BAFTA Winners 2024
The British Academy of Film and Television Arts (BAFTA) have announced the winners of the 78th British Academy Film Awards, honoring the best in film in 2024.
In the Best Original Music category, the winner was Daniel Blumberg, who won the award for his score for The Brutalist, director Brady Corbet’s epic drama about the life of a fictional Hungarian architect who emigrates to the United States in the aftermath of the Holocaust. Accepting his award, Blumberg said:
“Thank you so much for acknowledging the work and the BAFTAs. And thanks to Brady [Corbet], its been amazing to work with one of my best friends. And I want to thank my co-producer Peter Walsh, who’s here for working so hard on the film. And all these incredible musicians who played on the score, like John Tilbury and Axel Dorner. Oh yeah, and John’s wife Janice for making lunch every day! Thanks to Mark my manager, and my family Stacy [Martin] and Keith, and my friends at Oto. Thank you.”
The other nominees were Volker Bertelmann for Conclave, Kris Bowers for The Wild Robot, Robin Carolan for Nosferatu, and Clément Ducol and Camille Dalmais for Emilia Pérez.
IFMCA Award Nominations 2024
INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION AWARDS NOMINATIONS ANNOUNCED
BEAR MCCREARY LEADS LIST OF NOMINATED COMPOSERS WITH SIX NOMINATIONS; ANIMATED FILMS, TELEVISION SHOWS, DOMINATE ‘SCORE OF THE YEAR’ CATEGORY; SHORT FILMS INCLUDED AS A NEW CATEGORY FOR FIRST TIME
FEBRUARY 13, 2025. The International Film Music Critics Association (IFMCA) announces its list of nominees for excellence in musical scoring in 2024, for the 21st annual IFMCA Awards. Composer Bear McCreary leads the list of composer nominees with six nominations, followed by Kris Bowers, who has four.
Four of American composer McCreary’s nominations are for his work on the second season of the Amazon Prime fantasy television series The Lord of the Rings: The Rings of Power, which is nominated as Score of the Year and Best Television score, and also received two nominations for Composition of the Year. McCreary also received a Comedy Score nomination for his work on the Kevin Smith’s nostalgic coming-of-age film The 4:30 Movie, and was himself nominated for Composer of the Year; his work in addition to The Rings of Power and The 4:30 Movie includes a creative and entertaining score for the horror flick Imaginary, and music for the latest seasons of multiple TV shows such as Outlander, Halo, and Masters of the Universe, which he wrote along with his staff composers at Sparks & Shadows. Read more…
SCL Award Winners 2024
The Society of Composers and Lyricists (SCL) has announced the winners of the sixth annual SCL Awards, honoring the best in film and television music in 2024. The SCL is the premier professional trade group for composers, lyricists, and songwriters working in the motion picture, television, and game music industry, and is headquartered in Los Angeles. The winners are:
OUTSTANDING ORIGINAL SCORE FOR A STUDIO FILM
- KRIS BOWERS for The Wild Robot
OUTSTANDING ORIGINAL SCORE FOR AN INDEPENDENT FILM
- DANIEL BLUMBERG for The Brutalist
OUTSTANDING ORIGINAL SCORE FOR A TELEVISION PRODUCTION
- ATTICUS ROSS, LEOPOLD ROSS, and NICK CHUBA for Shōgun
OUTSTANDING ORIGINAL TITLE SEQUENCE FOR A TELEVISION PRODUCTION
- JEFF TOYNE for Palm Royale
OUTSTANDING ORIGINAL SONG FOR VISUAL MEDIA – DRAMA/DOCUMENTARY
- DIANE WARREN for “The Journey” from The Six Triple Eight
OUTSTANDING ORIGINAL SONG FOR VISUAL MEDIA – MUSICAL/COMEDY
- TRENT REZNOR, ATTICUS ROSS, and LUCA GUADAGNINO for “Compress/Repress” from Challengers
OUTSTANDING ORIGINAL SCORE FOR INTERACTIVE MEDIA
- WINIFRED PHILLIPS for Wizardry: Proving Grounds of the Mad Overlord
DAVID RAKSIN AWARD FOR EMERGING TALENT
- ANDREA DATZMAN
SPIRIT OF COLLABORATION AWARD
- HARRY GREGSON-WILLIAMS and RIDLEY SCOTT
SCL JURY AWARD
- JEFF BEAL for The Cabinet of Dr. Caligari
Movie Music UK Awards 2024
2024 has been a difficult, challenging year for multiple reasons, but one aspect that continues to impress was the overall quality of its film music. I heard more than 800 scores in 2024 – either as a soundtrack album, in movie context, or both – and I ended up rating 98 of them **** or better, a decent rate of return by anyone’s standards.
