Ranked: Favourite Film Soundtracks

[Reader disclaimer: there will be spoilers discussed. This piece also contains material that might be sensitive to some readers].

There are many components to a film: cinematography, editing, mise-en-scene, lighting, acting. In certain genres, a key aspect tends to stand out more than others, for example, music composition in horror is essential for creating that tension and unease that we typically associate with scary movies (such as the orchestral stab when we experience a jump scare or the rise of string instruments when tension is being built). 

Before the late 20s (with The Jazz Singer (1927) being one of the first examples of films with synchronised speech in it), films often relied on non-diegetic music to demonstrate the emotions of what we saw on-screen. It's still an important component today, however, music has changed drastically since the Silent Era of piano compositions to modern-day remixes and scores on a grand scale.

Here are some of my favourite examples of music used in film.

10) Time by Hans Zimmer - Inception (2010)

Hans Zimmer is one of my favourite film composers. From the macabre yet stunning soundtrack of The Dark Knight (2008) to his playful and enchanting work on The Pirates of the Caribbean: The Curse of the Black Pearl (2003), Zimmer is undeniably talented at utilising every instrument to evoke emotion from the audience.

One of his greatest examples of work (in my opinion, obviously) is the final scene of Inception (2012), in which we see Dom (Leonardo DiCaprio) using the spinning top but leaving to greet his children before we ever see if the top falls or stays upright, leaving the ending ambiguous as to whether or not Dom and the others have returned to reality.

The song Time is played over this sequence, a powerful yet melancholic piece that finishes with lone keys played on the piano. It conveys almost a sadness and provides the audience with a taste of closure before the song abruptly ends on the shot of the spinning top. In comparison to the rest of the soundtrack, Time feels like a solid landmark at the end of the film, one that beautifully marries rising brass and string instruments with the poignant and saddening notes of the piano.

9) The Kiss by Trevor Jones - The Last of the Mohicans (1992)

I can't say that The Last of the Mohicans (1992) as a film has aged particularly well but there are two aspects of this film which are still unfaltering in their impressive nature: Daniel Day-Lewis' performance and the soundtrack.

When I think back to the films I watched as a child and the songs I remember, this one has always stuck in my mind. The Kiss comprises mainly of violins and drums in a romantic, almost Celtic fashion. At this point in the film, Hawkeye (Day-Lewis) seeks out Cora (Madeline Stowe) and they passionately embrace, finally succumbing to their mutual attraction for each other.

As a viewer, this scene is a moment in the making. We witness the romantic tension between the two lovers for so long and desperately await that climactic moment wherein they kiss, so the rise from minor to major chords feels empowering and relieving. 

8) Hellraiser by Christopher Young - Hellraiser (1987)

Talking of films from childhood, this spot on the list had to go to one of my all-time favourites: Hellraiser (1987). Obviously most horror films from the 70s/80s renaissance are indisputably iconic, from Charles Bernstein on A Nightmare on Elm Street (1984), John Carpenter on Halloween (1978) to one of the most famous themes in pop culture, Mike Oldfield's Tubular Bells for The Exorcist (1973). 

Out of all of them, however, I had to nominate Christopher Young's work on Hellraiser. I believe my attachment to this soundtrack is founded in both nostalgia but also due to its likeness to composer Danny Elfman's discography: they both tend to use gothic themes intertwined with classical styles of musical composition, which I think works effectively when it comes to horror films. 

Either way, as soon as Hellraiser starts playing, I'm immediately thrown back to the first time watching it, sitting in absolute awe of Doug Bradley. 

7) Bundle of Joy by Michael Giacchino - Inside Out (2015)

Let's be honest. There are plenty of Pixar soundtracks that could sit on this list. Some of you might be surprised to see that I've picked something remotely new as opposed to something more nostalgia-based from the 90s, such as Toy Story (1995) or Monsters, Inc (2001).

