Score Reviews


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It by Benjamin Wallfisch (Review)

posted Sep 14, 2017, 11:57 AM by Kaya Savas


With Wallfisch coming off of Annabelle: Creation, which was a wholly predictable and standard “bump in the night” movie that followed the standard “tension and release” formula, we now have It. The opening logos come up on the screen and we hear a chilling child solo vocal reciting, “Oranges and lemons, say the bells of St. Clements. You owe me five farthings, say the bells of St. Martin’s.” This is a verse of a well known nursery rhyme from the United Kingdom (Benjamin Wallfisch’s homeland) and quite an eerie way to start off the score. Already you can look at the definition of “farthing”, which is a former monetary unit and coin of the UK, withdrawn in 1961, equal to a quarter of an old penny. So, Penny? Pennywise? Just one example of what makes this score so layered, so engaging and so damn successful at giving us a horror drama that focuses on characters first and then layers in the scares. Benjamin Wallfisch’s It is one of the best scores of his career and the year so far.

Stephen King’s It is definitely a known property, it’s one of his most well-known novels and the miniseries adaptation of it is something most people have seen. The book itself has a lot going on in it, and the miniseries was just an over the top campy way of deciphering it. But then again how do you make a film adaption of a story about a shape-shifting inter dimensional alien that feeds off of children’s fears while main focus of the story is moving from adolescence to adulthood? Well, when Warner Bros. decided to adapt the book into 2 movies, they brought on Cary Fukunaga who co-wrote a draft of the script and was set to direct. He departed the film after him and the studio weren't seeing eye to eye. Andy Muschietti then stepped in, after directing the very successful Mama. The It we ended up with used much of the structure of Fukunaga’s script but definitely streamlined the focus of the original narrative into what ended up being a really fantastic film overall. If you're expecting this movie to have all the layers of the novel, you might be disappointed. If you wanna see a well-made coming of age story with a shape-shifting entity that feeds off children's fears then sit back and enjoy the ride.

The score itself is the backbone of this movie, and Benjamin Wallfisch really treated this as a character exploration rather than a horror score. The entire first act is really dedicated to learning who the characters are so we really connect to them as an audience. The music paints the town of Derry as this picturesque New England town, but with a dark past. You can feel the music sort of leaning on its side as it plays over establishing shots. After Georgie's demise, which is the prologue of the story, we get to grow with the kids a bit. Beverly is an amazing character that Wallfisch really sculpted with the score. We see her become the center of the loser’s club throughout the film, and in the end she is what brings the rest of the boy’s together to overcome the terror.

The horror part of this score is where Wallfisch really digs deep to try new techniques and approaches to give Pennywise a truly demonic presence. That “Oranges and lemons” motif essentially is Pennywise’s inner monologue, that motif is his presence. And you can hear it in the theme for the Loser’s Club, it has the same shape. It shows how Pennywise has infected into every corner of Derry, living in the sewers and always underneath. When it comes time to dial up the terror, the music does not hold back. Instead of doing traditional builds of tension that release with a jump scare, the score is more focused on just fucking you up sonically. In some cases the music utilizes some electronics but its mostly just warping the instruments to truly sound inhuman and unsettling. This score is never like “oh did you just hear that door creak?”, it’s more like “There he is! Fucking run!”. And that is supremely effective. Never was I following a roadmap for the scares, I was following the roadmap for the characters’ journey. It may come across as being overly aggressive at times, and while it may diminish the tension slightly, it makes up for it in just overall adrenaline.

By the time we come to the climax and resolution, we’ve not only been on a terrifying journey but also an emotional one. The way the score wraps up the thematic arcs is just perfect, and it puts a great period at the end of chapter one instead of an ellipsis. The story ends letting us know that Chapter 2 is coming, but not in some gimmicky cliffhanger way. We truly feel that this chapter of the characters’ lives has ended. The whole narrative overall is just so rich and absorbing, and Wallfisch’s score is the backbone that makes us emotionally connect to our protagonists. It’s this bond that the score creates that makes It one of the more memorable horror films in recent memory. Everything about the music was beautifully realized and perfectly executed, and it’s a terrifying world that felt so real because of Benjamin’s talents as a storyteller. Chapter 2 should be an amazing trip back to Derry as we see the adult versions of our protagonist return to defeat It once and for all.