Television music and video game music continues to exceed expectations, and at this point scores written for those media can easily stand shoulder-to-shoulder with traditional film scores – and often exceed them in terms of quality. I always say that there is great film music being written all over the world if you are prepared to put in a little effort to seek it out, but this year I’m very happy to also report that five of my ten nominees for Score of the Year were for major, mainstream Hollywood productions, and all of them feature the big, bold, thematic orchestral writing that drew me to the genre in the first place.
These are joined by a trio of excellent scores from the UK, from France, and from Poland, as well as the TV and game scores I previously mentioned, while my winners and nominees in the various genres are taken from an enormous cross-section of world cinema, and include films and TV shows from locales as disparate as Finland, South Korea, Hungary, Japan, Spain, China, Sweden, and more. After going through what it has gone through over the past few years film music’s resurgence continues, and I hope that this article allows you to discover some gems that catch your ear and touch your heart.
So, without further ado, here are my choices for the best scores of 2024! Read more…
JUST CAUSE – James Newton Howard
Original Review by Jonathan Broxton
Just Cause is a psychological thriller based on the 1992 novel of the same name by John Katzenbach, directed by Arne Glimcher, starring Sean Connery, Laurence Fishburne, Blair Underwood, and Ed Harris. The film follows Paul Armstrong (Connery), a Harvard professor and former lawyer, who is drawn back into the legal world when an elderly woman pleads with him to help her grandson, Bobby Earl Ferguson (Underwood), a black man convicted of the brutal murder of a young girl in a small Florida town. Initially reluctant, Armstrong is convinced of Bobby Earl’s innocence after the accused claims that he was coerced into confessing by a ruthless sheriff, Tanny Brown (Fishburne). As Armstrong investigates, he uncovers more inconsistencies in the case and follows leads that point to another suspect, serial killer Blair Sullivan (Harris), who is incarcerated for another crime. However, as the case unravels, Armstrong slowly realizes that not everything is as it seems. Read more…
Under-the-Radar Round Up 2024, Part 7
Original Reviews by Jonathan Broxton
I’m pleased to present the latest installment in my on-going series of articles looking at the best under-the-radar scores from around the world.
This article, the seventh and last of 2024, is a massive bumper crop covering NINE scores from across the world, all of which deserve to be considered in people’s end-of-year best lists. The scores include a Spanish animated adventure film, an acclaimed WWII documentary, an Italian comedy-drama, a Hungarian historical epic film, an uplifting and life-affirming Norwegian documentary , a sultry Italian thriller TV mini-series, a Spanish Christmas-themed animated action-adventure comedy, a Spanish horror-thriller TV series for Netflix, and a Japanese drama television series! Read more…
REBEL WITHOUT A CAUSE – Leonard Rosenman
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Warner Brothers Pictures was looking for a vehicle to showcase their new, young contract actor James Dean. In 1954 they decided that they had finally found it with a 1944 novel by Robert M. Lindner, “Rebel Without A Cause: The Hypnoanalysis of a Criminal Psychopath”. They purchased the film rights, David Weisbart was assigned production with a $1.5 million budget, Stewart Stern was hired to write the screenplay, and Nicholas Ray was tasked with directing. For the cast, James Dean would star as Jim Stark, and joining him would be Natalie Wood as Judy, Sal Mineo as John “Plato” Crawford, Jim Backus as Frank Stark, Ann Doran as Carol Stark, Corey Allen as Buzz Gunderson, and William Hopper as Judy’s father. Read more…
THE QUICK AND THE DEAD – Alan Silvestri
Original Review by Jonathan Broxton
The Quick and the Dead is a Western action film written by Simon Moore, directed by Sam Raimi, and starring Sharon Stone, Gene Hackman, Russell Crowe, and Leonardo DiCaprio. The story follows Ellen (Stone), also known as The Lady, a mysterious gunslinger who arrives in the frontier town of Redemption circa 1881. The town is controlled by the ruthless John Herod (Hackman), a powerful outlaw who has installed himself as the town mayor and who now hosts an annual quick-draw tournament where gunfighters compete to the death. Ellen enters the tournament with a secret motive – she seeks revenge on Herod for the death of her father, a marshal whom Herod had killed when she was a child. As the competition unfolds, Ellen encounters various colorful participants, including The Kid (DiCaprio), a cocky young gunslinger claiming to be Herod’s son, and Cort (Crowe), a former outlaw turned preacher who refuses to kill. Read more…