I went to see this film on my 19th birthday and this is one of the first pieces of music to be introduced to us: the birth of Riley (Kaitlyn Dias). This small piece of music, with just the piano alone, evokes this sense of wonderment and childlike happiness that seemingly captures Riley's personality before we're even able to see her character grow up on-screen. It's heartfelt and light, something that Pixar films are most certainly renowned for. 

I believe that if I had seen this film as a child, I would've had a fond nostalgia for its music. As an adult, I can appreciate what Giacchino is trying to translate to his audience and it works.

6) Bunsen Burner by CUTS - Ex Machina (2014)

It came as a surprise to me when I watched Ex Machina (2014) after listening to The Prodigy's 2015 album, The Day is My Enemy because one of the songs on the tracklisting actually samples Bunsen Burner in a more sped-up format. So, every time I listen to the Ex Machina soundtrack, I'm reminded of The Prodigy.

Regardless, Bunsen Burner has been firmly etched into my memory ever since I watched this film for the first time. It's electronic, ebbing introduction fades effortlessly into a strong, three, minor-notes sequence that never feels repetitive, only tense. Within the context of the film, this is the climactic scene of the final act, wherein Ava (Alicia Vikander) turns on her creator, Nathan (Oscar Isaac) and fatally stabs him: we, as the audience, realise Ava's inability to feel true empathy and that she truly is a threat.

Bunsen Burner feels, in a way, like the empowerment of a freed prisoner but also the final curtain of the characters we have grown to trust and even like within the narrative. It's a musical double-edged sword.

5) Rohan by Howard Shore - The Lord of the Rings: The Two Towers (2002)

The entire discography of The Lord of the Rings franchise is impressive. There's no denying that. However, I'd argue that the second film, The Two Towers (2002), holds some of the best use of Howard Shore's work; the grand scale of the battle scenes, the intimate moments between characters, the light-hearted nature of comic relief.

Rohan is my favourite of all these themes, as it's used to both present touching scenes (such as the freedom of Théoden, played by Bernard Hill) but also the more melancholic moments, such as Éowyn (Miranda Otto) lamenting the dying landscape of her home and the ill-nature of her people.

Every geographical location in Middle Earth has its theme and Rohan is distinct in its use of string and brass instruments, conveying an atmospheric feeling of grandeur and unity. 

4) I Got 5 On It by Michael Marshall ft. Luniz - Us (2019)

In his first film, Jordan Peele demonstrated his ability to handpick songs that were absolutely perfect for the narrative, with Get Out (2017) featuring artists such as Childish Gambino and Flanagan & Allen. In his second film, Peele truly stepped up his game by not only delivering some more iconic songs but giving one of the most haunting remixes of an R&B song I've ever heard.

I Got 5 On It, originally sung by Luniz, is remixed with a dramatic, high-pitched underscore, which elevates a formerly relaxed song to a song of panic, paranoia and frustration. This, accompanied with the scene of Adelaide and Red's (both played by Lupita Nyong'o) expertly choreographed fight, makes for both an entertaining yet nerve-wracking experience. 

This trend of taking 80s/90s songs and giving them new life is so enjoyable and I genuinely hope we see more of that in the future.

3) In the House, In a Heartbeat by John Murphy - 28 Weeks Later (2007)

This simplistic piece of music is by far one of the best examples I've seen in a horror film, period. John Murphy's In the House, In a Heartbeat begins with two piano notes, then layers that with a four-chord sequence. This builds louder and louder, eventually transgressing into electric guitar and drums, mirroring the increasingly tense scene it accompanies of Don (Robert Carlyle) abandoning his wife to flee from extremely fast zombies. 

As someone who plays music and finds interest in learning chord progressions, this track opened my eyes to the idea that a song doesn't have to have a lot of fancy notes in order to be impactful. What 28 Weeks Later (2007) does so efficiently is creating even more tension through its music, producing almost a sensory overload for the viewer. 