Annabelle: Creation by Benjamin Wallfisch (Review)

posted Sep 14, 2017, 11:56 AM by Kaya Savas


Benjamin Wallfisch has been having one hell of a year so far. And he still has Blade Runner coming up! Recently though he’s been flexing his horror muscles. And while A Cure For Wellness wasn’t really traditional horror, it had some wonderful storytelling elements that proved Wallfisch’s abilities to not fall into typical horror archetypes. After scoring Lights Out for novice director David F. Sandberg, Wallfisch is reuniting with him here as they seek out to expand the popular “Conjuring Universe”. Up to this point Joseph Bishara has been behind both Conjuring films and the first Annabelle spinoff. Bishara definitely has a distinct style, so it was interesting to have Wallfisch come in here and give his take on the spooky demon possession formula.

It’s important to address right off the bat that both director Sandberg and composer Wallfisch have inherited a franchise that is currently limping. Remember when Paranormal Activity was on #4? Yeah, we’re at this point in James Wan’s universe of creaky doors and jump scares. So with that in mind, Wallfisch did the best he could do with this tired formula. The score is effective if not really inspired. Descending strings and deep cello are used to make your hairs stand up and send chills down your spine, and that technique is tried and true. The score does an admirable job keeping everything wonderfully structured. It follows the film’s structure perfectly, adding moments of terror when needed and then backing off to let silence do its magic. However, the film becomes rather predictable since we’ve done this whole thing many times before. The filmmakers try all the familiar tricks to make you jump and creep you out, but none of it feels original or that engaging since the story itself is weak. That unfortunately trickles down to the score, the music inherits this lack of character development so all we’re left with is spooky and terrorizing strings that work with the film’s edit.

Annabelle: Creation is a fine distraction, but in a sea of horror movies it rarely does anything to stand out. Wallfisch does an admirable job trying to infuse this warmth at the start before plunging into hell, but the story itself is weak and uninteresting so the score has trouble pulling you in as well. All the creepy builds and terrorizing moments are there as expected, but nothing is terribly original. Wallfisch does some cool textural things during the truly terrorizing moments with this orchestral approach, but in the end we lack a true emotional investment in the characters so this score's whole purpose becomes to try and startle you rather than tell a story.

The Hitman's Bodyguard by Atli Örvarsson (Review)

posted Sep 14, 2017, 11:56 AM by Kaya Savas


Atli Örvarsson has probably one of the more interesting career paths of composers working in the industry. A composer who started his career working under great composers like Mike Post and Hans Zimmer, who grew in the Hollywood system but is now making an attempt of reaching out and finding projects closer to his heart. Atli remains one of the few composers who can do something so deep and emotionally powerful as Rams and then do something super fun like The Hitman’s Bodyguard. The movie is an action-comedy with some serious undertones underneath in the vein of something like Lethal Weapon, and the score took an extremely stylistic approach that adds all the right ingredients.

The Hitman’s Bodyguard openly embraces the use of needle drops to complete the soundtrack experience here. Atli’s original score shares space with plenty of carefully curated songs that all match the tone and style of the film, but they never overtake what Atli is doing with the score. The blues approach is fun and works really well, and provides a nice way to transition into and out of some of the more popular songs that make up the soundtrack. There are also some more focused character moments here that you wouldn't expect, and you experience that later in the narrative once the bickering relationship of our dual protagonists is firmly established. The score as a whole is only complete with the other songs, and that’s the way it should be. Song and score are not pitted against each other here, and the end result is just a fun ride from start to finish.

The score and songs work in harmony together to make a fun experience form beginning to end. There is a perfectly balanced tone and style that makes this rhythm and blues jam session score work really well. The attempt of adding some reserved and emotionally driven character moments towards the final act work well too and never feel forced. All in all there’s not much to complain about as Atli Örvarsson lets loose, and that fun translates to the finished product.

Rebel In The Rye by Bear McCreary (Review)

posted Sep 14, 2017, 11:56 AM by Kaya Savas


Rebel In The Rye sees the directorial debut of Danny Strong who'se mainly known for his acting, creating the TV series Empire, and writing a handful of screenplays. Rebel In The Rye is your typical misguided biopic, this time for author JD Salinger. The film takes the standard formulaic approach to paint Salinger as simply as possible. You’ll hit all the familiar story beats of every biopic you’ve ever seen, and add a bunch of melodrama in there for good measure. All of that unfortunately trickles down into the score. The score, while masterfully crafted and executed by Bear McCreary, tries to balance this world of swing music and melodramatic character building without ever feeling truly organic.

