~ The 15 Best Movie Soundtracks of 2014 ~

[MysteRy]

The 15 Best Movie Soundtracks of 2014



With awards season in full-swing, there’s a lot of talk about who was the best director, who wrote the best screenplay and who gave the best on-screen performances in 2014. But the element that brings together the storytelling, cinematography and editing into a world of cinematic wonder is sometimes taken for granted: the music.

Soundtracks help set the pace and the mood for a scene. The music can tell viewers when a situation is stressful, when they should feel hopeful or when it’s time to unleash the tears. Music creates the atmosphere, whether it’s tense, with dissonant chords and low tones, or uplifting, with sweeping violins and cheerful melodies. While we may not always walk out of a movie saying “that music was amazing,” sound is just as important as the other elements that make a film great.

There was a lot of great music in cinema last year, like the quirky original songs in Frank, the nostalgia-ridden Awesome Mix Vol. 1 in Guardians of the Galaxy, and the haunting score that permeates Gone Girl. From collections of popular songs to original scores, here are the 15 Best Soundtracks of 2014.



15. Whiplash (Damien Chazelle, 2014)

.
A film about music is inevitably going to have a soundtrack that showcases what makes music so all-consuming to those who practice it. But the soundtrack for Whiplash does more than that. It sets the impossibly fast tempo that gets the heart racing for this unrelenting film about the search for perfection and the palpable fear of failure.

Andrew (Miles Teller), a 19-year-old drummer, may start off as shy, but inside him burns the fire of not just wanting to be great, but wanting to be the best. And so the music that bursts out of him is like that fire: fast and raging. What drives him is not the search of the happiness that comes from doing what he loves, but the desire to be perfect and the fear of what his mentor will do if his performance is anything less that flawless.

The music also reflects the volatile relationship between Andrew and Fletcher (J.K. Simmons), the terrifying teacher who is willing to push him past his breaking point, past tears and bleeding hands, until he finds that perfection within. You never know what will happen between these two, but you can be sure it won’t involve the words “good job.”

[MysteRy]

14. The Guest (Adam Wingard, 2014)

.
Many have compared this film to Drive, mainly because the main character is a stoic, unflinching, good-looking guy with a penchant for violence—although Dan Stevens’ jacket isn’t nearly as cool as Ryan Gosling’s. Genre-wise, the similarities stop there. While there are about equal amounts of blood-shed, The Guest is a little less serious and uses violence more for sheer entertainment.

Another thing these films seem to have in common is the synth-heavy soundtrack. In The Guest, the ‘80s-style tunes serve to establish a likeness to horror films of the era, in which a psychopath would hide in the midst of a small town, waiting for the right time to wreak havoc.

The music is mostly diegetic, and David (Stevens) even proclaims to like it. While there’s evidently something a little off with him and he can’t be trusted, this one statement does seem genuine. Maybe it’s because when he cranks it up, the danceable beats and electronic sounds help drown out whatever it is that’s going on inside his head.

[MysteRy]

13. The Grand Budapest Hotel (Wes Anderson, 2014)

.
The music in Wes Anderson’s films tends to be as rich and complex as the sets. The soundtrack for The Grand Budapest Hotel is no exclusion. The music is full of arrangements and details that add to the wonder of the world Anderson created for this film, set in the Alps in the time between the World Wars.

Just as the film requires undivided attention, maybe even multiple viewings, to catch all the little visual jokes and intricate details in the background, the score requires equal attention to catch all the arrangements and the variety of instruments that round out the sound.

The music, composed by Alexandre Desplat, blends baroque elements like the harpsichord with military-style rolling snare drums and whimsical bells. The result is a dramatic but light-hearted score that reflects Anderson’s dry, self-conscious humor and the beautiful and often ridiculous realities that he creates.

[MysteRy]

12. Under the Skin (Jonathan Glazer, 2013 – released in 2014)

.
If there’s one aspect of this film that critics agree on, it’s that not everyone will appreciate its subtle pace or openness to interpretation. With little dialogue and basically no exposition, it’s up to the audience to decide what they think is going on. That’s where Mica Levi’s unsettling score comes in, raising the hairs on the back of your neck as you experience this seductive, predatory, unnamed alien (Scarlett Johansson) walking in her new human skin.

