What Is The Last Score You Listened To? (2025 Scores)

[filmmusic 3,008]

Electronic score that's definitely not for me! (I listened to it though)

 

[crocodile 9,516]

 Wicked: For Good. The chronological-ish 129-minute programme combining score and songs. The film is very underwhelming but the music on its is pretty good actually. The melodramatic boat that drags the story down is exactly the thing that offers John Powell more opportunity to spread his wings dramatically.

 

Perhaps I will give a listen to the extended playlist combining material from both films (plus some material from the first score that appeared on FYC album). That's 4 hours 39 minutes!

 

Karol

[tomsmoviemadness 4,628]

Ocean - Steven Price

 

It's very much like his other work for Attenborough projects like The Hunt, Our Planet or A Life On Our Planet. But I just really enjoy the soundscape and vibe he creates.

 

The strings, the vocals, it has a sort of dream like quality I really enjoy.

[Bespin Copilot 10,512]

I’ll be honest, I’m a close friend of Vital Productions, with whom I’ve already collaborated on one of their documentaries. Here is the music from their latest film, composed by Pierre‑Yves Martel. The film tells the story of two adventurers, Samuel Lalande‑Markon and Simon‑Pierre Goneau, who journey from southern Québec to its northernmost point by bike and ski, exploring both the frozen immensity of the land and the complex relationship Québecers maintain with it.

Give a listen!

Pierre-Yves Martel, Marche au pays réel (North of ourselves) (2025)
 

 

[Thor 9,334]

My review of MARTY SUPREME (Daniel Lopatin), for anyone interested:

 

https://celluloidtunes.no/marty-supreme-daniel-lopatin/

[Jay 45,124]

Thor's back?

[crocodile 9,516]

 Play Dirty. And unexpectedly entertaining and classy thriller/heist score from Silvestri to what looks like a very undeserving film.

 

Karol

[#SnowyVernalSpringsEternal 11,808]

On 29/12/2025 at 1:34 PM, Jay said:

Thor's back?

 

He's the strongest Avenger, remember?

[FBC Director 10,721]

He's missing an eye.

[#SnowyVernalSpringsEternal 11,808]

That was 3 films ago

[FBC Director 10,721]

Some people change.

[Xander Harris 9,055]

Most people don’t.

[FBC Director 10,721]

Well... I'm sorry you feel that way.

[Edmilson 11,597]

Sinners won Best Original Score at the latest Critics Choice Awards and is now the frontrunner for the Oscars.

 

Score

• Hans Zimmer, “F1” (Apple Original Films)
• Alexandre Desplat, “Frankenstein” (Netflix)
• Max Richter, “Hamnet” (Focus Features)
• Daniel Lopatin, “Marty Supreme” (A24)
• Jonny Greenwood, “One Battle After Another” (Warner Bros.)
• Ludwig Göransson, “Sinners” (Warner Bros.) (WINNER)

Poor Jonny... Every time he has a shot at the Oscar, someone who is not even on their first win appears to take the award from his hands. First it was Desplat with The Shape of Walter (2nd win), then Zimmer with Dune (also 2nd win) and now Göransson with Sinners.

 

If LG indeed win for Sinners, it will be his 3rd Oscar (!). And if he also wins next year for The Odyssey, not only he will be one Oscar short of John Williams but also will be the first composer to win for two consecutive years since Gustavo Santaolalla two decades ago.

[filmmusic 3,008]

 

Not for me. Zimmer of the past is long gone..

 

 

Quite good I'd say (though minimalistic as always), but too depressing even for me that I like depressing scores. I guess I wasn't in that mood during this festive period.

[#SnowyVernalSpringsEternal 11,808]

On 05/01/2026 at 12:15 PM, filmmusic said:

Quite good I'd say (though minimalistic as always), but too depressing

 

Or too emotionally retarded?

[BloodBoal 8,022]

[#SnowyVernalSpringsEternal 11,808]

8 minutes ago, BloodBoal said:

 

I miss Vicente del Bosque!

[filmmusic 3,008]

So, I concluded the Golden Globe nominations with this:

 

 

It has some good moments, but I don't know, I will never get into Desplat I'm afraid.

