Golden Globe Winners 2025
The Golden Globe Foundation (GGF) has announced the winners of the 83rdd Golden Globe Awards, honoring the best in film and American television of 2025.
In the Best Original Score category composer Ludwig Göransson won the award for his incredibly authentic score for Sinners, director Ryan Coogler’s historical horror-drama about a pair of brothers who return home to depression-era Mississippi to open a juke joint blues club, only to see it attacked by vampires and members of the local Ku Klux Klan. This is the second Golden Globe win for Göransson – he previously won for Oppenheimer in 2024. In the acceptance speech Göransson, said:
“Wow wow. Thank you. I mean, first of all, Ryan Coogler, you wrote an incredible movie, directed an incredible movie about a guitar player, about a musician. I think everyone here and everyone in this industry is just… I feel we’re grateful to be living in a timeline with you in it right now. Thank you, Ryan. I also wanted to thank our producers Zinzi Evans, Sev Ohanian, and our executive music producer and my partner Serena Göransson, and also Raphael Saadiq for writing such an incredible song for this film, “I Lied To You.” I also just want to take a little moment to just thank our incredible cast that was amazing to work with. Miles Caton, he learned how to play a guitar in three and a half months, and that was not easy. What you saw there is live! I mean, he played with a slide, and that was amazing. Wunmi Mosaku, every time you were on screen you were just… the music was just coming to me, it was so inspiring. I was on set for almost three months for this film,and being there while Michael B. Jordan was playing two characters was weird… because it was so incredible to witness and your devotion to the craft and how incredible your performance was really made my job easy, so thank you. Thank you.”
The other nominees were Alexandre Desplat for Frankenstein, Jonny Greenwood for One Battle After Another, David Letellier (“Kangding Ray”) for Sirāt, Max Richter for Hamnet, and Hans Zimmer for F1.
Controversially, the organizers of the Golden Globes decided to present the Best Original Score award during a commercial break, and as such the presentation and Göransson speech was not shown during the television broadcast airing of the ceremony. This decision was heavily criticized by almost all members of the film music community. Talking to a reporter from Variety before the ceremony, nominee Hans Zimmer said:
“I think it’s a shame not to honor those people – my friends – who work so hard to become a voice. As a person who has been making films forever, everybody who works on a film works their utmost, doesn’t get any sleep, there are no weekends. I think the work should always be acknowledged. This year is a fantastic year for composers — don’t ignore them, you don’t have a movie without them.”
In the Best Original Song category, the winners were Eun-Jae Kim (Ejae), Mark Sonnenblick, Joong-Gyu Kwak, Yu-Han Lee, Hee-Dong Nam (Ido), Jung-Hoon Seo (24), and Teddy Park for “Golden” from the smash hit animated film K-Pop Demon Hunters.
The other nominees were Nick Cave and Bryce Dessner for “Train Dreams” from Train Dreams; Miley Cyrus, Andrew Wyatt, Mark Ronson, and Simon Franglen for “Dream as One” from Avatar: Fire and Ash; Raphael Saadiq and Ludwig Göransson for “I Lied to You” from Sinners; and Stephen Schwartz for “No Place Like Home” and “The Girl in the Bubble” both from Wicked: For Good
K-POP DEMON HUNTERS – Marcelo Zarvos
Original Review by Jonathan Broxton
One of the most fascinating trends to emerge in recent years has been the emergence of Korean popular entertainment into the western mainstream. When I was a kid, there were no really popular films from countries in East Asia – China, Japan, South Korea – outside of highbrow movies by directors like Akira Kurosawa, and to the best of my recollection no widely known Japanese or Korean pop songs charted in the UK as mainstream hits in the 1980s or 1990s, with the possible exception of a couple of instrumentals by Kitaro and Ryuichi Sakamoto. The first truly massive mainstream Asian pop hit was Psy’s “Gangnam Style” in 2012, which soared to #1 on the UK Singles Chart and stayed in the charts for many weeks. Read more…