Described as a horror sci-fi film, Under the Skin transcends the genre, raising a lot more questions than it answers. The same can be said for the score, which makes you wonder what instrument could possibly be making that sound, or whether the slow, steady beat will eventually explode into something more. The result is a constant feeling of being on the edge of your seat, convinced that at any moment all could be revealed.

The answers are never laid out the way you expect; the beat changes in surprising ways but never fully reaches any expectations of where it’s going next. This film, and its dissonant music, will linger in your mind for days as you try to sort out what happened and how it made you feel.

[MysteRy]

11. Guardians of the Galaxy (James Gunn, 2014)

.
Like any Marvel film, Guardians of the Galaxy counts with an epic original score, filled with dark, ominous moments and grandiose, adventurous themes. Unfortunately for composer Tyler Bates, what most viewers will remember of this film’s soundtrack is Peter Quill’s (Chris Pratt) Awesome Mix Vol. 1, a mixtape worthy of its title.

As the representative for the entire human race, there’s a lot of pressure for Peter’s character, a.k.a. Star-Lord, to be likeable. While that is mostly accomplished by Pratt’s general awesomeness, sympathy for this character is successfully established through his love of his Walkman, which is packed with the songs of his childhood that connect him to his roots on the planet he left far behind.

With timeless tracks like “I’m Not In Love” by 10cc and “O-o-h Child” by The Five Stairsteps, this soundtrack will bring a smile to even the toughest alien’s face. The nostalgic tunes not only make Star-Lord relatable, they will inevitably make you want to find the Star-Lord in yourself.

[MysteRy]

10. Cold in July (Jim Mickle, 2014)

.
Yet another homage to the ‘80s, the decidedly masculine Cold in July blends elements of neo-noir and buddy comedy. There’s plenty of gratuitous violence in this exploration of machismo, where Richard Dane (Michael C. Hall, rocking a mustache and a mullet) unlocks a web of unexpected events after shooting an intruder.

The formerly tremulous father embarks on a road paved with blood and shell casings, as an ex-con (Sam Shepard) and a private eye (Don Johnson) show him what it means to be a man in 1980s Texas. As expected, this all takes place to the sound of dark, electronic beats interspersed with the iconic arena rock of the era.

The music—along with the mustaches, VHS tapes and enormous cell-phones—helps establish the easily parodied time period, which the film embraces in all its glory. It also sets the tone for the many violent scenes and the tension as Dane fails to anticipate the plot twists ahead of him.

[MysteRy]

9. Interstellar (Christopher Nolan, 2014)

.
It begins with the sound of wind gusting in the midst of a snowstorm. A vague melodic sound is born in the distance and slowly grows louder. A strong gust suddenly brings in a low bass note, ominous as it reverberates, contrasted by organ notes playing in the background.

The notes begin to meld together into a melody. More and more instruments join in, adding layers of melodies that intertwine. The rhythmic ticking of the clock and a ghostly chorus erupt as Cooper struggles with the loss of his family for the sake of humanity. Hans Zimmer’s score for Interstellar is as complex as the physics explored in the film.

The music is intricate and cerebral, which is fitting since many scenes in this film are dedicated to discussing science and philosophy. As astronauts Cooper (Matthew McConaughey) and Amelia (Anne Hathaway) travel through a wormhole in search of a new home for mankind, the music blends into the background at times, and suddenly bursts with sweeping crescendos at others.

Love, longing and the painful passage of time are the themes that carry this philosophical film, and the score gives voice to all the emotions that rage within the astronauts as they move further from—or closer toward—their loved ones.

[MysteRy]

8. Palo Alto (Gia Coppola, 2013 – released in 2014)

.
As unsupervised teenagers wander through life in a haze in Gia Coppola’s first film, they are accompanied by easy, dreamy tunes. Adapted from James Franco’s book of short stories, Palo Alto offers a glimpse into the fleeting time between childhood and adulthood.

