use of electronic’music in the score it is a real scene setter and fun!
Opening with a vibrant Arthur’s Theme we move to the short but stunning Prologue signposting the coming quest complete with heraldic choir. Said choir reach  full height and herald a pivotal moment in It Has Been Drawn. A simple four note rift introduces a key character in Enter Merlin which is so so catchy it’s a shame it’s so short as a are quite a few of the tracks. The main action, show-down cue Mortes Milles Attack is full steam ahead with a driving bass line and I’m glad to say the catchy rift returns in the triumphant Arthur’s Theme.

As many of the cues are short the whole is not as cohesive as it could be but electronics do not dilute this atmospheric score, it enhances the childlike wonder of the story but you can’t help wondering how magnificent it could have been with a full orchestra. 


Label: Milan Music
1. Arthur’s Theme (Album Mix) (3:12)
2. Prologue (2:14)
3. Failure (2:01)
4. It’s a Tough World (1:57)
5. Morgana (1:55)
6. Building Site (1:36)
7. It Has Been Drawn (1:08)
8. Bedders Is Knighted (0:54)
9. Enter Merlin (0:52)
10. Take Me East at Once (0:56)
11. Merlin Appears (0:55)
12. Cease Your Slumber (2:33)
13. Your Quest Is Decided (1:12)
14. The Inscription (2:11)
15. This Is Destiny (1:29)
16. Morgana Observes (1:28)
17. The Quest Begins (0:28)
18. Transport Hub (0:57)
19. 20 Mile Walk (0:52)
20. I’m the King Around Here (1:36)
21. The Sword (2:03)
22. You Knew All Along (1:42)
23. Mere Rumours (1:51)
24. Arcadia (1:48)
25. Journey to the Underworld (2:03)
26. Goodnight Your Highness (1:01)
27. I’m so Sorry (2:03)
28. Who Will Join Us (3:21)
29. It Won’t Be Easy (1:43)
30. Mortes Milles Attack (2:51)
31. Heroes All! (1:07)
32. Arthur’s Theme (3:32)
33. Epilogue (3:25)

My Top 5 Soundtrack Covers of 2018

Do covers matter? Do they have an affect on your purchasing decision? Well in the world of soundtracks probably not, most likely you are going to buy on the strength of the composer and/or the film. But if they are good and really get across the sense of the movie it is an added bonus. So here are my five favourite soundtrack covers for this year.


I love this for it’s retro, sparse look AND because it gets you right to the heart of the film. in the case of U.S. senator Gary Hart the bus really did jump off the cliff, pushed mainly by the press.  Handsome Hart was the front-runner in the race for the Democratic presidential nomination in 1988. In 1987 photo’s were released showing him with journalist Donna Rice. When the full force of the press forced the issue of an extra-marital affair Hart pulled out of the race.



Hover takes place in the near future, where environmental strain has caused food shortages around the world. Drones are used to maximize the yield from what land remains. Two care providers, Claudia and John assist sick farmland inhabitants in ending their lives. John dies under mysterious circumstances, leading Claudia to uncover a deadly connection between the health of her clients and the technology being used. With the drone being centre stage in this sci-fi movie I find the picture of the drone quite chilling especially with the image dissected in the way it is and of course this cover is also fabulously retro. 


The message here is simple and clear – Vice is the story of US politician Dick Cheney who served as vice president from 2001 to 2009. He has been labelled as the most powerful yet least liked vice president and at the time of him leaving office his approval rating was a mere 13%. He was a somewhat taciturn and shadowy figure hence the character’s silhouette, in fact even the movie’s title is shady. It’s simple yet packs a punch. And I love the Decca iconic labeling at the top.

Mary Queen


When you look at this cover it’s the yellowness which hits you first, it’s a colour not often used as a lead tone. The contrast with the almost bronze of the costumes really works as does the font used for the films title, in keeping with the quill use of the time. The costumes are also eye catching but for me it’s the expressions of the 2 leading actresses, Saoirse Ronan and Margot Robbie that make this cover stand out. There is defiance in their face and an obvious regal  stance in their pose.   


