![]() When I’m walking through dark alleys, when I’m feeling especially paranoid on a vacant stretch of street, when I’m damn near certain that that guy with his hood up is following me, I hear Mica Levi’s prowling strings from “Under the Skin.” Soundtracks evince an uplifting swell or valleys of sadness all the time, but to hear music that is genuinely frightening, independent of its visual accompaniment - that’s a rare thing (for musicians that aren’t Karin Dreijer Andersson). READ MORE: How Composer Jóhann Jóhannsson Found A New Musical Language For “Arrival” Charles Bramesco Freelance with Rolling Stone, Vulture, The Verge The 35 Best Movie Scores of the 21st Century The music is catchy and memorable enough to have its own personality, and assert itself as part of the story. And I love the diversity of the soundtrack, which brings in everything from lutes to a men’s chorus to sand-shakers to strings in an attempt to round out a simple theme in a wide variety of ways. I love the way Desplat weaves a few repeated themes in and out of the whole soundtrack, mirroring the way the story takes place in multiple timelines, but still follows certain parallel themes throughout. But there’s a touch of frantic self-parody to the intensity that suggests that even while the characters are taking their adventures extremely seriously, we probably shouldn’t. But I guess if I have to pick just one, I’d go with Alexandre Desplat’s score for Wes Anderson’s “ The Grand Budapest Hotel.” Like many of these other scores, it’s driving and intense, suitable to the sometimes manic action onscreen. There are some really striking contenders out there, topped by Susumu Hirasawa’s manic, bouncy score for Satoshi Kon’s anime phantasmigorica “Paprika,” the terrifically intense Disasterpiece score for David Robert Mitchell’s creepy horror film “It Follows,” and Ennio Morricone’s partially reclaimed, intensely driving old-school score for Quentin Tarantino’s “The Hateful Eight.” And then there’s the beautiful, mournful song selection T-Bone Burnett put together for the Coen brothers’ “Inside Llewyn Davis,” and all the hilarious original folksongs in Christopher Guest’s “A Mighty Wind,” one of my favorite soundtracks of all time. With that in mind, we asked our panel of critics to name their favorite film score of the 21st Century. It’s just the latest indication that we’re living in a fascinating, vibrant time for movie music, and December boasts a number of films that will only add more fuel to that fire. Last Friday saw the release of Garth Davis’ “Lion,” the musical score for which is the gorgeous result of a collaboration between two giants of the neo-classical movement, Dustin O’Halloran and Hauschka. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.) I really enjoy Sakuraba when he is using the harp and does relaxing song.Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. His work on Eternal Sonata was classic, but some its best is there. He did the ost of most Mario Sports game, like Golf and Tennis. But I prefer Bloodborne ost, which, sadly, he didn't touch. He did the soundtrack of the first Dark Souls. ![]() He did the battle soundtrack of Resonance of Fate, and they all are damn good beats. The orchestration was nice to be heard on a Sakuraba's music.Īlso, the man touched some surprising game : > Īlso, the main regions songs in Tales of Arise were quite good and refreshing. He touch many many style and samples with those. Baten Kaitos dualogy is for me the best work of Sakuraba.
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