The score starts off with a great theme that paints Salinger as this innocent figure that then slowly loses his innocence to the world. And I supposed we’re supposed to go “aha! Now I get why he wrote Catcher In The Rye!”. The score’s approach does paint a character portrait well enough for us to get absorbed into the narrative, but there’s just something that prevents you from being fully immersed. The music almost doesn't feel authentic to the characters and just a tad bit forced, which is not the score’s fault. The movie itself just feels fake. The score really truly grabs a hold of you in the last 2 tracks as we conclude everything. It’s in these moments where we do start to feel this genuine rush of emotions. Everything prior to that just felt like we were looking at a supremely tailored suit or gorgeous evening gown; something meant to show off and mask the emptiness behind it. The swing music that front loads the album is actually terrific. It’s a great device to place the audience in the time and place of the story, but it serves very little narrative purpose beyond that. And it’s in the meat of the score you realize the music is trying to paint a portrait of these characters, but there’s not enough paint.

The Rebel In The Rye is a valiant effort from Bear McCreary, who truly is one of the best composers working today. His style and approach always stand out, and he knows how to crack a narrative and tell a story like no on else. However with such weakly developed characters and an overall aesthetic and approach that we’ve seen hundreds of times before in other biopics, there simply wasn’t much to inform the music. The score only feels alive when it’s pumping the air full of swing music to make us feel like we’re there in the 1930’s and 1940’s. When it comes to actual storytelling, the score doesn't really feel organic and engrossing till the final 2 or 3 tracks when it sheds its melodramatic skin.

Rememory by Gregory Tripi (Review)

posted Sep 14, 2017, 11:55 AM by Kaya Savas


Rememory is a high concept thriller about a scientist who is murdered after developing a device that can extract your memories so you can re-experience them. A man named Sam Bloom takes it upon himself to solve the murder by looking at memories from people who knew the scientist, and of course finds a conspiracy that slowly unravels. The film itself is nothing to write home about, and thankfully within this misfire we do have a score that seems to have found a way to shine. Composer Gregory Tripi is probably more well known for his work with Cliff Martinez. He has served as Martinez’s score producer and additional composer on a number of scores. For Rememory, you can expect a score that does incorporate atmospheric synths but also lots of rhythms and melodic structures that keep you hooked all the way through.

The whole score truly does feel like a journey inside the brain. The electronic sparks and synthy drones feel like neurons firing, and it's building a picture in your head. There’s even moments of some true organic emotion that utilize strings, and in those moments we feel this rush that’s comparable to looking at a photo from the past of something beautiful or happy. Tripi somehow makes sense of the wildly chaotic plot of the film to find an emotional current. While synthscape scores are kind of the rage these days after Stranger Things, this one feels feels unique. There’s something really engaging and engrossing about how the music takes us on a journey and slowly reveals things to us. And the climax and resolution are quite noteworthy for standing out.

Rememory is a wonderful synthscape score. Gregory Tripi puts on display some fantastic narrative structure that really grabs you and lets the music work you over. If you think the style and sound would be similar to Cliff Martinez given Tripi’s close collaborative relationship with Cliff, don’t worry. This isn’t some Martinez knock-off score. Tripi really explores his own voice as a storyteller to give us fantastic melodic builds, electronic textures, and emotionally driven strings. While the film itself is a misfire, somehow the score managed to find the true core of the story and flesh it out surprisingly well. This one is definitely worth your time.

47 Meters Down by tomandandy (Review)

posted Sep 14, 2017, 11:55 AM by Kaya Savas


47 Meters Down takes the formula of The Shallows and asks “what if there were 2 girls? And what if it was underwater!?”. It’s a relatively effective and cheap way to make a horror/thriller if not wholly original or engaging. 47 Meters Down is composed by tomandandy, the composing duo made up of Tom Hajdu and Andy Milburn. The duo have no shortage of experience in this genre with scores like Mean Creek, The Hills Have Eyes, The Covenant, The Strangers, Resident Evil: Afterlife, Resident Evil: Retribution and others. If you’ve heard their other scores then nothing here will surprise you, and in the end the score is just a wash of electronic distortion that’s meant to add tension and uneasiness, but is ultimately just void of any emotional drive.