Little strangerThe Little Stranger is a horror mystery telling the story of Dr Faraday. During the hot summer of 1948 he is asked to see a patient at Hundreds Hall where his mother once worked. The Hall is in a state of decline and of course haunted. Little does the doctor know how disturbingly entwined he is going to become with the Hall’s remaining family. The artwork on this cover is just superb and what’s really frightening is that it gives little idea about what’s going on but perhaps he is declining as well. The top half of the face is covered in what you might find if you peel back wallpaper. What’s really clever is the cracked make up on the neck. Disturbing to say the least.


ALL IS TRUE – Soundtrack Review

Composer Patrick Doyle


Doyle is a talented and solid composer who’s scores I very rarely dislike. He reaches the emotional level of each film he works on and whilst this movie’s subject may give expectation of period music [Elizabethan]Doyle goes deeper. 

All is True is directed and starring Kenneth Branagh, whom Doyle has worked with many times. It deals with the Bards latter years where The Globe Theatre, which burnt down in 1613, bought forth his early retirement. The writer returns to his family in Stratford-Upon Avon [whilst writing he more or less lived in London].

The score starts The Globe, a slow and poignant track depicting the sorrow of the ruination of the theatre represented in descending string and chords and piano. Hamnet’s Grave follows and is equally sad telling again of deep the sadness of loosing his 11 year son to the plague. It’s a track so still yet beautiful.

The descending chords and short 5 note piano refrain are the running support themes to each cue making it easy to follow the musical story of the film.  The slow pace of the score continues in Southampton where the piano is intertwined with harp. The tone is gently upbeat in Love, Not Ambition but we return to lower registers in Plague, a sparse and harrowing cue. 

It’s the stillness of this soundtrack which makes it so commanding. It is a one level, bitter sweet soundtrack which would perhaps not be played that often but it fits perfectly into Doyle’s catalogue.

Rating: ***/*****

Label: Sony Classical

  1.  The Globe                       2:12
  2.  Hamnet’s Grave            2:31
  3. Ten Thousand More      2:19
  4. The Trial                          1:10
  5. The Visitation                 2:26
  6. Southampton                  1:53
  7. Love, Not Ambition       1:4
  8. Clever Lad                       1:37
  9. It Grieves Me                   1:32
  10.  A Little Boy                     1:27
  11. Stay A Moment                2:45
  12. Plague                                2:25
  13. What You Deserved        1:11
  14. The Ovation                      3:07
  15. Fear No More                   3:09
  16. Know A Bank                   2:44
  17. Fear No More [Reprise   2:24

Running Time 36:40

IFMCA 2018 Nominations

The votes are in. Below are the 2018 nominations for Best Scores. The International Film Music Critics Association will announce the winners of the 15th IFMCA Awards on February 21, 2019.

Shortly after this date, I will be publishing FILMIC TRACKS “Best of 2018”.


FEBRUARY 7, 2019. The International Film Music Critics Association (IFMCA) announces its list of nominees for excellence in musical scoring in 2018, for the 15th annual IFMCA Awards. In one of the most open fields in IFMCA history, composer James Newton Howard received the most nominations with four, closely followed by Nicholas Britell, Alexandre Desplat, Ludwig Göransson, Justin Hurwitz, and John Powell, who each received three.

67-year-old American composer James Newton Howard is nominated for his work on two scores – “Fantastic Beasts: The Crimes of Grindelwald,” the second film in the Harry Potter spinoff series, and the controversial Jennifer Lawrence Cold War spy thriller “Red Sparrow” – and is one of the five nominees for Composer of the Year. IFMCA member Christian Clemmensen called Fantastic Beasts an “accomplished and mature fantasy score” which “sits comfortably with Howard’s accomplished genre works and competes favorably for a place amongst 2018’s best scores,” while IFMCA member Mihnea Manduteanu described Red Sparrow as “beautiful and passionate” and “melodic and furious”. Howard previously received IFMCA Score of the Year honors in 2006 for “The Lady in the Water”. His other major score in 2018 was for the lavish fantasy “The Nutcracker and the Four Realms,” which was inspired by Tchaikovsky’s seminal ballet.

