Ten Great Movie Soundtracks

Although it may not seem like it, soundtracks in films can define your opinion on the film. This list will showcase ten soundtracks that are not only great on their own, but also within the film to make it a truly memorable experience.

It’s impossible to sit down and actually decide what are the best film scores of all time. There are so many that are absolutely amazing and as soon as someone does say “this is objectively the best” there will be a horde of people telling them they’re wrong. So instead of saying that these are the best, here are ten great film soundtracks that I wholeheartedly recommend.


Mulholland Drive

Angelo Badalamenti always knows how to make a wonderfully terrifying score. Mulholland Drive is certainly one of his greats and the partnership that Lynch and Badalamenti had made all of Lynch’s films even better than they already were.




Even if you’re sick of hearing Hans Zimmer in nearly every single movie nowadays, it’s hard to deny that his work on Christopher Nolan’s space epic Interstellar was mayhaps one of his best ever scores. At points reminiscent of another score that will feature in this list, yet Zimmer even redefines his own style in this powerful score.



It Follows

It Follows came out this year and surprised most audience members as it was a bold and unique throwback to classic 80’s horror. This was certainly assisted by the very John Carpenter-esque soundtrack that was prominent throughout the movie. As a personal fan of 80’s aesthetic, It Follows was an instant hit for me.



Blade Runner

In my opinion, no list about film score would be complete without Vangelis’ memerizing score for – again, my opinion – one of the greatest sci-fi films of all time. It’s a classic, and it’s soundtrack is equally great.



The Social Network

Another splendid partnership that works brilliantly – or is it trio? David Fincher, Trent Reznor and Atticus Rose have created great films/soundtracks together with The Girl with the Dragon Tattoo and Gone Girl but still The Social Network stays the most memorable.



The Grand Budapest Hotel

The soundtrack for Wes Anderson’s The Grand Budapest Hotel certainly deserved to win the Oscar for best motion picture soundtrack – even ahead of Interstellar. Just like the film it is charming and fabulously exquisite. If there was any music that felt like it captured the wonder of Stefan Zweig’s work; Alexandre Desplat certainly achieved that.



Only God Forgives

Arguably one of the most divisive films of the past decade, even those who hated Nicolas Winding Refn’s thriller, Only God Forgives, have said that Cliff Martinez’s score is great. Just like he did in Refn’s previous film, Drive, Martinez managed to beef up the visuals by delivering again with a stellar score.



Fire Walk With Me

Is it cheating to include another Lynch film? Another divisive film, but I’ll defend it to the death. Badalamenti has a host of fantastic score credits under his belt but his score for Fire Walk With Me is my personal favourite of his.



Star Wars

What better way to get yourself hyped up for the new Star Wars film that to listen back to John Williams original masterpieces. One of the most iconic film soundtracks to date, Williams’ sound is instantly recognizable.



A Discussion about Twin Peaks: Fire Walk With Me

David Lynch’s spin off film of his exquisite show TWIN PEAKS has garnered many divisive opinions. Masterpiece or nonsense? True to the show or does it bastardise it? Here’s my take.

An excerpt from an upcoming podcast in which Paul (aka me) discusses David Lynch’s Twin Peaks: Fire Walk With Me.


How to Make an Art-House Masterpiece

Arthouse movies are usually hit or miss. Only a few select individuals actually know how to create a masterful piece of cinema. However, is it really that hard to do it?

Art-house. What does it mean? It’s not a house full of art, but an explosive mental experience that only a select few human beings can comprehend. Simply put – since your Neanderthal brains are so dense – art-house is the highest form of visual entertainment and you should feel bad for not grasping its cultural significance. This article will not only educate you on what art-house cinema is, but also how to become an auteur like Alejandro Jodowrosky, David Lynch, Andrei Tarkovsky, Uwe Ball and Terrence Mallick. So strap in, concentrate and for once in your life use your brain. This; is how to make an art-house masterpiece.

First off, forget the script. Cinema is all about the visuals. Dialogue? Please, unless you want to seem like another bog standard idiot who runs about Hollywood chasing wads of cash and being hated by everyone, including your own family, you’ll scrap any notion of including any spoken lines. Don’t restrict yourself to a strict structure, let the camera tell the story and allow the visuals to flow.

