“John Williams does it again” is a phrase a lot of people are used to hearing. And, well, Johnny has done it again, delivering his first non-Spielberg score in nearly a decade with THE BOOK THIEF. An adaptation of Markus Zusak’s novel, it’s set in Nazi Germany and tells the story of a young girl’s relationship with her foster parents and a Jewish man who is hiding in their house as World War II begins. Continue reading




The great joy of listening to new music – especially film scores, where similarity is often inherent – is finding something you truly adore from the first bars. JOHN CARTER is perhaps the score where this previously happened the most profoundly, with the gorgeous statement of Carter’s theme along with the otherworldly vocal instantly making me fall in love. You can add Abel Korzeniowski’s ROMEO & JULIET to this. Continue reading



Even with his army, Hans Zimmer is one hell of a prolific composer. After MAN OF STEEL and THE LONE RANGER already under his belt for this year (and 12 YEARS A SLAVE to come), here’s another massive piece of work to digest: the score to RUSH, Ron Howard’s retelling of the 1976 Formula 1 championship battle between James Hunt and Niki Lauda. Continue reading



And then there’s John Williams. The man. The legend. The unstoppable Godzilla of contemporary film music. Johnny hit big in 2012 with two highly acclaimed scores in the guise of The Adventures of Tintin and the incredible War Horse, so what better way to kick off 2013 than with LINCOLN, Steven Spielberg’s tribute to the most famous American ever. And suitably, Williams has composed an elegant score befitting that most excellently-bearded gentleman. Continue reading



It seems like the summer season is once again a never-ending flood of sequels and reboots this year, with Superman and Iron Man having had their turn and Wolverine and the gang from Monsters, Inc to come. So it’s no wonder that a lot of faith is being placed in PACIFIC RIM, the new original (well, not really original but you get the drift) blockbuster from Guillermo Del Toro that pits giant monsters against giant robots. What can go wrong? Continue reading



Amazing! Terrible! These are almost always the two terms most used when a new Hans Zimmer score is released. With the film score community seemingly split down the middle in regards to the composer’s talent and methods, a new Hansy album provokes fiery debate without fail. But this is no ordinary score, this is MAN OF STEEL. This is Superman. An American icon, and one with the kind of musical heritage and association that makes this a challenge to not only produce a great score, but to win hearts and minds. Let battle commence. Continue reading