39-year-old New York-born composer Nicholas Britell is nominated for Composer of the Year, and received two nods in the Drama Score category for two very different works – the sensitive 1970s drama “If Beale Street Could Talk” based on the novel by James Baldwin, and the bitingly satirical political drama “Vice,” which looks at the life and career of former US Vice President Dick Cheney. IFMCA member Kaya Savas said that Beale Street was “a gorgeous and deeply moving experience” which “explores the depths of love in all its shapes and forms”, while IFMCA member Jon Broxton said that Vice “keyed the audience in to the [satirical] joke while not overselling it to the point of obviousness,” and that Britell “made his score genuinely interesting and appealing from a musical point of view – something that many composers fail to do”.

57-year-old French composer Alexandre Desplat, who won the IFMCA Score of the Year award in 2008 for “The Curious Case of Benjamin Button,” is nominated in the genre categories for three of his uniquely varied scores: the quirky comedy western “The Sisters Brothers,” the historical thriller “Operation Finale” which looks at Jewish secret agents tracking down Nazis after the end of World War II, and director Wes Anderson’s typically idiosyncratic animated film “Isle of Dogs”. IFMCA member Olivier Desbrosses described Isle of Dogs as “a score rich in oriental percussions, original and ambitious”.

Ludwig Göransson, the 34-year-old Swedish composer, enjoyed a truly tremendous year in 2018 and is nominated for Score of the Year, Composer of the Year, and Best Fantasy/Sci-Fi/Horror Score for his groundbreaking work on the enormously successful Marvel super hero film “Black Panther”. IFMCA member James Southall called Black Panther a “very distinctive sounding score” which contains “expansive arrangements of the main themes” and “complex, multi-layered percussion”. Göransson’s other work in 2018 included a second massively popular super-hero film, “Venom,” the remake of the classic revenge thriller “Death Wish,” and the boxing drama “Creed II,” the eighth film in the long-lasting Rocky series.

34-year-old American composer Justin Hurwitz is nominated for three awards – Score of the Year, Drama Score, and Film Music Composition of the Year – all for his work on director Damian Chazelle’s “First Man,” which looks at the impact of the Apollo 11 moon landings on the families of men involved. Similarly, 55-year-old British composer John Powell is nominated for three awards – Score of the Year, Fantasy/Sci-Fi/Horror Score, and Film Music Composition of the Year – all for his outstanding work on “Solo”, the Star Wars spin-off movie looking at the early life of the smuggler and rogue Han Solo. Powell previously won the IFMCA Score of the Year Award in 2010 for “How to Train Your Dragon”. IFMCA members Asier Senarriaga and Óscar Giménez called Solo “a spectacular score that combines the classic ideas of Williams with the talent of Powell,” and proclaimed it “the score of the year”.

The other two nominees for Score of the Year are American composer Marc Shaiman, who is nominated for his work on “Mary Poppins Returns,” the lovingly-crafted sequel to the classic Disney musical; and American composer Mark McKenzie, who received his nomination for his stunningly beautiful score for the Mexico-produced animated film “Max and Me,” which looks at the life of the Polish saint Maximilian Kolbe, who was executed in Auschwitz.

The other two nominees for Composer of the Year are American composer Alan Silvestri, whose work in 2018 included popular and successful films such as “Ready Player One,” “Avengers: Infinity War,” and “Welcome to Marwen”; and Spanish composer Roque Baños, who showed an impressive amount of versatility and range in scoring films as diverse as the thrillers “The Girl in the Spider’s Web” and “The Commuter,” the sporting drama “The Miracle Season,” director Terry Gilliam’s literary fantasy “The Man Who Killed Don Quixote,” and three Spanish-language comedies: “Sin Rodeos,” “Miamor Perdido,” and “Yucatán”.