One notable example is Godfrey Reggio’s Koyaanisqatsi (try saying that after a few pints). It’s a masterful film that explains how much of a destructive imbecile you really are, but not by telling you through mere words, but by holding a mirror up to your face and jabbing it into your eyes.


Lighting is key for any film to appear artistic. If nothing of any interest is actually going on, just have a two hour slow moving montage of a bunch of locations which have a pretty light in them. Red lighting specifically as you can basically say the red represents sex, anger or death. The perfect recipe for any first date.

Legendary auteur Ryan Gosling showcased how well he can utilize lighting to make a scene powerful, memorable and downright arousing. Take this scene from Lost River, where Ben Mendelson serenades the audience with a lovely jingle.


When you’re finally putting it all together, add some highbrow moral message about how pandas are the greatest living beings to have never lived or about how being single is the equivalent of being a racist, mass murdering psychopath who throws up before eating their victims. If people don’t get it, then they’re idiots, not you.

Birdman, for example, is a perfect example. Alejandro González Iñárritu basically mocks the audience, critics and basically everybody else in the world as he knows, like me, that everyone is a moron who only likes watching explosions, clichés and porn – they’re all basically the same thing aren’t they?


And there you have it; if you have followed this guide then I don’t expect to see you at the Oscars as that’s for Oscar baiting hack frauds that thrive on nothing but money. But at least you’ll develop a cult following who will defend your film to the death. Now fuck off.

Lost River Review – Gosling’s Directorial Debut is Bold and Brilliant.

It was booed at Cannes just like the last film he starred in, Only God Forgives, yet Ryan Gosling’s directorial debut Lost River may be once again another misjudged wonder. Gosling wears the influence of Nicolas Winding Refn on his sleeve, and he is not subtle about it as the bright contrasting colours, neon, and excessive amounts of gore are all things that Refn are well known for. However, Lost River is closer akin to a David Lynch film than to a Refn one. You could easily say that Lost River is in a sense Blue Velvet but with some Refn imagery thrown in.

Lost River has two stories. The first follows single mother Billy (Christina Hendricks) being forced to work in an erratic entertainment club where the people there engage in anything that can really be described as gore fetish. The second follow her son, Bones (Iain De Caestecker) as he faces against a bully called Bully (Matt Smith) and gets closely involved with a girl called Rat (Saoirse Ronan). This all takes place on the backdrop of a crumbling town akin to Detroit.

Contrary to what the consensus is, the story is not confusing, there’s just not too much to it. Some messages are not explored and the ones that are, are quickly thrown at the audience within the first 10 minutes. There is a surprising amount of information left out in Lost River, but it works. This is why it is so much like a Lynch film. There is a lot of wonderful imagery but there is never any real explanation for it. This could be why Gosling is criticized for this, because what he has essentially done is create a Lynch film. The story is loose, there is a vast amount of surreal imagery, Matt Smith’s character is outrageously ridiculous but it fits in so well. The biggest criticism then of Lost River is that Gosling’s voice is sadly not heard throughout it as he borrows mainly from Lynch.

All this being said, however, Lost River may be one of the most stylish films in a long while. Every shot is a treat for the eyes and mixed with Johnny Jewel’s stellar score you are given a real treat. This is where Gosling flourishes, as amongst the borrowed imagery you see his own, and it shows a lot of promise for him as a director, he just needs to find his own voice and use it.

One of the best things about Lost River though is the gore fetish club. It’s one of the most ludicrous displays that I have ever seen, yet it is amazingly interesting. I got the feeling that Gosling was making a joke towards Nicolas Winding Refn. Winding Refn has said in the past that he is a “pornographer” and that he gets off on hyperviolence and gore. Plus, just like the shells deep inside the club, Winding Refn has been accused of being misogynistic and portraying women poorly in his films. Is Gosling making reference to this? Is this club just basically Nicolas Winding Refn’s Fun House? The entrance to the club is similar to the mural in the fight club in Only God Forgives, and the prolonged scene where Christina Hendricks cuts her face off – and made me near faint – reminded me of the prolonged torture scene from the same film, it was incredibly uncomfortable.

In conclusion, Lost River has it’s faults, but if you are a fan of Lynch and Refn and you can forgive Gosling for borrowing their imagery, then you may enjoy it. It is certainly a film that will grow on you, and Gosling has a lot of potential, hopefully he continues to make bold unsafe films like this.