Don's escape scene in the first act is honestly one of the reasons that I actually favour this sequel over its predecessor film.

2) Mr. Moustafa by Alexandre Desplat - The Grand Budapest Hotel (2014)

Wes Anderson is renowned for his quirky characters, pastel backgrounds and oddly catchy music. Out of all the films he has produced thus far, however, I believe The Grand Budapest Hotel (2014) has the best soundtrack: it's fast paced, dramatic yet completely endearing. 

Much like The Two Towers, this film has musical themes for locations and chapters of the narrative, the best arguably being the Mr. Moustafa theme in which we are introduced to the titular character (played by Ralph Fiennes). It features a variety of sounds, it's pace is typical of iambic pentameter and it's playful rhythm parallels the playful nature of the character itself. 

I adore it, as I adore the film.

1) Death is the Road to Awe by Clint Mansell - The Fountain (2006)

If you're a new reader of mine, or just unaware of my top 10 films in general, then I'd like to explain that The Fountain (2006) is my favourite film of all time. It's generally regarded as one of director Darren Aronofsky's lesser films, despite it featuring A-list actors such as Hugh Jackman and Rachel Weisz, but to me I think it's more of a spiritual journey rather than purely a film.

In the third act, three timelines merge to demonstrate the acceptance of death, how grief is a valid process and how the inevitability of us dying is not always the end. This, shown through stunning, golden-toned sfx, is accompanied by Death is the Road to Awe; this is one of the first experiences I've had where a song made my heart stop, my hair stand on end, my breath shorten. It is, simply put, exquisiteness. 

There's a specific section of this track where the sound falters and then explodes into a crescendo of violins, harmonic choir voices and drums that mirrors the on-screen scene of Tom (Jackman) ascending into the galactic nebula named Xibalba (also known as the Mayan afterlife). It's dramatic, powerful, almost alien. And it's beautiful.

Honourable mentions

Of course, I didn't have room to fit all of my favourites on here, so here are also some honourable mentions:

• What's Up Danger by Blackway & Black Caviar - Spider-Man: Into the Spider-Verse (2018)
• Pray For Me by The Weeknd ft. Lamar - Black Panther (2018)
• Bang Bang by Will.I.Am - The Great Gatsby (2013)
• Redeemer by Jonathan Davis ft. Marilyn Manson - Queen of the Damned (2002)
• Danger Zone by Kenny Loggins - Top Gun (1986)
• Burly Brawl by Don Davis - The Matrix Reloaded (2003)
• Main Theme by Marilyn Manson - Resident Evil (2002)
• Down to Earth by Peter Gabriel - Wall-E (2008)

- K

Recommendations: Sci-Fi

[Reader disclaimer: there will be spoilers discussed. This piece also contains material of a mature/sensitive nature].

Gravity (2013)

Science fiction, as well as horror, was a foundation of my childhood film-watching experience. My father is a very big fan of the classic 70s/80s era of sci-fi, with icons such as Alien (1979), Mad Max (1979) and Robocop (1987) sitting proudly amongst his insanely large collection of filmography.

It wasn't until my third year at university that I began to truly delve into the world-building and general writing of science fiction, finding it to be one of the more interesting genres to work with. I'd always enjoyed watching action/horror as a kid, but I had barely scratched the surface of sci-fi's potential to expand in all directions, from crime to fantasies to thrillers.

Therefore, I have compiled a list of sci-fi films I have found and enjoyed over the years in this piece: like the body horror one before it, this list is comprised of films that aren't necessarily mainstream (as that would be easy enough to compile) but are definitely entertaining...at least to me, anyway.

Treasure Planet (2002)

Any of you born in the 90s might remember this wonderful, animated adaption of Treasure Island by Robert L. Stevenson in 1883, reimagined out in the cosmos. People familiar with the original story, then, will know that the plot of Treasure Planet (2002) is essentially the same: a young cabin-boy named Jim follows a voyage for treasure. Except, you know, in space.

