10. Mr. Peabody and
Sherman (Danny Elfman)
This score is just plain fun, full of adventure, whimsy, and
boundless energy. The opening logo music (the first 31 seconds of “Mr.
Peabody’s Prologue”) bursts right out of the gate, introducing the buoyant main
theme on brass over a giddy flute ostinato; the theme then repeats over a rapid
low brass beat, climaxing with flourishes from piccolo and choir. Elfman
expertly molds the theme into disparate moods, from whimsical (“The Dog
Whistle”) to baleful (“War/Disaster”) to epic (“The Drop Off”) and adventurous
(“Reign of Terror”). “The Wedding Exodus” is Elfman’s take on grand,
Rosza-esque music that often accompanied the historical epics of Golden Age
Hollywood. “Trojan Horse” contains a brief but impressive bit of Latin chanting
while “History Mash-Up” features tongue-in-cheek quotes of La Marsellaise and
Beethoven’s 5th Symphony. Another major theme represents Sherman’s
relationships with both Mr. Peabody and love-interest Penny. First heard in
“Deep Regard,” this enchanting theme soars in the musical set piece “The Flying
Machine” and reaches its most mature development in “I’m a Dog Too.” As per the
usual for Elfman, the tremendously exciting action music thrills without
sounding messy or unfocused. A kind of sister to Elfman’s equally zestful score
to Meet the Robinsons, this score far exceeds the rather pallid film it
accompanies.
9. Interstellar (Hans
Zimmer)
I wouldn’t have believed that a post-1998 Zimmer score would
make my top-ten list, but the man has finally impressed me for the first time
since Pirates of the Caribbean: At World’s End. First off, I do think this
score has lengthy passages where not much of interest is going on. The themes
are very short and simple, and even the best cues rely on repetition. However,
there are about 30-45 minutes of music where Zimmer really takes off. The
themes are quite affecting, and Zimmer assuages the repetition by adding more
sounds, instruments, or musical figures with each successive iteration. I’ve
always loved the sound of the pipe organ, and Zimmer isn’t afraid to have it
blasting away. A theme introduced in “Cornfield Chase” (and closing the score
in “Where We’re Going”) conveys the excitement and mystery of exploration quite
well, while the “emotion” theme starts out as a mystical wisp in “Dreaming of
the Crash,” developing to almost painful heights in “Stay.” My favorite theme
is the inexorable pipe organ-led “danger” theme; “Coward” slowly builds it up,
the lowest notes of the organ and blistering piano runs entering as the cue
comes to its climax. In the even more overpowering “No Time for Caution,” the
organ again starts out before steadily rising blasts explode from synthesizers
and the orchestra, choir adding the final overwhelming touch. I’m sure Zimmer’s sole goal in life is to
write scores that I personally like, so I’m more than happy to say that he has
achieved it with this score.
8. The Hobbit: The
Battle of the Five Armies (Howard Shore)
I’ll say this about The Hobbit scores: Shore’s action music
for them has gotten better and better with each installment; the composer has
slowly shed the overly measured nature of his action music and learned to let
it rip. The themes have never been as strong as those in The Lord of the Rings,
but he does introduce a striking one here that gets a concert arrangement at the
beginning of “Ironfoot” and a grand treatment in “Battle for the Mountain.” One
of the most distinctive themes from the previous entry, the theme for Laketown,
gets some rousing variations in “The Gathering of the Clouds.” “Guardians of
the Three” features some neat fan-service moments, including the Lothlorien
theme, the Evil of the Ring/Sauron theme, the massive chords from the
“Galadriel almost loses it” scene from The Fellowship of the Ring, and a
surging, triumphant rendition of the Rivendell theme. In a neat bit of thematic
attribution, Shore shifts Smaug’s theme to Thorin, portraying his “Dragon-Sickness.”
From “The Clouds Burst” to “To the Death” is almost continuous action music—37
minutes’ worth of it. Some moments of respite exist, particularly in “The
Darkest Hour” and “The Fallen,” but for the most part, these cues comprise some
of the most visceral action music in Shore’s Middle-Earth repertoire. Like the
film, the score doesn’t quite have a fulfilling ending or a satisfying link to
the beginning of The Lord of the Rings. Yet it entertained me a heck of a lot
more than the score to An Unexpected Journey. Kudos to Shore for completing
this massive series that in duration exceeds even Wagner’s colossal Ring cycle.
