“The Last Guardian” by Takeshi Furukawa

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You may have already heard of or even played Fumito Ueda’s latest masterpiece The Last Guardian. For those who didn’t, it’s a PlayStation game that has been in active development for a mind-boggling decade. But last November it finally hit the shelves and with it came one of the most beautiful game soundtracks of recent times. Takeshi Furukawa’s original score covers the whole range. From the sensitive piano driblets that emphasize the touching relationship between the boy and the beast, to propulsive but never repetitive rhythm sections that drive you forward during the tense action sequences. Atop of that Furukawa wrote…

“Prometheus” by Marc Streitenfeld, Harry Gregson-Williams

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My most wanted film of 2012 was Prometheus by Ridley Scott. Despite all its mind-boggling flaws, I still enjoyed the hell out of this movie. A thing that initially couldn’t be said about Marc Streitenfeld’s score though. While it’s still very effective and on certain tracks actually really good, it definitely fell behind the previous four scores of the Alien saga (yes, even Resurrection). Having said that, it kinda grew on me over time and I really appreciate the score now for being able to set the mood. Its atmospheric and unsettling sounds deserve recognition and what better way than…

“Kong: Skull Island” by Henry Jackman

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For the most part I was pretty underwhelmed by Kong: Skull Island. Instead of being entertained by an adventurous thrill ride I was irritated by a whole lot of problems. The “plot” is an absolute joke. Pacing is all over the place. The characters are your usual stereotypes… and even the monster fights can’t stand a chance against Peter Jackson’s King Kong from 2005. It seems like there’s not much left to like about this film. Certainly not Henry Jackman’s mediocre score. Okay, maybe the atmospheric cinematography by Larry Fong. And a particularly nice typography during the film’s opening and closing credits. But there’s…

“Ex Machina” by Ben Salisbury, Geoff Barrow

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My clean-cut plan to raise visitor stats from last week’s blog post seemed to work. All facts at hand are providing a strong suspicion that at least one of my two additional visitors was redirected here through those cleverly placed hashtags. To calm the crowd I immediately follow up this week with a not-so-popular soundtrack. In fact, I’m pretty sure that the bulk of film music fans couldn’t care less about an electronic score like Ex Machina. But I do. In my book it’s an absolute benchmark when it comes to audio post-production. Alex Garland’s directorial debut is an amazing, downright incredible visual experience, but combined with the musical score from…

“Cloverfield” by Michael Giacchino

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There are two kinds of people: Those who leave a movie theater as soon as the credits start rolling and those who hold out until the very end, when the lights finally come back on. If you are part of the second group like me, you probably know of all the rewards you get if only you keep your ass seated as long as possible. Starting from the usual mid- and post-credits scene to animated end credits rolls and occasional outtakes. The most rewarding thing however might be those brief moments of tranquility, when you can just lean back and…