EMILIA PÉREZ – Clément Ducol, Camille Dalmais
Original Review by Jonathan Broxton
One of the most acclaimed films of 2024, and the recipient of 13 Oscar nominations, is Emilia Pérez. Directed by the French auteur Jacques Audiard and filmed almost entirely in Spanish, it is a genre-bending mix of ideas: it explores themes involving Mexican drug cartels, political corruption, and transgender issues; it is about redemption and forgiveness; tonally, it veers from heavy drama to absurd comedy, and even includes some action sequences; and, most importantly from the point of view of this review, it is also a fully sung musical containing almost twenty originals songs, each performed by different members of the cast. Read more…
OKLAHOMA! – Richard Rodgers, Oscar Hammerstein II, Adolph Deutsch, Robert Russell Bennett, Jay Blackton
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In 1943 Richard Rodgers and Oscar Hammerstein II’s “Oklahoma!” opened on Broadway and ran for an unprecedented 2,212 performances. Studios began a bidding war to acquire the film rights in hope of capitalizing on the play’s phenomenal success. Eventually Magna Theatre Corporation prevailed, purchasing the rights for an astounding $1 million. It would take eleven years to get the project off the ground as the company insisted on using a new widescreen filming process called “Todd-AO”. Arthur Hornblow Jr. was assigned production with a $6.8 million budget, Sonya Levien and William Ludwig were hired to write the screenplay, Agnes de Mille would stage the choreography, and Fred Zinneman would direct his first, and only musical of his career. A fine cast was assembled, which included Gordon MacRae as Curly McLain, Shirley Jones as Laurey Williams, Gloria Grahame as Ado Annie Carnes, Charlotte Greenwood as Aunt Eller, Rod Steiger as Jud Fry, Gene Nelson as Will Parker, and Eddie Albert as Ali Hakim. Read more…
Academy Award Nominations 2024
The Academy of Motion Picture Arts and Sciences (AMPAS) have announced the nominations for the 97th Academy Awards, honoring the best in film in 2024.
In the Best Original Score category, the nominees are:
- VOLKER BERTELMANN for Conclave
- DANIEL BLUMBERG for The Brutalist
- KRIS BOWERS for The Wild Robot
- CLÉMENT DUCOL and CAMILLE DALMAIS for Emilia Pérez
- JOHN POWELL and STEPHEN SCHWARTZ for Wicked
These are the first Oscar nominations for Blumberg, Bowers, Ducol, and Dalmais, although Bowers is a 2-time Oscar nominee in a different category – Best Documentary Short – which he won in 2023 for The Last Repair Shop. It is the third nomination for Bertelmann (who previously won for All Quiet on the Western Front in 2022), the second nomination for Powell, and the fourth nomination for Schwartz (who previously won for Pocahontas in 1995). Schwartz also has five previous nominations as a songwriter, with wins for Pocahontas in 1995 and The Prince of Egypt in 1998.
In the Best Original Song category, the nominees are:
- ABRAHAM ALEXANDER and ADRIAN QUESADA for “Like a Bird” from Sing Sing
- CLÉMENT DUCOL, CAMILLE DALMAIS, and JACQUES AUDIARD for “El Mal” from Emilia Pérez
- CLÉMENT DUCOL and CAMILLE DALMAIS for “Mi Camino” from Emilia Pérez
- ELTON JOHN, BERNIE TAUPIN, BRANDI CARLILE, and ANDREW WATT for “Never Too Late” from Elton John: Never Too Late
- DIANE WARREN for “The Journey” from The Six Triple Eight
The winners of the 97th Academy Awards will be announced on March 2, 2025.
FAR FROM HOME: THE ADVENTURES OF YELLOW DOG – John Scott
Original Review by Jonathan Broxton
Far from Home: The Adventures of Yellow Dog is a family-friendly adventure-drama written and directed by Philip Borsos. The film follows the journey of a teenage boy named Angus, played by Jesse Bradford, who is spending the summer with his family in a remote part of British Columbia. While there, Angus befriends a stray dog named Yellow, who has a mysterious past. After a series of unfortunate events, Angus and Yellow become stranded together in the wilderness when a storm hits. As the two navigate the challenges of the wild, they face dangers such as wild animals, the elements, and the need to find food and shelter, and must work together to find their way back to safety. It was a moderate success upon its release in the early months of 1995, and many found it to be a nostalgic throwback to the popular Walt Disney ‘wilderness adventure’ films of the 1950s and 60s. Read more…
Under-the-Radar Round Up 2024, Part 6
Original Reviews by Jonathan Broxton
I’m pleased to present the latest installment in my on-going series of articles looking at the best under-the-radar scores from around the world.