Each year the IFMCA goes out of its way to recognize emerging talent in the film music world, and this year is no exception. The nominees in the Breakthrough Composer of the Year category are a diverse and exciting group. Three of the five composers nominated are already famous in their own right for other artistic endeavors, but are being recognized here specifically for their first ever work scoring feature films; all three are British. Thomas Adès is renowned as one of the world’s leading contemporary classical and concert hall composers, but only wrote his first film score this year with his contribution to the historical literary drama “Colette”. Amelia Warner is an established actress and solo recording artist, but impressed the IFMCA membership with her debut score for the film about the life of the groundbreaking horror author “Mary Shelley”. Meanwhile, Thom Yorke is best known as the Grammy Award-winning lead singer of the alternative rock band Radiohead, and has now followed in the footsteps of his band-made Jonny Greenwood by writing his first score, for director Luca Guadagnino’s remake of the classic horror film “Suspiria”.

The final two composers nominated for Breakthrough Composer are exciting young talents from Spain. Iván Palomares is recognized for his sensitive score for the fantastical yet intimate father-son drama “En las Estrellas,” while Manuel Riveiro is nominated for his outstanding score for the period thriller “La Sombra de la Ley,” in which a dogged cop travels to Barcelona in the 1920s to take on an organized crime gang.

As it has in previous years, the IFMCA takes pride in honoring composers from across the film music world; in addition to the ones already mentioned, this year’s international nominees include South African composer Mark Chait (“Frontier of Love,” Television), Argentine composer Federico Jusid (“Watership Down,” Animation, and “La Catedral del Mar,” Television), Dutch composer Matthijs Kieboom (“Wild,” Documentary), Sweden-based composers Robert Parker and Waveshaper (“Videoman,” Comedy), and Turkish composer Pinar Toprak (“Tides of Fate,” Documentary).

Several other composers are receiving their first ever IFMCA Award nominations this year, including the aforementioned Kieboom, Parker, and Waveshaper, plus Benji Merrison (“Dynasties,” Documentary), Michael Nyman (“McQueen,” Documentary), and Will Slater (“Dynasties,” Documentary).

The International Film Music Critics Association will announce the winners of the 15th IFMCA Awards on February 21, 2019.

The list of nominees is as follows:


  • BLACK PANTHER, music by Ludwig Göransson
  • FIRST MAN, music by Justin Hurwitz
  • MARY POPPINS RETURNS, music by Marc Shaiman
  • MAX AND ME, music by Mark McKenzie
  • SOLO, music by John Powell






  • EN LAS ESTRELLAS/UP AMONG THE STARS, music by Iván Palomares
  • FIRST MAN, music by Justin Hurwitz
  • IF BEALE STREET COULD TALK, music by Nicholas Britell
  • MARY, QUEEN OF SCOTS, music by Max Richter
  • VICE, music by Nicholas Britell


  • CHRISTOPHER ROBIN, music by Geoff Zanelli and Jon Brion
  • CRAZY RICH ASIANS, music by Brian Tyler
  • MARY POPPINS RETURNS, music by Marc Shaiman
  • THE SISTERS BROTHERS, music by Alexandre Desplat
  • VIDEOMANNEN/VIDEOMAN, music by Robert Parker and Waveshaper


  • KING OF THIEVES, music by Benjamin Wallfisch
  • LA SOMBRA DE LA LEY/GUN CITY, music by Manuel Riveiro and Xavier Font
  • MISSION: IMPOSSIBLE – FALLOUT, music by Lorne Balfe
  • OPERATION FINALE, music by Alexandre Desplat
  • RED SPARROW, music by James Newton Howard


  • BLACK PANTHER, music by Ludwig Göransson
  • JURASSIC WORLD: FALLEN KINGDOM, music by Michael Giacchino
  • READY PLAYER ONE, music by Alan Silvestri
  • SOLO, music by John Powell


  • INCREDIBLES 2, music by Michael Giacchino
  • ISLE OF DOGS, music by Alexandre Desplat
  • MAX AND ME, music by Mark McKenzie
  • SPIDER-MAN: INTO THE SPIDER-VERSE, music by Daniel Pemberton
  • WATERSHIP DOWN, music by Federico Jusid


  • DYNASTIES, music by Benji Merrison and Will Slater
  • FREE SOLO, music by Marco Beltrami
  • McQUEEN, music by Michael Nyman
  • TIDES OF FATE, music by Pinar Toprak
  • WILD, music by Matthijs Kieboom