7. Monuments Men
(Alexandre Desplat)
Monuments Men features a surprising number of first-rate
themes. The opening cue “The Roosevelt Mission” introduces a noble trumpet
melody that starts in a subdued manner but suddenly rises to something truly
inspiring. It receives a fuller
development in “Normandy.” “Opening Titles” recalls Elmer Bernstein’s
optimistic march for The Great Escape, the cheerful primary melody giving way
to a spirited bridge (later heard in “The Letter”). One might be mistaken into
thinking that this carefree march contains an inherent lightheartedness, but
Desplat displays the malleability of his theme with rather touching piano
renditions in “Stokes ” and “Jean-Claude Dies.” “I See You Stahl” introduces
the antithesis of the title theme: a bold, imperious march with low brass
proclamations and churning strings. And Desplat then twists this theme into a light waltz in
“Stahl’s Chalet.” Want more? There’s also a delicate love theme, heard in
“Champagne” and “Claire & Granger,“ a tune that rises higher before
leisurely winding its way back down. “Into Bruges” percolates with muted brass,
marimba, and bass clarinet while stirring, Medal of Honor-esque action
(especially in the beginning of “Sniper”) threads its way throughout the
score—and Medal of Honor-eqsue music (if we’re talking about the Michael
Giacchino entries) is never a bad thing. Most of the themes receive fulfilling
recapitulations in the impressive “Finale,” the score closing with a perky,
whistled version of the title theme in “End Credits.” Although one can hear
influences in this score, the overall style is Desplat’s own; the multitude of
excellent themes, the clever musical development, and the composer’s always-dexterous
orchestrations make this a delightful, outstanding score.
6. Big Hero 6 (Henry Jackman)
This score isn’t quite as good as Jackman’s score to
Wreck-It Ralph (which I would now put at number 3 on my “Best of 2012” list)
and the themes are pretty simple. Yet Jackman has a knack for making
irresistibly attractive music out of simple melodies. For example, the “action”
motif (best heard at 4:43-4:53 and 5:24-5:49 in “Big Hero 6”) is compositionally
quite rudimentary, yet it thrills me to no end. The appropriately intrepid main
theme makes its first full appearance in “Microbots,” bold brass sounding over
peppy electronic beats. Rip-roaring statements of this theme bolster the action
sequences in the cues “Upgrades,” “The Streets of San Fransokyo,” and “Big Hero
6,” while a pop version drives the toe-tapping “Huggable Detective.” The softer
variations of the theme in “Family Reunion” and “I Am Satisfied with My Care” are
(like the scenes they accompany) surprisingly poignant. A theme often
associated with the robot Baymax first appears in a delicate arrangement 40
seconds into “Inflatable Friend.” It plays alongside the main theme in “The
Streets of San Fransokyo,” the action climax “Big Hero 6” and the magnificently
ascendant “First Flight.” Jackman’s dramatic instincts make this an
impressively structured score; the early cues are fun and perky, almost pop
instrumentals. However, the film’s emotional heart becomes more manifest as
time goes on, and the score in turn strips away the electronics. As the film
reaches its dramatic acme in “I Am Satisfied with My Care,” the music surges
with mysticism, wonder, and, eventually, grief. There are some dull passages
(like the first three minutes of “Silent Sparrow”), but overall, this
invigorating score further substantiates Jackman’s considerable expertise at
scoring animated films.
5. Godzilla*
(Alexandre Desplat)
After The Golden Compass and Rise of the Guardians, those of
us with ears all knew that Desplat could write action music, but this is
something else entirely. Godzilla is straight-up brutal, hair-raising action of
Elliot Goldenthal-esque proportions. The main theme emerges out of the haze to
pound the listener in the track “Godzilla!” but this is admittedly not a score
of strong themes. A tender, searching piano melody opens “Back to Janjira,” but
such respites are few and far in between. An electronic pulse propels “Muto
Hatch” forward until strings explode forth and brass statements reminiscent of
original Godzilla composer Akira Ifukube’s work blast out. Voices surge to the
forefront in “The Wave” while frenzied strings whirl away. String arpeggios in
“Following Godzilla” evoke pleasant memories of Goldenthal’s action music,
while dissonant voices tear though the thick swirl of action in “Golden Gate
Chaos.” Just when you think there’s going to be another break in “Let Them
Fight,” (though the name of the cue should be a giveaway) the fun starts again,
and taiko-like drums hammer out a ferocious rhythm. The main theme rears its
head in “Last Shot,” and another Goldenthal “trademark,” trilling French horns,
makes an appearance. The music comes to a massively triumphant conclusion in
“Back to the Ocean,” chimes tolling away under the orchestra’s final peroration.