HEAT – Elliot Goldenthal
THROWBACK THIRTY
Original Review by Jonathan Broxton
Widely considered one of the best action thrillers of the 1990s, and notable for marking the first time that legendary actors Robert De Niro and Al Pacino appeared together in the same scenes on screen (they were both in The Godfather Part II but did not feature in the same scenes), Heat follows the intense cat-and-mouse conflict between a meticulous professional thief and a relentless police detective in Los Angeles. De Niro plays Neil McCauley, a highly disciplined career criminal who leads a small crew of expert thieves. After a planned armored car robbery goes disastrously wrong, the gang attracts increased attention from law enforcement in the shape of Vincent Hanna (Pacino), an LAPD robbery-homicide detective. As Hanna becomes obsessively focused on tracking McCauley and his team – alienating his wife and daughter in the process – McCauley’s crew prepares for an even bigger and more dangerous bank heist, placing both men in each other’s crosshairs. Read more…
Under-the-Radar Round Up 2025, Part 8
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 eighth of 2025, covers another five scores released this year from a wide array of genres and countries, including a Korean romantic fantasy TV series about a time-travelling chef, the latest season of a long-running British period TV series about midwives serving London’s working poor, a Norwegian Christmas action-comedy caper about a family of mischievous mice, the third film in a series of films from Finland about a young girl who can transform into a flying guinea pig super hero, and a Chinese period TV drama series about the marriage between a son and a daughter from rival clans. Read more…
THE MAN IN THE GRAY FLANNEL SUIT – Bernard Herrmann
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
The best-selling 1955 novel “The Man in the Gray Flannel Suit” by Sloan Wilson caught the imagination of Nunnally Johnson, a producer, director, screenwriter, and playwright. He believed that its story of a man and wife struggling to find life meaning and purpose following WWII would resonate with the public. He sold his conception to Darryl F. Zanuck of 20th Century Fox, the film rights were purchased, and Zanuck would personally oversee production with a $2.6 million budget. Johnson would direct and also write the screenplay. A fine cast was hired, with Gregory Peck starring as Tom Rath. He would be joined by Jennifer Jones as Betsy Rath, and Fredric March as Ralph Hopkins. Read more…
RESTORATION – James Newton Howard
THROWBACK THIRTY
Original Review by Jonathan Broxton
Restoration is a period drama film directed by Michael Hoffman, adapted from the 1989 novel of the same name by Rose Tremain. The film is set during the Restoration period in England, which began in 1660 when Oliver Cromwell’s Commonwealth – which had overthrown the monarchy of King Charles I a decade or so previously – came to an end and Charles II was restored to the throne as king. The restoration was known for its cultural renewal, scientific curiosity, and political change, but also for its sometimes vulgar and obscene decadence, something which stood in polar opposition to the dourly stringent and sometimes cruel Puritan morality that Cromwell enforced during his time in power. The story follows the experiences of Robert Merivel, a young aspiring physician from a lowly background who, after he inadvertently saves the life of the king’s dog, is summoned to the royal court, and quickly becomes surrounded by a new world of wealth and indulgence. Read more…
AVATAR: FIRE AND ASH – Simon Franglen
Original Review by Jonathan Broxton
WARNING: THIS REVIEW CONTAINS PLOT SPOILERS. IF YOU HAVE NOT YET SEEN THE FILM, YOU MIGHT WANT TO CONSIDER WAITING UNTIL AFTER YOU HAVE DONE SO TO READ IT.