Not particularly a plot-driven film, it captures the mood of that transitional period, which we all remember but can’t ever recreate. The soundtrack, which includes original music by Devonte Hynes and Robert Schwartzman, captures than sensation of rolling through the moment without wasting a thought on consequences.

Taking place in a nice, Northern California neighborhood, the main characters aren’t facing any dire situations or deep emotional trauma. Their anguish stems from within, as the question of “who am I?” begins to surface. The tracks that accompany their angst are mellow—these teens are in no rush to grow up—yet tinged with a certain melancholy, perhaps from knowing deep down that these moments are fading. They remind the viewer of a time that was both simpler yet also more confusing than any other.

[MysteRy]

7. A Girl Walks Home Alone at Night (Ana Lily Amirpour, 2014)

.
A Girl Walks Home Alone at Night is largely being described as “the first Iranian Vampire-Western,” and the only way to understand what that means is to watch it. In her first feature film, writer and director Ana Lily Amirpour creates a unique but recognizable world in the fictional ghost town Bad City. The mostly desolate streets—shot in beautiful, surreal black and white—are sparsely populated with addicts, pimps, and generally lonely people, the loneliest of which is the eponymous vampire girl.

Our immortal vigilante, who roams the streets on a stolen skateboard, fills her lonely hours with a love of music. Her passion is evident when she plays the perfect track, “Death” by White Lies, during an intimate, tender moment with fellow loner Arash.

The music isn’t just a reflection of the title character. Amirpour carefully created a soundtrack for each character, mixing the cool, moody tunes of Iranian rock band Radio Tehran, the western sound of Federale and the techno beats of Farah.

[MysteRy]

6. Obvious Child (Gillian Robespierre, 2014)

.
It might seem a little too vague to call a soundtrack “honest.” Maybe what makes it seem so is that it’s the backdrop to such an honest film. In this clever romantic comedy, Donna Stern (Jenny Slate) is a comedian faced with a life-altering decision when she learns that she’s pregnant after a rebound one-night stand. Except it doesn’t turn out to be such a one-night stand when Max (Jake Lacy) keeps popping into her life and she likes him more than she expected.

The music reflects the candor of Donna’s character by mixing tracks that highlight her irreverent sense of humor, like “Nevada” by Scout Niblett, her youthful spirit, like “Singularity” by HITS, and her vulnerability, like “Letting Go” by Casey Brooks.

And then, of course, there’s the song that inspired the film’s title, Paul Simon’s “The Obvious Child,” which perfectly sums up the spirit of the film. The song speaks to growing up and finding your identity, or maybe finding that you still haven’t’ figured it out. It’s the perfect backdrop to the scene where Donna and Max drunkenly dance in their underwear, just enjoying the ephemeral moment.

[MysteRy]

5. Inherent Vice (Paul Thomas Anderson, 2014)

.
Defining this film’s soundtrack is almost as complex as defining its plot. Adapted by Paul Thomas Anderson from Thomas Pynchon’s almost unadaptable novel, Inherent Vice is a noir-style mystery set in California in the early ‘70s. The deeper we delve into the convoluted plot, the less we have any idea what’s going on. No one is who they seem, and untangling the mess of lies and disguises seems almost impossible.

As Doc Sportello (Joaquin Phoenix) dives into a world of deception in search of his ex’s new flame, he constantly finds himself exactly where he didn’t want to end up. Seemingly unconnected stories begin to intertwine, keeping the viewer slightly lost and confused.

The soundtrack is equally complicated, combining Radiohead guitarist Jonny Greenwood’s unexpected compositions with ‘70s classics like Can’s “Vitamin C,” Minnie Riperton’s “Les Fleurs,” and Neil Young’s “Journey Through the Past.” Greenwood’s score surprises with orchestral instrumentation mixed with ominous, cinematic tunes, mirroring the many twists and turns that Doc’s journey takes.

[MysteRy]

4. Gone Girl (David Fincher, 2014)

.
At this point, we’ve learned to expect great things when David Fincher, Trent Reznor and Atticus Ross team up. Yet somehow they manage to keep surprising us with great films accompanied by great music. This film is dark, tense and full of unexpected twists—unless you’ve read the book, and then it’s even more exciting to see the revelations play out on screen. The soundtrack reflects all those attributes, with unexpected progressions, haunting tones and even a few whimsical moments.