If you’re searching for memorable themes, this score probably isn’t for you,
but for those seeking an adrenaline rush via intelligently composed, complex
music, this score will serve as a welcome antidote to the mindlessly churning
scores that accompany so many of today’s action films.
4. Teenage Mutant
Ninja Turtles* (Brian Tyler)
Like the score to Godzilla, this score is an action-packed
thrill ride from start to finish. Tyler’s score does have a rousing main theme
cut out of the same cloth he used for the themes to his Marvel scores (Iron Man
3 and Thor: The Dark World). The main theme consists not only of the primary
melody, but also a staccato rhythmic motif and a cyclical phrase that starts
out enigmatically in “Teenage Mutant Ninja Turtles” before transforming into an
ever-escalating action motif. The more subdued tracks (“Adolescent Genetically
Altered Shinobi Terrapins,” “Origins,” “Brotherhood,” and “Project
Renaissance”) contain some lovely renditions of the main theme and some cooing
choral work, but all the other 13 tracks on the album are basically action
cues. Luckily for listeners, Tyler provides his most adrenaline-soaked action
music since Eagle Eye—and there is indeed a cue entitled “Adrenaline,” complete
with impressively intricate trumpet lines. “Rise of the Four” plays like an
energizing call to arms, choir and orchestra leading to the staccato action
rhythm. The main theme charges forward over an irregular rhythm in “Cowabunga”
before transforming into a march. “Shortcut” is probably my favorite of the
many action cues; a thrilling passage features phrases being traded off among
strings, trumpets, and horns with the main theme building to almost delirious
heights. The action reaches its apex in “Splinter vs. Shredder” and “Buck
Buck,” chanting choir bursting to the forefront in the former. Although the
score is basically monothematic, Tyler breaks down and molds the theme enough
to keep it fascinating in all its reiterations. Though this score is not as
complex as the score to Godzilla, the writing is still intricate enough to
elevate it beyond mere ear candy.
3. The Grand Budapest
Hotel* (Alexandre Desplat)
The most striking aspect of this score is its inventiveness;
I personally haven’t heard anything quite like it, though it bears some
superficial resemblance to the composer’s brief score to Wes Anderson’s
previous film, Moonrise Kingdom. The plucked balalaika and casual tone of
“Mr. Moustafa” gives the impression that this score is going to sound like the
equivalent of Eastern European easy-listening music. But “A Prayer for Madame
D” introduces a compelling theme, ripe with mystery and a hint of danger.
“Daylight Express to Lutz” presents a vaguely ominous motif as well as some
onomatopoeic traveling music. Pipe organ rises to prominence in “J.G. Jopling,
Private Inquiry Agent” alongside the now-familiar balalaika while
hand-clapping enlivens “A Dash of Salt (Ludwig’s Theme).” “Escape Concerto” has
an almost jazzy beat, and “The Society of Crossed Keys” builds almost
perpetually to its conclusion. “Canto at Gabelmeister’s Peak” introduces rich,
chanting voices (which become diegetic at one point) before brass, B3 organ,
and frenzied balalaika enter to underscore a whimsical sledding sequence.
Every element of the score comes together in “A Troops Barracks (Requiem for
The Grand Budapest)”; late in the cue, the pipe organ intones a menacing dirge
that, after a pregnant pause, turns into a frantic, agitated ostinato. The end
credits feature Desplat’s arrangement of the traditional tune “Moonshine,” balalaika giving way to full orchestra, B3 organ, and stentorian male
chorus. But what’s most impressive about
this score is that it doesn’t just fit the film; it actually does much of the
work in defining its tone. Congratulations to Desplat for composing not only
this exceptional score, but four other outstanding ones in 2014 as well.