(edit: Oh, I forgot to say, that I might have been a bit biased, because I love the Patrick Doyle one)

By the way, if I had to choose something to win from the nominations (not that I was thrilled or anything, but let's say someone pointed a gun on my face! ), I would choose Hamnet.

[Edmilson 11,597]

I wish I liked Frankenstein better than I did, both on movie and on album. But I should try it again one of these days...

[Edmilson 11,597]

Out of all the Oscar scores from this year, this was the one I was expecting to like the most. I'm not a Richter specialist, but I liked the little I have heard of his music. 

 

But eh... This is kinda boring. I was expecting something melancholic and introspective yet emotional, but I only got the "introspective" part. It's all very atmospheric, but at the same time it's quite sterile and unobtrusive. I wouldn't mind if this was mostly ambient music as long as it had some emotional hook, but nah.

 

Some parts are pleasant and pretty, but whenever you feel like something interesting is starting to happen, it's gone before it could reach its full potential.

 

Which is not to say it's completely dull... A few tracks are decent, especially at the end. There's the "On the Nature of Daylight", the omnipresent Richter piece that everyone knows (I still love it by the way) and what seems to be the end titles suite "Of the undiscovered country" has the emotional minimalism that I wanted to hear more on this score.

 

But overall, it's all pretty boring, sterile and monotone. I hope it at least works well in the movie though...

[Edmilson 11,597]

After reading about Brian Tyler's near death experience in another thread, I decided to give his Oscar-shortlisted score a go. He can be good and even great sometimes and I came in with an open mind.

 

It's not really a great sign when you press play on a score for a Holocaust-themed movie, and the very first notes you hear were clearly taken from Schindler's List. I mean, come on Brian, couldn't you be a little less obvious? I know the moronic directors and producers probably put Schindler's List on the temp track, but at least disguise it a little.

 

But then he apparently heard my advice and his score went in the opposite direction from what one would expect for a Holocaust score. Despite the Schindler's List-"inspired" theme being present, it's not the main theme. In fact, the bulk of this score doesn't resemble Schindler at all.

 

This is a very "modern" score, something that could have been written for a thriller movie set in the modern day. There are lots of electronics and tropes that most Hollywood composers use these days. 

 

Most of the score is kinda Hans Zimmer-like. Tyler had shown occasionally that he could decently emulate a Zimmerish sound, and here his music had a Zimmer gravitas that particularly reminded me of Inception, with its long notes on the lowest registers of the orchestra augmented by synth textures.

 

The main theme, on the other hand, feels like it was inspired by Dario Marianelli's theme for V for Vendetta. I wonder if Marianelli's score was an intentional reference to Tyler, because both scores feature an ascending theme that is used to convey a sense of forward motion, of society slowly rising against a dictatorial, oppressive government.

 

Anyway, if you can get past the fact that this doesn't seem like what you'd expect for the music for a Holocaust movie, then give it a try. 

[filmmusic 3,008]

I'm just listening to this soundtrack for a Greek film, which is a version of A Christmas Carol (too ambitious if you ask me for Greece).

For the love of me, I cannot understand if it's a real orchestra or samples. Sometimes it sounds like samples, sometimes, the strings especially, don't sound too "sampled" to me. Then again, technology  must have progressed a lot these last years, that I'm away from composing. And I cannot find any info on the soundtrack.

eg. if you can do me a favor and listen to track 11 at 2.17'' and on.. what do you think? are there string samples that sound like this??

Anyway, the soundtrack has sprinkles of Elfman, but I don't think it's something I would listen to again..

But, if it's all samples, it's very well made I'd say.

 

 

[Jay 45,124]

Rob Simonsen - Elio

 

Finally listened to this for the first time, now that I finally saw the movie.  I enjoyed it, though I wouldn't say it blew me away. Basically its one of those scores that's easy to forget about if you want to go back to listening to the amazing film scores from your formative years, but compared to most other scores of 2025 its actually pretty great!  I enjoyed the way 80s video-game-sounding synths were blended with the orchestra, and tracks like "Hold My Glorp" is just a super fun track I've added to a best of modern film scores playlist.  As for whether or not it would make a top 10 scores of the year for me, well, I still have a lot more scores to listen to....

 

 

[HunterTech 1,643]

 

 

This is already shaping up to be a better TRON score than Ares