Mostly Analytical, Quintessentially Overdramatic
Welcome to another emotionally charged period drama original score. This week we’re throwing it back to Joe Wright’s Atonement, original score by Dario Marianelli. There are a lot of mixed feelings about this movie given most of what happens, but we’ve yet to encounter someone who’s a fan of such scores say that Atonement‘s isn’t among their favorites. It’s the way that two seconds into the “The Half Killed” or
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For King and Country’s “God Only Knows” featuring Dolly Parton is a beautiful worship song I can’t stop listening to.
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As brilliant and captivating as the film, the Justice League original score is a masterful work of art for fans.
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It’s another Monday, but we’re back with another original score that never ceases to stun us. While Sanditon as a series may have ended with the type of heartbreak that makes the show hard to revisit, it’s original score by Ruth Barrett is an addicting beauty. From the track that serves as the series’ opening theme to “Charlotte and Sidney,” “Blue Shoes,” “Esther Takes the Reins,” “Possibility of Love,” “No
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Cinderella original score by Patrick Doyle is a sweet, breathtaking incredible number with songs worthy of replaying on a loop.
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The Pride and Prejudice original score brilliantly encapsulates a magic that’s nearly impossible to describe, no matter how hard we try.
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I still don’t know what I watched through Barb & Star Go to Vista Del Mar, but it was delightful all around and the soundtrack especially is a bop. We still have “Edgar’s Prayer” performed by Jamie Dornan featuring Amy Keys on replay and quite frankly I don’t know when I’ll stop singing along to the ridiculous number. The movie is fun and ridiculous and just so deliciously kooky in
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“Love Story” has always been a special song. While Taylor Swift’s Fearless album isn’t a particular favorite of mine, a few of the tracks are undeniably wondrous. The music industry is flawed and terribly corrupt, we’re seeing all the ins and outs of it through Framing Britney Spears and we got a colossal glimpse of it through Swift’s inability to secure the rights to her own songs. (How? Are the
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One of us is late to the party and has finally started watching The Witcher. And unsurprisingly, since we are all obsessed with scores, this one needed to be highlighted this week–especially because we can’t seem to take “Everytime You Leave” off of replay. The score is mostly enamoring and a magical gut-punch that hits in all the right ways, but goodness, “Everytime You Leave” is escapism and angst in
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Say what you will about Autumn de Wilde’s 2020 adaptation of Jane Austen’s Emma, I personally adore it. (And Emma is my favorite Austen novel, so yes, I’m generally pickier, but this was enjoyable through and through.) Differing opinions are fine, we get why it is not everyone’s cup of tea, but we will not stand for any criticism towards Isobel-Waller Bridge and David Schweitzer’s exquisite original score for the
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The Killers’ Imploding The Mirage is an album that improves with each play as most songs grow on you over time.
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Sufjan Stevens’ Love Yourself is a beautiful EP that honors the LGBTQ community through tremendous heart and stunning melodies.
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It’s a new year, but it’s the return of former categories. It’s about time we start talking about music again especially when in this house, original scores are our everything. Is this not what everyone else has replay right now? We can’t be the only ones, right? It’s too good. I’m not someone who could listen to anything but instrumentals when writing so I’m always paying attention to film/TV scores
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Taylor Swift’s ‘evermore’ is a brilliant kind of fall album packed with all the emotions we can’t get enough of.
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Shawn Mendes’ Wonder is an unexpectedly incredible album to jam out to.
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