2. Maleficent* (James
Newton Howard)
James Newton Howard doing fantasy is a film score fan’s
dream come true, and Maleficent, while not one of the composer’s very best,
comes extremely close. The themes don’t quite reach the sublimity of the themes
for Lady in the Water, Dinosaur, or The Village, but Howard’s lush writing remains
as exquisite as ever. Maleficent’s main theme pops up right under the opening
Disney logo (not on the soundtrack), a simple melody that encapsulates the
beauty and grandeur of the title character. The sumptuous choir in “Welcome to
the Moors” will delight anyone who loves great fantasy music, while “Maleficent
Flies” formally introduces the main theme as it soars with the young fairy. A
repeating choir phrase that starts at about 2:20 is almost heart wrenching in
its pure beauty (and now I’ve gone and built it up too much). Also introduced
in this track (at 1:50) is a gorgeous theme for the moors and/or Aurora; it
receives a beatific playing in “Aurora and the Fawn,” following an ecstatic
build-up for strings and choir. “The Christening” includes a slinking tuba
melody, some (effective) electronic percussion, and, most importantly, the
theme for Maleficent’s curse. This choir-led theme, consisting of four pairs of
notes, builds in volume and intensity with each repetition. The action music,
heard in “The Spindle’s Power,” “The Wall Defends Itself,” “Path of
Destruction,” “Battle of the Moors,” and the superb “Maleficent Is Captured”
gush with Howard’s signature touches, including
vibrant French horn fanfares, surging string phrases, syncopated
rhythms, and enormous choir outbursts. Throughout the action cues, the main
theme declares itself in robust settings for brass, strings, and choir.
Speaking of choir, voices play a large part in this score, and Howard
definitely knows how to use them to evoke
mystical splendor. When JNH brings his A-game to fantasy, as he does here, few
today can come close to matching him
1. How to Train Your
Dragon 2** (John Powell)
The first HTTYD score was Powell’s magnum opus as a
composer, featuring a plethora of stellar themes and a consistency that was
often lacking in his other solo animation scores. This sequel score lives up to the original, boasting superior choral work, even more themes, and development
of some of the original film’s themes. The curtain rises with “Dragon Racing,”
opening with a fanfare of the first part of the flying theme before
transitioning to the Berk theme, the themes for Hiccup and his friends, and
Astrid’s theme, each gaining additional embellishment from when we last heard
them in the first film; I especially like the expansion of the Berk theme
starting at 3:37. “Together We Map the World” introduces the lilting,
waltz-like theme for Hiccup and Toothless’s explorations, while “Toothless
Lost” introduces Valka’s theme, with a haunting, hummed variation at 2:12 into
the track. “Flying with Mother” adorns the exploration and Valka themes with
inventive writing for female choir. “Losing Mom / Meet the Good Alpha” brings
in the Alpha motif, a royal tune that sounds like it’s visiting from Basil
Poledouris’s score to Conan the Barbarian (specifically, the cure entitled “The
Orgy”). The theme for the villainous Drago (AKA “He who can control dragons by
chanting the secret, mystical words, 'AAAAAAAAAH! AAAAAAAAAH! AAAAAAAAAAAH!
AAAAAAAAAAAAAAH!'”), like the character himself, is somewhat generic, the least
interesting of the new themes. The exhilarating “Battle of the Bewilderbeast”
shares some similarities with “Battling the Green Death” from the first score,
but introduces colossal choir to accompany the invigorating statements of the various
themes. An absolutely gargantuan buildup at 3:30 leads into a rapturous explosion
of the flying theme; I also love the one-off action motif at 5:25. Strident
bagpipes keen a relentless motif in “Hiccup Confronts Drago” and lend emotion
to “Stoick’s Ship.” “Toothless Found” sees Valka’s theme reach its apotheosis,
leading into an astonishing run of brass fanfares, a march variation of Valka’s
theme, and a brief but spectacular eruption of the flying theme. Finally, “Two
New Alphas” brings this sublime score to its conclusion, the flying theme
fittingly ending the score with a euphoric cadence. There aren’t as many
standout tracks as in the first score, and the flying theme doesn’t really get
a full rendition. I also don’t like the new themes quite as much as most of the
themes from the first score. But none of that takes away from the almost
unbelievably epic writing, assured classical-inspired compositional complexity,
and emotional depth of my favorite score of the year.
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