The score goes all in with the electronic distortion and really that’s all that the score has to offer. While atmospheric and dissonant scoring can work extremely well in some cases, here it really doesn't amount to much. The score is really just two working parts. The first part are the more tonal atmospheres that do help give a sense of being isolated underwater. The other part is just distorting sounds really loudly and abruptly. Pretty much the equivalent of sneaking up behind someone to scare them, but instead of going “boo!” you just punch them in the face instead. There’s no finesse or structured approach here that makes the score as effective as it should be. And the movie does have a little twist ending, which the score does handle as well as it can, but really there’s no personality for us as an audience to latch onto.

47 Meters Down is just your average B-movie score. It follows the simple premise of the movie and doesn’t do anything unique. You have your dissonance and atmospheric scoring, you have your tension builds, you have your moments of terror and then it’s over. The electronic approach here was perfect for the atmospheric tonal parts, but can you imagine if you had shrieking strings or droning cellos for the more terrorizing parts? I’m not one of those orchestral fanatics that hates electronics, but just having crunchy synths blasting loudly wasn't effective at raising my heartbeat at all. In the end, the score and film do the bare minimum needed and that’s it.

The Dark Tower by Tom Holkenborg (Review)

posted Sep 8, 2017, 3:03 PM by Kaya Savas


The Dark Tower came and went with a thud. One of Stephen King’s most prized literary works seemed like a no-brainer to adapt into a film, but things can always go wrong. With a poor approach that seemed botched from the start, the film had no idea what it wanted to be. Caught in the middle of studio demands and a director doing his best was Tom Holkenborg who was also doing his best to keep the film from collapsing. Holkenborg scored this movie 3 (count ‘em, 3) times, and it seems like third time was the charm. The final score is a great overall piece of work that simply lacks an identity of inspiration to make it stand out.

What The Dark Tower has going for it is a great atmosphere and overall approach. The movie itself is as basic as it gets with its good vs evil plot, so the score didn't have to to veer away from the formula too much. Synthy action cues blend well with the orchestral passages, and the central theme is quite nice. The whole sound is steeped in this gothic romanticism that builds nicely towards the climax. Given that the trailers were pushing for a western feel, it was interesting that not much of a western sound found its way into this supernatural world of gunslingers. In the end what was missing was probably some sort of heroic touch to make us care about our hero. The action itself isn't inspiring, but it gets the job done. And the orchestral world building moments lack any awe or gravitas.

The Dark Tower is a severely flawed film that ended up giving Holkenborg more than he bargained for I’m sure. With the film going through 3 full overhauls, it required him to start from scratch and re-write the score 3 times to match the new tone shifts that came with each new cut. Tom himself feels the 3rd and final cut is indeed the best of the 3, but it’s still a brisk run through all the familiar motions. While the thematic structure and overall approach are successful in what they set out to accomplish, we are still missing an emotional core and overall originality to make The Dark Tower feel unique or memorable.

Dunkirk by Hans Zimmer (Review)

posted Jul 24, 2017, 4:07 PM by Kaya Savas


Dunkirk is Christopher Nolan’s film that tells the story of the 400,000 British and allied soldiers stranded and cornered in northern France as the German forces closed in from land, sea and air to finish them off. In one of the most inspirational and miraculous stories from WW2; a 3-day halt order from the German forces was put into place which allowed for over 330,000 allied soldiers to be rescued. Many of which were rescued by civilian boats that sailed the 26 miles to the shores of Dunkirk to load allied soldiers.

Nolan’s goal for this film was not to tell stories of heroism and have a main protagonist that we follow through the events, but rather to show the visceral intensity of survival against all odds as well as the amazing triumph of human goodness to show how much the value of life drove everyday civilians to help take part in one of the biggest rescue missions in military history. Through the use of editing, cinematography, sound design and score Nolan was able to create a cinematic experience that shook you to the core and yet was still able to find enough humanity despite the lack of character development to make us care and make us feel. Hans Zimmer’s score was one of the most important parts of the film, literally being present in every second of screen time. The score is a fine-tuned machine meant to penetrate our inner psyche and replicate the dread, terror and chaos that the soldiers are experiencing on screen.

So before we dive into the music much further, it’s important to note that the soundtrack album is not the best representation of how the score functions within the film. If you are solely going off the album then you need to listen to the score in context of the film. The way the score was built was as 1 single cue. The score never stops and is the backbone supporting the picture from the first to the last frame. The CD album has separate tracks for the sake of presentation, but you are missing nearly 50min of score and nearly 50min of intricate structure.