Now, I'm not particularly fond of children's films. I never have been, even back when I was a child. But there's something so incredibly endearing about this film, perhaps due to its wonderful art-style and animation technique, setting traditional 2-D art on top of 3-D. It is imaginative, as a Disney film should be, expanding upon the source material by building new planets, new species', new civilizations.

The characters feel fleshed out and complex, especially our protagonist, Jim Hawkins (voiced by a young Joseph Gordon-Levitt). It's an atypical coming-of-age story but it's everything a kid (or an adult) could hope for in a sci-fi fantasy/adventure.

The Fountain (2006)

Certainly an oddity in comparison to the others on this list, The Fountain (2006) is a lesser known Darren Aronofsky film, due to its poor performance at the box office: however, this masterful piece reflects on humanity's innate fear of the unknown (afterlife), the inevitable (death) and of human suffering (grief). Without giving too much away, this film is structured in three ways, following the same character (played by Hugh Jackman) trying to save another (played by Rachel Weisz). 

In the past, he is a conquistador searching for the Tree of Life for his Queen, so that she may be immortal and so that he can live by her side forever. In the present, he is a scientist searching for a cure for his cancer-stricken wife. In the future, he is a buddhist-esque traveller, accompanying a dying tree towards a nebula known as Xibalba (also referred to as the Mayan afterlife). 

Admittedly, I am biased when it comes to this film, as it's actually what I consider to be my favourite film of all time. I just think that there's such a beautiful intricacy to it, alongside a compelling and moving soundtrack (by Clint Mansell) and captivating visuals created by macro-photography. 

I will say that it's somewhat confusing during a first watch, but most certainly worth it. Coincidentally, this is not the only film on the list that uses the Tree of Life as a motif in science fiction, as you'll see below. 

Eden Log (2007)

I came across this French sci-fi horror a few years ago, traipsing the aisles of my local CeX. It was cheap, and seemingly uninteresting, but I'd never seen a French sci-fi flick up until that point. In retrospect, I'm glad that I picked it up.

Eden Log (2007) is a fascinatingly jarring film about a man with amnesia named Tolbiac (played by Clovis Cornillac), who stumbles through the levels of an underground system dedicated to a giant tree that supplies the society above them with power. Along the way, we see that the system is not so efficient after all, with people mutated into monsters from the tree's sap, some grafted physically to it's roots and bouts of insanity and primal rage begin to torture Tolbiac, leading him to commit acts of murder and sexual assault. 

The premise reminded me a lot of The Fountain, in that humanity's humanity's insatiable need to survive at all costs often results in the destruction of natural resources around them. Eden Log is certainly a very socio-political film and the setting is intriguing, due to the director's disdain for modern sci-fi films being set in "sterile" environments. 

For those of you who are not keen on foreign cinema, there is a version of it in English, though I would certainly recommend watching it in French, as it feels far more poignant that way.

Sunshine (2007)

I remember when Sunshine (2007) was playing in cinemas back in the day. I walked past thinking "that doesn't really seem like my thing, it looks like just another horror in space kind of deal", yet now looking back, I wish I'd gone to see it. Because when I finally got round to watching it a few years ago, I thought it was one of the best sci-fi thrillers I'd ever seen.

The premise is quite simplistic: a group of astronauts have been sent to reignite the Sun, after a previous group mysteriously disappeared. Along the way, they discover the original ship, and the mystery surrounding it becomes unravelled in a horrifying yet thrilling way.

My kudos immediately goes to both Hiroyuki Sanada and Michelle Yeoh who, despite playing secondary characters, ending up being (in my opinion) the best part of the film. All of the characters are well written, but I found myself more drawn to them due to their acting credibility and likeableness; Cillian Murphy and Chris Evans are both written to be typical male assholes, butting their testosterone-heavy heads together, which was slightly off-putting.

