Shane Carruth - Upstream Color
The score by the film's director / actor / writer (impressive) was really alluring, inventive and was my key into a movie which, at times, was a bit murky.
Alexander Ebert - All is Lost
Ebert's (of Edward Sharpe & The Magnetic Zeros) melodic score made Robert Redford's trials and tribulations at sea a little more interesting to watch.
"Popular music usually has a chorus that needs to repeat, and people need to remember the song. That's sort of the major guideline when you're writing a song. And to be able to write something that did not have a chorus — and that would play for as long as it needed to and naturally disappear and come back whenever it needed to ... for me, that was very natural, actually. It was super liberating." -Alexander Ebert
Explosions in the Sky & David Wingo - Prince Avalanche
"Alone Time" is my favorite cue and its placement in the film is quite lovely.
Jóhann Jóhannsson - Prisoners
So I fell for this wacky, overlong melodrama mystery set in a wintery suburb in Pennsylvania. The laconic score by Icelandic composer Jóhannsson is a good match with Roger Deakins' beautiful, moody photography.
Cliff Martinez - Only God Forgives
After Drive, this movie and its use of music was a bit of a letdown but Martinez offers a memorable cut "Wanna Fight?" that's pretty much the film's only highlight.
Thomas Newman - Side Effects
Chilly and repetitive, but with a slight playful tone, Newman's score to Steven Soderbergh's is very fitting and guides the movie's eeriness and myriad of plot twists.
Steven Price - Gravity
"The visuals are incredibly beautiful, but equally, it's the most terrifying thing you've ever seen in lots of ways. So the music had to do both of those things and feel kind of very organic and very textural, but equally kind of help your stomach to drop when things were spinning around you." -Steven Price
Max Richter - Wadjda
Modern classical composer Richter provided some soulful music for this deceptively simple Saudi Arabian tale.
Rob - Maniac
Throbbing mosaic of music from the Phoenix bandmate with traces of Air and John Carpenter.
"I wanted to do something very melancholic and sentimental that's related to his childhood trauma—very naive melodies and a very soft and childish mood, so that it can contrast with the violence and the horror."
Skrillex & Cliff Martinez - Spring Breakers
The garishness of Skrillex and the moodiness of Martinez's usual music is well-matched to the vibe of this raw, neon-hearted farce.
Hans Zimmer - 12 Years a Slave
I guess the main complaint is that Zimmer's music sounds so similar to his work on Inception and The Thin Red Line. I definitely get it and Zimmer has never been one of my favorite composers, but I found the dreamy string motif "Solomon" was used so hauntingly and beautifully throughout--doggedly stuck in different scenes of different emotions.