  • LA CATEDRAL DEL MAR, music by Federico Jusid
  • LOST IN SPACE, music by Christopher Lennertz
  • WESTWORLD, music by Ramin Djawadi
  • YELLOWSTONE, music by Brian Tyler


  • 11:11 MEMORIES RETOLD, music by Olivier Derivière
  • GOD OF WAR, music by Bear McCreary
  • NI NO KUNI II: REVENANT KINGDOM, music by Joe Hisaishi
  • SPIDER-MAN, music by John Paesano
  • TORN, music by Garry Schyman


  • BRAM STOKER’S DRACULA, music by Wojciech Kilar; album produced by Dan Goldwasser; liner notes by Tim Greiving; art direction by Dan Goldwasser (La-La Land)
  • THE BRIDE WORE BLACK, music by Bernard Herrmann; The Basque National Orchestra conducted by Fernando Velázquez; album produced by Jose M. Benitez and Edouard Dubois; liner notes by Frank K. DeWald; art direction by Nacho B. Govantes (Quartet)
  • DRACULA, music by John Williams; album produced by Mike Matessino and Robert Townson; liner notes by Mike Matessino; art direction by Jim Titus (Varèse Sarabande)
  • EL HOMBRE Y LA TIERRA, music by Antón García Abril; album produced by Jose M. Benitez and Miguel A. Órdóñez; liner notes by Miguel A. Órdóñez; art direction by Nacho B. Govantes (Quartet)
  • THE VIKINGS, music by Mario Nascimbene; The City of Prague Philharmonic Orchestra & Chorus conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. DeWald; art direction by Jim Titus (Prometheus/Tadlow)


  • CARTER BURWELL: MUSIC FOR FILM, music by Carter Burwell; The Brussels Philharmonic Orchestra conducted by Dirk Brossé; album produced by Marijke Vandebuerie and Valerie Dobbelaere; liner notes by Patrick Duynslaegher and Raf Butstraen; art direction by Stuart Ford (Silva Screen)
  • THE COMPLETE LONDON SESSIONS, music by Georges Delerue; album produced by Robert Townson; liner notes by Robert Townson; art direction by Robert Townson, Bill Pitzonka, and Bob Peak (Varèse Sarabande)
  • HARRY POTTER: THE JOHN WILLIAMS SOUNDTRACK COLLECTION; music by John Williams; album produced by Mike Matessino; liner notes by Mike Matessino; art direction by Jim Titus (La-La Land)
  • THRILLER 2, music by Jerry Goldsmith; The City of Prague Philharmonic Orchestra conducted by Nic Raine; album produced by James Fitzpatrick and Leigh Phillips; liner notes by Jon Burlingame; art direction by Nic Finch (Tadlow)
  • A TRIBUTE TO MICHAEL KAMEN, music by Michael Kamen; The Malaga Philharmonic Orchestra conducted by Pablo Urbina; album produced by José M. Benítez and Chris Malone; art direction by Nacho B. Govantes (Quartet)


  • INTRADA RECORDS, Douglass Fake, Roger Feigelson
  • LA-LA LAND RECORDS, MV Gerhard, Matt Verboys
  • QUARTET RECORDS, Jose M. Benitez
  • TADLOW MUSIC, James Fitzpatrick
  • VARÉSE SARABANDE, Robert Townson


  • “The Landing” from FIRST MAN, written by Justin Hurwitz
  • “Finale” from MARY, QUEEN OF SCOTS, written by Max Richter
  • “Overture” from RED SPARROW, written by James Newton Howard
  • “Mine Mission” from SOLO, written by John Powell
  • “The Adventures of Han” from SOLO, written by John Williams

The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing and broadcasting about original film, television and game music.

Since its inception the IFMCA has grown to comprise over 65 members from countries such as Australia, Belgium, Canada, China, Denmark, France, Germany, Greece, Ireland, Italy, the Netherlands, Norway, Poland, Romania, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America.

