7. The Grey
Composed by Marc Streitenfeld
Haunting, evocative, and quietly beautiful, Marc Streitenfeld’s work on Joe Carnahan’s harrowing elemental drama is as unsettling and challenging as the film itself. Given the film’s subject matter, there must surely have been temptation to compose a percussion-heavy, heart-pounding action score, but Streitenfield instead practices restraint, using melancholy strings and soft ambience to focus instead on the fear and doubt clouding the characters’ hearts. Above all else, The Grey is about death, about man’s connection to the unknown, and the ability of Streitenfeld’s score to musically embody the ethereal concept of mortality is a major component of why the film works so powerfully. This is not an easy score to listen to on its own, but it leaves such an immense impression in context that it must surely stand as one of the year’s greatest compositional efforts.
6. Skyfall
Composed by Thomas Newman
At his best, Thomas Newman is one of the most interesting composers working in film today, but I feel he only intermittently gets to demonstrate the full extent of his considerable talent. Who would have thought a James Bond film – even one as spectacular as Skyfall – would provide the opportunity for Newman to really stretch his musical legs? This is a stupendous blockbuster score, and while Newman nails the emotional elements as well as he always has, it is the tense and action-packed moments that really impress.
Making wonderful use of low strings to hammer home intensity, experimenting with electronic sounds during quiet moments of espionage, and letting the horns blare in ways that would make original 007 composers Monty Norman and John Barry proud, Newman’s music perfectly complements – and enhances – Sam Mendes’ stylish direction and Roger Deakins’ gorgeous cinematography. The film’s unique, compelling musical texture is a little unlike anything else the Bond series has ever had, even as it evokes the most iconic elements of the franchise’s musical DNA in key moments. This is a great score – just as enjoyable as a standalone album as it is in context – and whoever directs Bond 24 should seriously consider keeping Newman on board.
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