The score is an absolute exercise in precision and structure, and its end result is so harrowingly effective. This score may seem simple since it’s built off of loops and rhythms, but the way it had to work with the editing is incredibly complex. You won’t find any big themes or melodies in this score; in fact it was the goal in order to make the score comment solely on the action with fear of death being the only emotion the music was trying to evoke. The only melodic material in the score comes from a rearrangement of a famous classical piece from Sir Edward Elgar titled "Nimrod". "Nimrod" in fact is movement 9 out of 14 movements that are part of the orchestral work known as Enigma Variation. Each movement is a variation on an original theme. "Nimrod" is an incredibly popular piece used at British funerals and memorial services. The title “Nimrod” refers to an Old Testament patriarch known as a mighty hunter before the lord. So in that sense, it has become a piece tied to death and war. This arrangement, done by the fantastic Benjamin Wallfisch provides the emotional payoff we get at the end of the film when help and safety finally arrive.

The most impressive thing about the score is how it works with the editing and sound design, it’s in this relationship where music and sound are able to effectively keep our hearts beating fast and our bodies tensed up. The music almost acts like the very waves that are rolling onto the beach of Dunkirk; it starts small and builds into these giant swells that finally crash and then pull back. There are certain things about the score that call back to how Hans approached this sense of chaos and dread in Black Hawk Down. In a sense this score took a certain aspect of that DNA and amplified it. Certain scenes are downright intense, one in particular that’s not on the OST is when a torpedo hits a ship and it begins to sink. The music in that scene makes it one of the most memorable in the entire film. And basically the score continues to provide this sense of dread and fight for survival for nearly the duration of the score. Some of the notes sound like a warning siren going off, constantly making you feel like danger is near. If there is a weakness to the score, and in turn to the film’s narrative, is that we really could have used a more central emotional arc that started as a seed and grew into the climax. I get it that Nolan wanted to keep it purely a visceral experience about survival and surviving long enough to be rescued, but there are moments of character seeping through, mainly from Kenneth Branagh’s character and we as an audience latch onto it like a castaway finding a tiny pool of drinkable water.

In the end of it all this is such an impressive execution of scoring precision that was meant to work not only with the edit but with the sound design. It’s a soul-shaking and stressful experience from start to finish and sets out to do what the film wanted to do. The score is filled with amazing approaches like the ticking clock motif that Hans has perfected over the course of a few scores like Interstellar and Sherlock Holmes, this time sampled from Nolan’s own pocket watch. It's understandable that the only emotional beauty comes from variation on the Elgar theme, it’s so the score wouldn't ever feel like it was being heroic or in a sense “Hollywood”. There’s a powerful line near the end of the film when some of the surviving soldiers finally get a blanket and the person handing them out is congratulating them and telling them “good work, boys. Well done”. One soldier responds, “All we did was survive.” And the man responds, “that’s enough.” That was the goal of the film and the score as well, just survive. Could it have used a little character development for us as an audience to latch onto? Sure. But talk to Nolan about that, not Hans. In terms of an exercise to use filmmaking to put the audience in the midst of an incredible survival story and rescue mission, the film and score succeed brilliantly. This score was a hard one for Hans and his team to crack, but they did it. They cracked it. It was a valiant team effort including contributions by Lorne Balfe, Benjamin Wallfisch, Satnam Singh Ramgotra, Andy Page and Andrew Kawczynski who all worked tirelessly to keep this behemoth of a score afloat as the edit changed and therefore would create ripples of issues to the structure. And when you see the entirety of it onscreen as it's meant to be experienced you'll see why. This 1hr 47min single cue of a score is a tremendous experience, see the film, and only then can you analyze the album presentation.

Wind River by Nick Cave & Warren Ellis (Review)

posted Jul 21, 2017, 12:44 PM by Kaya Savas


Taylor Sheridan has had a varied career as an actor, writer and a director. Sheridan floored everyone with his first feature script to the brooding thriller Sicario, which was immediately followed by Hell Or High Water. Now Sheridan returns to the directing chair for only the second time his second with Wind River. His only other directing job was for a horror film in 2011 called Vile, which he didn’t write. So with Sicario, Hell Or High Water and now Wind River we can get a truer sense of Sheridan’s style for brilliant character building and scripts that lend themselves to vivid visuals and sparse dialogue. Sheridan brings Nick Cave and Warren Ellis onboard for Wind River after working with them on Hell Or High Water, and what a perfect fit they are here. After reviewing War Machine I noted that Cave and Ellis are brilliant storytellers if the story fits their distinct style, which War Machine did not. Wind River is proof of how perfect their music can be for a film if the story and execution are a good fit for them.

