The Very Best Movie Music of the Decade

Best Movie Music of the Decade

( This short article is part of our Finest of the Decade series.)

Movie might have begun as a visual medium, however from its earliest days music has actually been utilized as a basic element of its presentation. From tack piano and organs to sweeping orchestral suites, through to modern electronic soundscapes and hipster-approved needle-drops, the soundtracks to our favourite films play an indelible role in our gratitude of these remarkable films. Some utilize music as a basic narrative point, while others dust it along with the other elements of filmmaking to sway feelings and draw audiences together with the story.

The only thing more useless than attempting to make an agreement list of the best movies of the decade is to make a definitive list of the very best soundtrack components, considered that taste in music is a lot more personal and particular than the mass home entertainment of movies, yet’t is the season for such futile efforts! Rather, think about this as an event of 10 years of where the music is either brilliantly essential to the satisfaction of the film, or where the exploration of musical concepts is key to the topic being covered, or finally where the entire narrative is structured around the performances of taped songs.

Here’s is/ Film’s list of finest musical film minutes for the 2010 s.

The Social Media (2010)

I admit being entirely suspicious when it was announced that Aaron Sorkin and David Fincher were collaborating on a film about Mark Zuckerberg’s site, a URL I ‘d invested years performatively preventing.

The Master (2002)

From Ella Fitzgerald to contemporary classical, Johnny Greenwood continued his sonic explorations far from Radiohead in remarkable ways. Drawing considerably from the Polish master Krzysztof Penderecki (who at 86 years old might be the best living composer), Greenwood’s delicious score bristles with emotion, often changing between syrupy, laconic lines and biting, morbid attacks. For a film of such complexity and shifts in tone and state of mind, ball game rides atop like the boat at the center of the story, browsing the waves and rushes of emotion with seeming effortlessness. This is no pop star playing enjoyable on the planet of strings, this is a legit professional of the art drawing flawlessly from giants of the kind to develop nothing except contemporary symphonic wonderment.

Arrival (2016)

His principle collaborator was Denis Villeneuve, and from Prisoners through Sicario and Arrival he securely developed a special voice, where his scores would pierce at times like bullets and at other times feel like they’re emerging from within your body. His work wasn’t all doom and gloom– look at the lovely and fragile work he did for Marc Forster’s otherwise forgettable Christopher Robin— and this balance in between light and dark is best exhibited in this score he did for Villeneuve’s extraordinary extraterrestrial extravaganza.

The Last 5 Years (2014)

I doubt even the filmmakers enjoy this movie as much as I do, however I firmly think that Richard LaGravenese’s adjustment of Jason Robert Brown’s masterpiece is the fantastic motion picture musical of the age, presaging the styles of Marriage Story a half years previously. It’s a fantastic film desperate in requirement of discovery by more than those currently rabid fans that love this gem.

Very First Male (2018)

Of all the movies this years, this is one that most likely was worthy of more love and attention than it got. After the overtly musical Whiplash and La Land, 2 other collaborations with Damien Chazelle that definitely could have been on this list, I rather focus on Justin Horowitz’s rating for orchestra, heremin and Moog synthesizer showed to be one of the more stellar aspects of this film.

As Soon As Upon A Time … In Hollywood (2019)

I have actually spilled more than a couple of words on this impressive collection of songs from Tarantino’s newest movie, but months later on I’m still enthralled every time I hear a clip of Los Bravos’ astounding should-have-been-a-hit “Bring a Little Lovin'”, or even the astonishing Neil Diamond track “Bro Love’s Taking a trip Salvation Program” that was an addition by the movie’s editor, one that QT fought against and (appropriately) succumbed to. Like the remainder of the film, this feels the most mature collection of tracks in a Tarantino film, completely evoking the time period and balancing esoterica and downright classics in equal step. For a movie of such ambition the music was always going to do a great deal of the heavy lifting, and this supreme choice of songs is what elevates this to be what I stand is Quentin’s most accomplished film.

Remarkable Grace (2018)

It possibly gauche, however the day I discovered that the Queen died my heart was lifted not only protect in the immortality of her skill, however that this documentary may lastly see light of day. Aretha Franklin declined the film’s presentation, suing the filmmakers and forcing organizers to pull it from Telluride and TIFF moments before its debut. Now, after her passing, this glorious event of her talent is freed from her own struggles and insecurities, and we’re talented by this divine presentation of her Gospel recording. Initially shot by Sydney Pollack for a TV special back in 1972, it was manufacturer Alan Elliott who shephered the project, using modern-day technology to resync picture and noise. The end outcome, with her cooperation with the equally exeptional James Cleveland, is worthy movie that celebrates among the best albums of all time, where we get a distinct peek at titanic skill digging as deep as she ever did into her soul and producing a sound that will never be heard again.

Frozen (2013)

I remember going to a press screening of this movie, and knew I saw something truly extraordinary. I was surrounded by a bunch of underwhelmed critics who believed it satisfactory at best, yet I understood from the first notes of Robert Lopez and Kristen Anderson-Lopez’s soundtrack that this one got it right I predicted it ‘d best Lion King, and even I ignored what it would rain down. It’s even easier now to be cynical about the movie after the billions of dollars and perpetual repeating, but it’s the music that makes Frozen so amazing, constructed with an accuracy and beauty that would make any Ice Queen melt. “Let It Go” is musical theatre perfection, a wondeous connection between word and tune, coupled with a belting performance by Idina Menzel that sent out shivers. Robert Lopez is now a numerous EGOT recipient (!), yet it was these tunes that genuinely took the words and tunes of these partners to a totally new audience. Moving from earlier Broadway success with Avenue Q(2003) and Book Of Mormon(2011) through to other incredible animated soundtracks like with Coco(2017), this pair are the prime movers in musical collaboration, bringing their immaculately built tunes to filmgoers around the world.

Inside Llewyn Davis (2013)

It’s a Coen Brothers film about felines and pre-Dylan folk Greenwich Village folkies, and that’s already catnip for me. The biggest enjoyment of what possibly the biggest movie of the decade is the method that Joel, Ethan and T Bone Burnett (along with contributions from the likes of Marcus Mumford) merged fact and fiction, twisting the quote that “ if it was never ever new, and it never ever gets old, then it’s a folk tune” to represent an artist a various kind of crossroad, one that instead of gifting him with wicked skill like the bluesmen rather traps him inside a temporal helix where he’ll always be struggling like Sisyphus on that smoky, poorly lit phase.

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Angie Ronson

Angie Ronson is Editor-in-Chief at THRS. She covers the transformative impact of new technology on all sectors.