Now that the Oscars have signaled more or less, the end of the awards season I would like to list a few scores which either didn’t appear in any nomination lists or if they did, didn’t get the gong they deserved. It was a strange year for scores in as much as it started so slow and then [as always I guess] they came in their droves at the end of the year. Comedy scores were many and there was so much good stuff in the endless TV scores on offer.
I have waxed lyrically about some of these scores in the Reviews section of this blog and played tracks from all scores on my Filmic radio show on Radio Nowhere so if you have some time on your hands and a comfy seat check out some of these brilliant scores which didn’t get the attention they deserved.
In no particular order:-
Ant Man – Christophe Beck
The Man From Uncle – Daniel Pemberton
The Fantastic Four – Marco Beltrami & Philip Glass
Aesino’s Inocentes – Pablo Cervantes
Broken Horses – John Debney
Desert Dancer – Benjamin Wallfisch
Far From The Madding Crowd – Craig Armstrong
Lost Rover – Johnny Jewell
A Little Chaos – Peter Gregson
Listen Up Philip – Keegan DeWitt
Ex Machina – Ben Salisbury & Geoff Barrow
The Duke of Burgundy – Cat’s Eye’s
Gold Coast – Johan Caroe & Lasse Martinussen & Angelo Badalameti
Asesino’s Inocentes [Innocent Killers] is a Spanish comedy, crime movie released [in Spain] in July of this year. I have chosen to mention this score because it took me by surprise, pleasantly I might add. It’s by Spanish composer Pablo Cervantes who has done a lot of work in TV, documentaries, shorts and movies.
It is ludicrously easy to compare film scores to other works or scorists but in this case it’s not laziness, it’s a compliment as this fine soundtrack has serious Hermmannesque layers including dark & sinister tones and low strings of danger. In fact track 3, Asaltado [Assaulted] is strikingly similar to the shower scene in Psycho.
There are more atmospheric and prickly skin moments in measured cello’s and violins and muted brass which pull you into the orchestra which is going full tilt. Track 4: Quiero Morir-Dinero-Lo Matamos Nosotros in itself is a masterclass of orchestration and composition.
There is pace and punctuation in El Puente [Bridge] complete with driving kettle drums and chimes and it’s not until T12 Fin Jucio Enterro that calm descends with piano and oboe in a piece which tells us that the story has come to an end. There is no theme to follow in this score but there is a tenuous 8 note leitmotif throughout. The end comes with a beautiful, swelling cresendco. This is going to be a toughie trying to choose which track to play in Filmic!
Do not ignore this soundtrack, it’s a golden oasis in a somewhat parched year of orchestral scores.
1. ELIMINAR A QUIEN SUFRE
2. CITA CON ESPINOSA
4. QUIERO MORIR-DINERO-LO MATAMOS NOSOTROS
5. PRIMER INTENTO
6. ENTRANDO A PISO
7. EL PUENTE
8. RECORDANDO HERMANA
9. TENEMOS A TU PADRE-NO ESTAS SOLO
10. CONVERSACION TELEFONO Y HOSPITAL
11. DISCUSION EN EL BAR-PISTOLA
12. FIN JUCIO-ENTIERRO
13. ENDING CREDITS
14. ENDING CREDITS 2