With the 90th Academy Awards to air this evening, we thought we’d take a look at some of the nominees… the nominees for Best Original Score, that is, from film score composers Carter Burwell, Alexandre Desplat, Johnny Greenwood, John Williams, and Hans Zimmer.

Dunkirk

To dub Hans Zimmer’s soundtrack for Dunkirk as “intense” would be an understatement. The album seems to be made for the sole purpose of pushing the viewer onto the edge of their seat; and it accomplishes its goal masterfully. The tracks “The Mole,” “Supermarine,” and “The Oil” capture the tense theme especially well, and while the movie could not achieve the same effect without them, they are capable of standing alone and still producing the same chilling, heart-racing effect without fail. Hans Zimmer uses “Shepard tones” — an auditory illusion that tricks the mind into thinking that a tone continually ascends or descends in pitch-in order to create the creeping, rising theme that permeates the film at every turn. Thism along with the full orchestra and air-raidesque wailing, further serves this purpose. Dunkirk’s soundtrack is a masterpiece, and receives a full five-out-of-five stars from us. ✰✰✰✰✰

The Phantom Thread

Johnny Greenwood’s score for The Phantom Thread is, to put it plainly, excellent. The tracks feature a prominent presence of a string orchestra, with violins and violas generally commanding the melody. Piano and harp are also featured occasionally as well, and add that extra touch. The tracks “Phantom Thread I”, “Barbara Rose,” and “Sandalwood I” are ones that we especially enjoyed listening to on repeat. The high-pitched, stuttering violins are excellent additions, and the sophistication behind some of the melodies perfectly highlights the high class, 1950s London world that the film takes place in. The soundtrack is stellar and works closely with the movie, earning it a five-star rating from us. ✰✰✰✰✰

The Shape of Water

Alexandre Desplat’s versatile tracks for The Shape of Water leave nothing to be desired. The soundtrack’s employment of original background tracks as well as pre-existing songs creates a well-integrated blend and does not bombard the audience with a vocal-heavy repertoire. Lilting, hopeful flutes contrast the heavy cello and bass undertones, while the harp serves to present an unknown, deep watery element that is welcome in a film sporting such a title. Song choices include “I Know Why (And So Do You),” performed by the Glenn Miller orchestra, and “Chica Chica Boom Chic.” sung by Carmen Miranda, highlighting the stark contrast present between some of the tracks. All of these elements work in tandem to produce a pleasant listening experience worthy of repeating. ✰✰✰✰

Star Wars: The Last Jedi

Chances are that you’ve heard Star Wars’ classic “Imperial March” or “Cantina Theme” even if you aren’t a Star Wars enthusiast, and for good reason, too. John Williams is a decorated composer, and he shows us why throughout his entire soundtrack. From bombastic brass bellows to gentle, beautiful themes, Williams clearly shows us how diverse his music can be. Many of the tracks also include snippets of other, past themes, giving it that perfectly nostalgic taste. Although we are still of the opinion that Star Wars: The Force Awakens offered a slightly better soundtrack, we have nothing against this one either. It’s not difficult to see why it is one of the Best Soundtrack nominees. ✰✰✰✰

Three Billboards Outside Ebbing, Missouri

Three Billboards’ soundtrack also consists of original themes and pre-existing songs, and the combination of the two elements creates an appropriate mood throughout the movie’s 115 minute runtime. Some of the most memorable tracks, “Buckskin Stallion Blues” and “His Master’s Voice,” are excellent additions. The scene that features “His Master’s Voice” is arguably the best scene in the entire movie and sports an incredible acting performance from Sam Rockwell. The entire track is very diverse and offers everything from atmospheric tones to more intense, almost western-style riffs. It is not the most impressive soundtrack that we have ever heard, but it does not disappoint in the long run. ✰✰✰

Honorary Mention:

Interstellar

This acclaimed 2014 science fiction film was nominated for 5 Academy Awards, including “Best Original Score,” though it lost to Alexandre Desplat’s score for The Grand Budapest Hotel. We felt that it deserved an honorable mention, however, as it truly makes an impact on the listener as they view the film. Most of the tracks use the same general melody in different variations, though this simplicity works perfectly in both the grand scheme of the characters’ escapades, as well as the more personal, heart-wrenchingly human moments of the film. The organ that is featured prominently creates a tone unmatched by any other instrument that could have been used. Zimmer’s powerful, nostalgic score encourages one to play the soundtrack on repeat, and we have done so more than we care to admit. Interstellar is a masterpiece both visually and musically and receives five stars from us. ✰✰✰✰✰