In a season marked by movies about showbiz, social change, and superheroics, many of the contending scores experiment with new musical sounds uniting the past and present.
Among the early frontrunners are Michael Abels’ genre-bending score for Jordan Peele’s flipped-out “Nope” (Universal), Son Lux’s maximalist score for the Daniels’ multiverse action-adventure, “Everything Everywhere All at Once” (A24), and Terence Blanchard’s African-infused score for Gina Prince-Bythewood’s historical epic, “The Woman King” (Sony).They are joined by the legendary John Williams’ final collaboration with Steven Spielberg on his TIFF-winning, semi-autobiographical “The Fabelmans” (Universal); Carter Burwell’s mystical score for Martin McDonagh’s dark bromance “The Banshees of Inisherin” (Searchlight); Christopher Spelman’s spare score for James Gray’s semi-autobiographical “Armageddon Time” (Focus Features), Kris Bowers’ complex score for Stephen Williams musical biopic, “Chevalier” (Searchlight), Tom Holkenborg’s expansive score for George Miller’s romantic fantasy “Three Thousand Years of Longing
Read full article