In a score that touches back to the way they approached The Proposition, we get a deeply moving and emotionally heavy score filled with pain and beauty. The story of an FBI agent teaming with a local game hunter to investigate the murder of a local girl on a remote Native American Reservation establishes a canvas for a story that leads down a deep and dark hole. The music does a masterful job of painting the melancholic backdrop of the wintery and desolate Wyoming setting. The film, like Sheridan’s scripts for Sicario and Hell Or High Water, places characters within a stark and isolated setting where we seem disconnected from the real world. And like Sicario and Hell Or High Water, Wind River has a heavy amount of western genre overtones.

The music itself feels ancient, it feels tired, it feels old. We feel the weight of lifetimes coming through each note. Cave’s scratchy voice will sometimes peek through, whispering a ballad that sends chills down your spine, in a very similar approach to the score for The Proposition. As we venture deeper and deeper into the darkness there seemingly is more and more humanity injected into the score. It make everything feel so tactile and tangible and in turn emotionally riveting. The wailing voice motif that appears here and there carries us across the stark soundscape of the entire score almost acting like a checkpoint that we are getting closer to some kind of monster. Tragic beauty finds ways to peek through the simple draws across the fiddle which Cave and Ellis are known for. When we build to our big climax the score doesn't hold back, darkness and dread spill through. But we come out the other side bathed in light.

Wind River is brilliant storytelling by two masters of their craft. Cave and Ellis are absolutely perfect companions to Sheridan’s writing and directing. The composers are at home here with this dark crime mystery with a heaping amount of character study baked in. The score is rich with emotion, and it washes over like a chilling fog hugging you. Sometimes the chills you get are from the melancholic beauty of it all, sometimes the chills are from the pure darkness trying to pull you under. From moments of internal reflection to moments where it feels like score is crying from a deep emotional pain, Wind River is perfection from Cave and Ellis that show exactly how music should work with image.

A Ghost Story by Daniel Hart (Review)

posted Jul 21, 2017, 12:44 PM by Kaya Savas


When director David Lowery and composer Daniel Hart burst onto the scene with Ain’t Them Bodies Saints, we immediately saw two auteur storytellers working in harmony to create absolutely emotionally stirring narratives that pulled us in as an audience. After Ain’t Them Bodies Saints, Lowery went on to direct Disney’s live-action retelling of Pete’s Dragon which was also beautifully scored by Daniel Hart. With A Ghost Story we see Hart’s ability as a storyteller grow even more, and through this score he was able to find the absolute emotional core of this arresting experience. This music born from this film resonates deep within the audience and echoes the powerfully poetic narrative in the best way possible.

A Ghost Story is beautiful, it’s painful, it’s devastating and it’s uplifting. Daniel Hart found such a perfect tone and approach for the score that it’s able to resonate on a deeply emotional level without doing too much work. The music is never overbearing or manipulative, but each note feels like it’s being pulled out of a living soul. The music instantly feels personal, it instantly feels like it's commenting on your state of mind. The whole score feels like a ballad meant to accompany you into the afterlife, it carries your love and loss along with every beautiful moment you experienced in your lifetime along with every painful one. This sense of loss is carried through the score, but everything about the score feels like internal reflection which is why it resonates on a deep emotional level. The score itself is not too long and only does enough without overstaying its welcome. Daniel’s band Dark Rooms also contributes to the soundscape of the film, and everything works so well a whole. By the time we come to the end of the story we feel like we reflected on our entire life up to this point.

A Ghost Story is a score about life and everything that comes with it. It's a very broad description, but it’s the only way to describe how such a poignant and subtle score was able to capture every moment of happiness and heartache of life in one narrative experience. The score is a beautiful ballad about love and loss, and the music has this powerful quality that makes it feel like it’s bleeding out of your soul. Everything here is just such a beautiful and perfect match to David Lowery’s vision that you can’t help but be pulled in by the music. A Ghost Story is an exemplary example of Daniel Hart’s talents as a storyteller, as well as how well he works with director David Lowery. This score is a fascinating and deeply resonating examination of the human condition and shouldn’t be missed.

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