Previous IFMCA Score of the Year Awards have been awarded to Jonny Greenwood’s “Phantom Thread” in 2017, Jóhann Jóhannsson’s “Arrival” in 2016, John Williams’s “Star Wars: The Force Awakens” in 2015, Hans Zimmer’s “Interstellar” in 2014, Abel Korzeniowski’s “Romeo & Juliet” in 2013, Mychael Danna’s “Life of Pi” in 2012, John Williams’s “War Horse” in 2011, John Powell’s “How to Train Your Dragon” in 2010, Michael Giacchino’s “Up” in 2009, Alexandre Desplat’s “The Curious Case of Benjamin Button” in 2008, Dario Marianelli’s “Atonement” in 2007, James Newton Howard’s “Lady in the Water” in 2006, John Williams’s “Memoirs of a Geisha” in 2005, and Michael Giacchino’s “The Incredibles” in 2004.

For more information about the International Film Music Critics Association go to, visit our Facebook page, follow us on Twitter @ifmca, or contact us at

Filmic Radio Show – January 2019

RIP Michel Legrand

This months show Celebrates some of the great scores of Michel Legrand with new and vintage soundtrack cues and themes, and some awards season Best Score chat.


The Go Between Michel Legrand The Go Between
The Internet Henry Jackman Ralph Breaks The Internet
Was Everest Not Availalble Bob Simonsen The Front Runner
Perfectos Titlos Finales Victor Reyes Perfect Strangers
The Old Man and the Gun Theme Daniel Hart The Old Man and the Gub
Theme from The Thomas Crown Affair Michel Legrand The Thomas Crown Affair
A Man’s Castle Michel Legrand The Thomas Crown Affair
Cash and Carry Michel Legrand The Thomas Crown Affair
The Children of our Age Nicolas Britell If Beale Street Could Talk
The Lineman in E Minor Nicolas Britell Vice
Master of the Butterfly Knife Nicolas Britell Vice
Turning Turtle Marc Shaiman & Scott Wittman Mary Poppins Returns
Shallow Bradley Cooper & Lady Gaga A Star Is Born
New Girl In Town Alan Silvestri Welcome To Marwen
Bubblestorm Chris Logsdon Night of the Blood Moon
Lifeforce Henry Mancini & Michael Kamen Lifeforce
Olimpia’s Theme Francis Lai The Bobo
A Man and A Woman Francis Lai A Man and a Woman
A New Generation Max Richter Mary Queen of Scots
But Not Through My Realm John Barry Mary Queen of Scots
Overture Michel LeGrand Ice Station Zebra
Finale Michel Legrand the Umbrella’s of Cherbourg

Filmic Radio Show December 2018




Main Theme/The Flight/Assassin’s Creed legend of the Eagle Bearer
The Sisters Brothers/Alexandre Desplat/The Sisters Brothers
Nice Eye Patch/H. Scott Salinas/A Private War
Brian Song/Andre Jacquemein/Dave Howman/Life Of Brian
Main Title-The Birth Of A Dragon/Roque Banos/The Girl In the Spiders Web
Prologue-Lisbeth’s Childhood/Roque Banos/The Girl In the Spiders Web
Opening Tess/Philippe Sarde/Tess
Lucky Charm/Ian Hulquis/ AXL
A Simple Favor-Title Track/Theodore Shapiro/A Simple Favor
It’s Been Four Days/Theodore Shapiro/A Simple Favor
Easy Dreamer/Piero Piccioni/Colpo Rovente
The Thestral Chase/James Newton Howard/Fantastic Beasts:The Crimes of Grindelwald
Main Title/John Williams/Earthquake
Corey In Jeopardy/John Williams/Earthquake
Miles On Wheels/John Williams/Earthquake
End Of The Tunnel/Garry Schyman/Torn
Long Ago Memories/Garry Schyman Torn
Prison/Bosie -Arrives -Postlude/Gabriel Jared/The Happy Prince
Chim Chim Cher-RE/The Sherman Brothers/Mary Poppins
The Landing/Justin Hurwitz/First Man
Bullitt Main Title/Lalo Schifrin/Bullitt
Clockwork Mice/James Newton Howard/The Nutcracker & the Four Realms
Clara’s New World/James Newton Howard/The Nutcracker & the Four Realms