Megalopolis, Gladiator II and more

Reviews on-the-go is a column that picks out a selection of soundtracks for single-paragraph “mini reviews”. Usually recent discoveries and releases, and usually recommendations, but not exclusively.

Megalopolis (Osvaldo Golijov, 2024)

Francis Ford Coppola’s long-awaited science fiction mythology extravaganza divided the waters – grand folly or unheralded masterpiece? What is beyond reproach, however, is the score by long-time Coppola collaborator Osvaldo Golijov (Tetro, Youth Without Youth), which gives it all its best as it tries to cover the film’s many faces – from oldfashioned, symphonic Rozsa-isms to mad jazz to layered, shimmering tone clusters. Brimming with details, it’s an impressive, sometimes challenging work to get lost in, showing off Golijov’s orchestration skills. The songs are somewhat of a verfremdungseffekt and can be whittled out for more consistent flow. Favourite tracks: «New Rome», «Noir Love», «Saturnalia: The Unveiling of Megalopolis»

Boy Culture: Generation X (Justin Bell, 2021-2022)

A sequel to the 2006 film Boy Culture, this series follows an escort-for-hire struggling to keep up with his younger colleagues in the digital age. Justin Bell (not to be confused with the video game composer of the same name) provides a throbbing, EDM-infused synth score that captures the dating and digital scene, sometimes counterpointed by strains of melancholia – the two extremes of the story. While it may grow a tad repetitive over one hour, most tracks are allowed time and space to develop, from grooves to dreamy layers and back again. A delighful synth highlight of the year. Favourite tracks: «Strip Dancing», «Running My Life», «Taboo»

White Bird (Thomas Newman, 2023)

Mark Forster film about a troubled boy who gains a new perspective on life when his grandmother tells him stories about escaping nazi-occupied France. Thomas Newman fans had to wait more than a year for this soundtrack to arrive (for reasons unknown), and expectations were only partially met. Yes, there are beautiful, shimmering, ethereal synth textures that only Newman can do and which we last heard in Tolkien (2019), as well as glimpses of his gorgeous Americana string modulations. But there are also long stretches of non-descript noodling in an album presentation that – at 76 minutes – is far, far too long. When boiled down to 40 minutes, the score’s flavour suddenly comes to life. Favourite tracks: «Aubervilliers-aux-Bois», «Songbird», «White Bird»

The Apprentice (Martin Dirkov, David Holmes and Brian Irvine, 2024)

It pains me to highlight anything related to the venom that is Donald Trump, even a subversive, satirical-critical film like this. But the score, primarily composed by Martin Dirkov, with additional music by Brian Irvine and veteran David Holmes (the Ocean’s movies), is so infectious, it’s hard not to. Largely electronic, one half of these succinct 30 minutes deliciously capture fake mythology, rise to power and ‘yuppie’ life (riding that disco wave!), while the other part takes a darker, more ambient turn, befitting the subject matter. Like Moroder through a grinder. If you can distanciate yourself from the film’s titular character, it’s a solid, supremely entertaining concept album about synthetic truths and ideologies. Favourite tracks: «Spice», «Three Rules», «Roy’s Birthday»

Culte (Rob, 2024)

A fictional Prime Video TV series about France’s first iteration of the reality show Big Brother, of all things. Being set in the early 2000s, and given the technological media angle, Rob (aka Robin Coudert) is the perfect fit with his always colourful, and somewhat retro, synths. For this score, he mixes semi-baroque, acoustic elements with melodic, bright electronic sequencers (beeps and bloops!) for the voyeurism and the cameras. It’s as if it tries to say something about the Big Brother concept being a modern take on old farcical comedies. The music never takes itself too seriously, and instead chugs along with a quirky, almost Morricone-ian momentum. A great, mature meeting point between Rob’s acoustic and electronic abilities. Favourite tracks: «26 Cameras», «Studio 104», «En Direct»

Here (Alan Silvestri, 2024)

Like most of Robert Zemeckis’ recent work (with the exception of 2012’s excellent Flight), his latest film is another misfire, both critically and commercially, in a story about a single place inhabited by different people over a long period of time. But at the very least it allows his longtime partner Alan Silvestri to keep moderately active. For the first time since Ready Player One (2018), Silvestri makes an impression with the kind of sweet, warm, feather-light drama he does so well, often reliant on piano, strings and woodwinds in Forrest Gump mode. Not particularly striking as far as themes go (beyond the wildly extrovert track «This is Here»), but beautifully layered and unmistakably him in how chord progressions are constructed. It’s comforting to hear that he still has it, even if his assignments have dwindled considerably over the years. Favourite tracks: «Opening», «This is Here», «End Credits»

Midas Man (Alex Baranowski, 2024)

Alex Baranowski keeps on delivering, year after year. For this biopic about Beatles manager Brian Epstein, his score wisely eschews nods to 60s Britpop, and instead opts for a more jazzy approach, maybe with hints of Epstein’s Jewish heritage. Nothing ever straight-up, though, as usual he mixes things up with laidback percussive riffs, or a wistful line for clarinet that carries most of the thematic material. That’s always what makes his music interesting – making the most with a limited amount of instruments, organically infusing texture with melody, old-school and modern, concrete and abstract. A brief cameo of John Williams’ Catch Me If You Can theme seems to appear too, for whatever reason.  Favourite tracks: «A Secret», «America», «Bigger Than Jesus»

Gladiator II (Harry Gregson-Williams, 2024)

Since Hans Zimmer refused to step back into his Gladiator sandals for Ridley Scott’s sequel, his former protegée Harry Gregson-Williams seemed like a natural second choice based on his experience with historical Scott epics (Kingdom of Heaven, The Last Duel). Alas, it never reaches those heights. The best parts remain the references to Zimmer’s iconic score, while the battle and action music feel surprisingly generic. Brief moments of decency are heard in the more down-tempo and ethereal parts, or when ethnic elements are applied, but over the course of 70+ minutes, it becomes rather stale. There are about 30 minutes of wortwhile music here, if you’re up for a whittle. Not the inspired Harry Gregson-Williams Gladiator we all had hoped for, but not bereft of value either. Favourite tracks: «Strength and Honor», «Smooth is the Descent»

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