This article, the sixth of 2024, covers another five scores from a wide array of genres and countries, including a spectacular documentary score about dinosaurs, a Japanese action thriller based on a popular TV series, and three scores for a trio of acclaimed short films: one from France, one from the Netherlands, and one from the United States, several of which are on the shortlists to receive Short Film Academy Award nominations.
THE TROUBLE WITH HARRY – Bernard Herrmann
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director Alfred Hitchcock took a liking to the 1950 black comedy novel “The Trouble With Harry” by Jack Trevor Story and purchased the film rights for $11,000. Hitchcock used his own production company to finance the film, with him overseeing production with a $1.2 million budget. He would also direct and hired John Michael Hayes to write the screenplay. For casting, Hitchcock embarked on an experiment – not hiring any established stars as he believed that many times a big star can hinder the narrative flow of his movie. As such, the cast included; Edmund Gwenn as Captain Albert Weiss, John Forsythe as Sam Marlowe, Shirley MacLaine in her acting debut as Jennifer Rogers, Mildred Natwick as Miss Ivy Gravely, Mildred Dunnock as Mrs. Wiggs, James Mathers as Arnie Rogers, and Royal Dano as Deputy Sheriff Calvin Wiggs. Read more…
Los Angeles Wildfires
As many of you will have noticed, there has been a slight pause in new film music reviews recently. My mind has somewhat been preoccupied with other matters, so I thought I would just take a moment to explain, for anyone who is unaware.
Los Angeles was ravaged by two devastating wildfires last week. At the time of writing 28 people have died, more than 12,000 structures have been destroyed or damaged, and more than 200,000 people had to be evacuated from an area of more than 60 square miles.
The Palisades fire destroyed much of the city of Malibu, and the Los Angeles neighborhood of Pacific Palisades, and forced people to evacuate all the way down into Santa Monica. Similarly, the Eaton fire destroyed much of the city of Altadena and affected people in nearby Pasadena. There were also smaller fires in the Hollywood Hills, in the northern part of the San Fernando Valley near Sylmar, and in the western part of the San Fernando Valley near Woodland Hills (close to where I live), which also resulted in mass evacuations, although thankfully very little damage was done to property in those latter three.
I am fine, my family is fine, and my property is fine, but nevertheless it has been a mentally exhausting week not conducive to film music criticism. With the Santa Ana winds howling across the bone-dry terrain that has not seen rain in nine months, you spend days in a constant state of anxiety, worrying whether a new fire is going to crop up near you, forcing to you to evacuate, threatening everything.
Having lived in the greater Los Angeles area since 2005 I am very familiar with the cycle of wildfires that are a part of everyday life here, but even knowing that they are a natural – and sometimes necessary – phenomenon doesn’t lessen the impact of such devastation when you see it happening in front of your eyes, in places you know and love. I know dozens of people who have been affected by this: many people have lost their homes, all their possessions, sometimes their entire communities, and it’s just horrifying.
Wealth and status are not respected by these fires: yes, some multi-millionaire celebrities lost their homes, but hundreds and hundreds of everyday working people have also seen their lives go up in flames, especially in Altadena, and the impact of this is devastating no matter who you are. These people have families, children, animals. Many of them came from humble beginnings and worked for decades to build these lives for themselves, only to see it turn to ash in a matter of hours.
Many people in the film music industry have been affected by this – not just composers whose names we know, but many working musicians and technical staff behind the scenes who all contribute significantly to the music we love so much – and at this point they need all the help they can get to rebuild. From what I have been reading online, one of the best charities to donate to appears to be the National Academy of Recording Arts and Sciences’ MusiCares foundation, and so if you are able to do so, and if you feel so inclined, I would recommend donating to them here: https://musicares.org/. There is also an excellent website, Media Musicians United, which gives information about other resources for affected individuals, and other opportunities for charitable donations, which can be found here: https://www.mediamusiciansunited.com/
We at Movie Music UK are heartbroken at these events, and on behalf of myself and Craig we wish everyone who has been impacted strength and hope going forward.