The whole situation concerning the Avatar movies continues to fascinate me. When James Cameron’s ambitious sci-fi epic arrived in cinemas in December 2009, it was instantly acclaimed as a visual landmark. The film showcased some of the most advanced and convincing visual effects ever seen on screen, while also pushing 3D presentation and motion-capture technology to unprecedented new heights. It went on to win three Academy Awards, received six further nominations including Best Picture, and earned approximately $2.9 billion worldwide, cementing its status as one of the most commercially successful films in cinema history. However, in the decade that separated Avatar from its long-awaited sequel, Avatar: The Way of Water, the mood surrounding the original film shifted noticeably. The unusually long gap between installments did little to sustain enthusiasm, and a growing critical backlash took hold. Commentators increasingly highlighted perceived weaknesses in the narrative, unacknowledged parallels with earlier films, and a number of troubling elements tied to its reliance on so-called “white savior” and “noble savage” tropes. Then the sequel film came out and it grossed another $2.3 billion at the global box office, despite many people – including me – feeling that, even though it was still visually astonishing, it was significantly inferior to the original in terms of story, writing, and performances. Read more…
THE PRODIGAL – Bronislau Kaper
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
The massive success of 20th Century Fox’s The Robe in 1953, with its Cinemascope color format, reinvigorated studio interest in grand ancient epics. Writers Sam Larson and Joseph Breen wrote a 60-page story based on the Prodigal Son biblical tale, and managed to sell it to MGM studio executive Dore Schary. Charles Schnee was assigned production with a $2.783 million budget, Maurice Zimm was hired to adapt the story, and Richard Thorpe was tasked with directing. Casting was problematic as the original leads, Ava Gardner and Vittorio Gassman both dropped out. The new cast would showcase studio star Lana Turner as Samara, and joining her would be Edmund Purdom as Micah, James Mitchell as Asham, Louis Calhern as Nahreeb, and Joseph Wiseman as Carmish. Read more…
BALTO – James Horner
THROWBACK THIRTY
Original Review by Jonathan Broxton
Balto is an animated adventure film very loosely inspired by true events that happened in Nome, Alaska, in 1925, during an especially harsh winter. Balto is a half-wolf, half-husky who lives on the outskirts of town and is teased by other dogs because of his mixed heritage; his only close friends are a goose named Boris, two polar bears named Muk and Luk, and a young human girl named Rosy. When a diphtheria epidemic breaks out, threatening the lives of the town’s children – including Rosy – the townspeople organize a relay team of sled dogs to bring a lifesaving antitoxin from a remote railway station to Nome. Balto enters a race to join the team, and initially wins, but is later disqualified when a rival dog named Steele reveals his wolf ancestry. However, the sled team carrying the serum gets lost and stranded, and so Balto – with the help of his friends – sets out to find the team, navigate treacherous terrain, and bring the medicine back to Nome. Read more…
ELLA MCCAY – Hans Zimmer
Original Review by Jonathan Broxton
Ella McCay is the first new film from director James L. Brooks in 15 years (since How Do You Know in 2010), and as such is a landmark event considering that he is the creator of such lauded works as Terms of Endearment, Broadcast News, As Good As It Gets, and of course The Simpsons. It is a political comedy-drama starring Emma Mackey in the title role; Ella is an idealistic, progressive young politician who becomes the governor of her state when her boss and mentor, Governor Bill Moore (Albert Brooks), unexpectedly resigns. In addition to her new role as a politician of significance, Ella also finds herself navigating her complex family relationships, especially when her long-estranged father Eddie (Woody Harrelson) re-enters her life. The film has a stellar supporting cast – Jamie Lee Curtis, Jack Lowden, Kumail Nanjiani, Ayo Edebiri, Rebecca Hall – but unfortunately critics have not been kind to it, with many people criticizing it for poor writing, a contrived plot, and tonal inconsistency. Read more…
THE TALL MEN – Victor Young