However, despite some perhaps arduous and lengthy uses of unnecessary dialogue/panning shots, this Danny Boyle film is incredibly underrated and worth a watch. 

Moon (2009)

Though I hate to admit it, I didn't watch Moon (2009) until very recently. And by very recently, I mean this month: it was kind of what inspired me to write this list in the first place.

Moon is a wonderful yet bleak film which touches on isolation, existentialism and corruption, both in terms of the business corporation that the protagonist works for and within the mind of the protagonist himself. Played brilliantly by Sam Rockwell, the main character (also named Sam) discovers that his 3-year long mission has been based on a lie and that any hope Sam was given to return home to Earth has been obliterated.

It has to be said that Rockwell does an astounding job in this film, as he ends up playing both Sam and Sam's clone: in essence, he played the same character twice, showcasing different aspects of that character's personality (i.e. "original" Sam is lonely and "clone" Sam is temperamental). 

Despite its upsetting plot twists (and the unfortunate fact that Kevin Spacey is featured), Moon has a somewhat uplifting ending and is still an enjoyable watch.

Circle (2015)

This is probably the least known film on this list and it shouldn't be. After watching this film in February, I have been showing it to anyone willing to watch, because not only is it a simplistic yet clever film, but it's also one where you either hate to love it, or love to hate it.

Circle (2015) follows a group of people who have been kidnapped by god knows who (well, it's implied that they're aliens, so let's go with aliens) and forced to terminate each other in timed rounds where a strange device in the centre of their circle murders them. It's honestly as simple as that: a process of elimination, until a survivor is left standing.

The characters are archetypes, from a timid pregnant woman to a Wall Street, asshole lawyer, all within seemingly normal roles. But the fun that is had in watching Circle is that all of them have ulterior motives and opinions, each leading you as the viewer to resent them, as well as the other characters on-screen. The dialogue is surprisingly funny in places and profound in others, and it's definitely worth watching, though I will warn you that the twist ending is likely to infuriate the majority of you, as it did with myself and the friends I watched it with.

Arrival (2016)

There's a reason why this film was nominated for eight Academy awards, and that's simply because it's so awe-inducing and intelligent in the ways in which is shows character development and structures its narrative.

Based on a short story by Ted Chiang (called Story of Your Life), Arrival (2016) follows protagonist Louise Banks (played brilliantly by Amy Adams) who has been employed to try and communicate with extraterrestrials that have suddenly appeared in ships all over Earth: as a linguistics/writing student, I personally found this film to be interesting in how they show the deciphering of the alien language through pictographs and association.

What's so incredibly clever about Arrival is that the narrative features glimpses of Banks' home life, of her daughter and husband, and as the viewer, we assume that this train of thought is taking place in the present or recent past. It isn't until the end of the film where you realise that the alien's endow Banks with the ability to see the future, and that everything we have seen leading up to that point are not events that have happened, but events that will take place further down in Banks' timeline. 

Amy Adams plays Louise Banks, in my opinion, fantastically. I was, therefore, surprised when she wasn't nominated for Best Actress in the Academy Awards that year: her interpretation and presentation of the character highlighted the complexities of human nature, of our fears and troubles showing emotions in one form or another. If anything, you should see Arrival for Adams' performance alone. 

Honourable mentions

As always, there are many, many sci-fi films I could talk about, but unfortunately a blog post can only be so long. That being said, here are some others I would highly recommend to watch if you are interested in watching new sci-fi films or just generally getting started.

• Close Encounters of the Third Kind (1977)
• Total Recall (1990)
• Twelve Monkeys (1995)
• Bicentennial Man (1999)
• The Island (2005)
• A Scanner Darkly (2006)
• Womb (2010)
• Apollo 18 (2011)
• Source Code (2011)
• Super 8 (2011)
• Looper (2012)
• Gravity (2013)
• Oblivion (2013)
• Ex Machina (2014)

- K