The music sets the tense atmosphere of this film, which just keeps slowly building beyond what most viewers think they can handle. With beautiful piano interludes followed by electronic beats, Reznor and Ross’ score keeps the brain guessing what could possibly happen next. The same could be said of the film, which changes pace so subtly and aptly.

While we know the musicians are perfectly capable of fast, raging tempos, in this film they keep it slow and pulsing. The score swiftly moves with the story, leading viewers astray into unexpected corners until they’re suddenly somewhere completely different than where they expected.

[MysteRy]

3. Only Lovers Left Alive (Jim Jarmusch, 2013 – released in 2014)

.
Adam (Tom Hiddleston) and Eve (Tilda Swinton) are the couple that all other couples dream of becoming. They’re connected on a deep level, even when they’re thousands of miles apart. They’re gorgeous, immortal, wise and effortlessly cool.

Adam collects old records and vintage guitars, surrounding himself with odd, beautiful things. Eve voraciously consumes literature, reading the classics in minutes—not to mention she’s close with Christopher Marlowe (John Hurt), the man who many believe to have written the works attributed to Shakespeare.

Yes, there are many films about vampires out there, but Only Lovers Left Alive is a unique look at a love of art and creativity that keeps these immortal beings interested in their eternal life. That love of art is reflected in the complex, ethereal music that permeates the film. Just like its main characters, the soundtrack is cool and mysterious, with distorted guitars, exotic instruments and an unearthly sound.

Mostly composed and performed by Jozef Van Wissem and SQÜRL (Jarmusch’s band), the soundtrack echoes Adam’s disillusionment with the world, which he feels has become infected with the indifference of humans. But the music also mirrors Eve’s conviction that there are still curious and wonderful things left to discover that make life worth living.

[MysteRy]

2. Frank (Leonard Abrahamson, 2014)

.
While the endearingly strange film Frank touches on themes like the creative process, authentic art and fleeting fame in the age of YouTube, at its heart it’s really about being an outsider. Frank (Michael Fassbender) is the ultimate outsider, creating art that is so great and so weird that it’s not destined to become popular. But when he’s with his band Soronprfbs, a collection of equally strange characters, they create a synergy that is beyond them, and their music becomes fantastic.

The soundtrack to this film reflects just that, with songs that are quirky—sometimes simple and other times elaborate—but in such a way that they end up being little masterpieces. The music also reflects the polar opposites of the songwriting process.

On one hand, there’s Jon (Domhnall Gleeson), who tries to write songs about waves and ladies in red coats and comes up with nothing. On the other hand, there’s Frank, who can find inspiration in the most mundane things (creaky doors and a tuft in the carpet), but he elevates them to something more by projecting his inner peculiarity onto them.

This insane soundtrack, comprised of original songs by Stephen Rennicks, is the perfectly weird, authentic, inspired vehicle to carry this heartfelt story to all the creative outsiders out there.

[MysteRy]

. Boyhood (Richard Linklater, 2014)

.
While there’s already one other nostalgic soundtrack on this list, what sets the Boyhood compilation apart is how the music is used to place the viewer in time. It’s quite the undertaking to film a movie over the course of 12 years. Besides the actors, who grow old on-screen, the music ties this movie together and gives it a continuity that makes the story relatable.

Even if you weren’t a complex little boy who grew into a focused young man, the placement of the songs throughout the film helps viewers connect to their own memories. By using radio favorites, like Coldplay’s “Yellow” and Gotye’s “Somebody That I Used to Know,” the film makes audiences think “Hey, I remember when that song was popular. I remember where I was in life.” It instantly creates a bond with the main characters, as we see a little of ourselves in their struggles and small victories.

As Mason (Ellar Coltrane) so eloquently says at the end, “It’s always right now.” That statement encompasses the entire film, which is really a collection of the little moments that add up to who he is. And the music embodies that too, engaging us in each moment and making us appreciate it before we move on to the next.