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In a coup, 20th Century Fox CEO Darryl F. Zanuck signed the aging 53-year-old star Clark Gable to a contract in May of 1954. Gable had long been revered as the “King of Hollywood” and Zanuck sought to capitalize on his iconic status. That vehicle came along quickly in a novel “The Tall Men” by Heck Allen. Producers William A. Bacher and William B. Hawks purchased the film rights, along with novel’s sequel “The Big Pasture” for only $10,000. Bacher and Hawks would manage production with a $3.1 million budget, Raoul Walsh would direct, and Sidney Boehm and Frank Nugent were tasked with writing the screenplay. Gable would star as Colonel Ben Allison, joined by Jane Russell as Nella Turner, Robert Ryan as Nathan Stark, and Cameron Mitchell as Clint Allison. Read more…
MR. HOLLAND’S OPUS – Michael Kamen
THROWBACK THIRTY
Original Review by Jonathan Broxton
I have always had a soft spot for films about inspirational teachers – Dead Poet’s Society is one of my all-time favorite films – and 1995’s Mr. Holland’s Opus is another one that offers a similar sentiment. Directed by Stephen Herek and written by Patrick Sheane Duncan, the film stars Richard Dreyfuss as Glenn Holland, a talented but struggling composer in Oregon in the 1960s who becomes a high school music teacher, intending to do the job temporarily to earn money so he can finish his symphony. At first, Holland’s students are bored, but he begins to inspire them by incorporating rock and roll and other popular music into his lessons; over the course of the next 30 years his role at the school becomes central to his identity, even as he struggles to balance his career with his personal life, most notably his relationship with his son Cole who is born profoundly deaf. Read more…
SCL Award Nominations 2025
The Society of Composers and Lyricists (SCL) has announced the nominations for the seventh annual SCL Awards, honoring the best in film and television music in 2025. 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 nominees are:
OUTSTANDING ORIGINAL SCORE FOR A STUDIO FILM
- ALEXANDRE DESPLAT for Frankenstein
- JERSKIN FENDRIX for Bugonia
- LUDWIG GÖRANSSON for Sinners
- JONNY GREENWOOD for One Battle After Another
- MAX RICHTER for Hamnet
- STEPHEN SCHWARTZ and JOHN POWELL for Wicked: For Good
OUTSTANDING ORIGINAL SCORE FOR AN INDEPENDENT FILM
- SARA BARONE and FOREST CHRISTENSON for To Kill a Wolf
- JÓN ÞÓR “JÓNSI” BIRGISSON and ALEX SOMERS for Rental Family
- BRYCE DESSNER for Train Dreams
- DAVID FLEMING for Eternity
- FABRIZIO MANCINELLI for Out of the Nest
- DARA TAYLOR for Straw
HAMNET – Max Richter
Original Review by Jonathan Broxton
Director Chloe Zhao’s film Hamnet, which is based on the 2020 novel by Maggie O’Farrell, is a lyrical reimagining of the brief life and death of Hamnet Shakespeare, the son of the legendary poet and writer William Shakespeare and his wife Agnes “Anne” Hathaway, musing on the fact that his passing may have inspired the creation of one of the greatest works of literature in history. The story centers mostly on Agnes, who is portrayed as a perceptive, intuitive woman with a deep connection to nature; the first half of the film looks at Agnes and William’s early courtship, their subsequent marriage, and offers a portrait of family life in Elizabethan England circa 1580, following the birth of their twin children Hamnet and Judith. In time William begins traveling to London to write and perform his plays, but eventually the spread of plague brings sickness to the Shakespeare household, and Judith falls gravely ill. Hamnet, who has been charged by his father with looking after the family in his absence, desperately attempts to help her, and asks God if he can swap places with her; Judith eventually recovers, but Hamnet contracts the plague too, and dies aged just eleven. After Hamnet’s death, the story then explores how Agnes and William grieve differently: Agnes’s sorrow is visceral and consuming, while William channels his grief into his work. Read more…
DARK COMMAND – Victor Young
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Renowned novelist W.R. Burnett had a well-established reputation for writing modern day crime stories. However, his 1938 novel “The Dark Command” was a departure, a rare historical drama, which became a best seller. Republic Pictures decided to capitalize on its success and purchased the film rights. Sol C. Siegel was assigned production with a $750,000 budget, Raoul Walsh was tasked with directing, and a team of four screenwriters was hired; F. Hugh Herbert, Lionel Houser, Grover Jones, and Jan Isabel Fortune. A stellar cast was assembled, which included Claire Trevor as Mary McCloud, John Wayne as Bob Seton, Walter Pidgeon as Will Cantrell, Roy Rogers as Fletch McCloud, Gabby Hayes as Doc Grunch, Porter Hall as Angus McCloud, Marjorie Main as Mrs. Adams, and Raymond Walburn as Judge Bruckner. Read more…
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