I’m considering this a continuation of “My Favorite Film Composers”. As such, I’d suggest you read that post (if you haven’t already) before reading this one.
Film scoring has its highs and lows like any profession. You have your Williams’ and Goldsmiths’ for your very good, and then you have your Henry Jackman’s for your not-so-good. What about the underused ones? Those composers that really never get a good chance to show what they can do, or only seem to do certain films when they’re capable of more? That’s whom I’ll be looking at today.
Christophe Beck’s always been a composing enigma while also being one of my favorite composers, someone who’s a jack-of-all-trades in the terms of films he writes for. Despite his huge amount of work he never received many major motion pictures or real blockbusters- until recently. Beck’s star has risen considerably over the past few years, leading him to compose the scores for such films as Frozen, The Peanuts Movie, and Ant-Man. He’s finally getting the sort of projects he’s deserved for years. Here’s to hoping he gets some major award nominations soon.
If you’re not familiar with the name, that’s okay. Dijadwi mostly has one genre of films he sticks to: action-adventure. The reason he’s on here is because of the films he’s scored. He’s also one of Zimmer’s proteges. Now Clash of the Titans, Warcraft or Red Dawn may not have been monster hits, but Pacific Rim was. And he composed the now-inseparable main theme for HBO’s Game of Thrones. Perhaps his biggest contribution was Iron Man. That’s right, Dijadwi composed the score for the first installment of the Marvel Cinematic Universe. Strangely enough, both John Debney and Brian Tyler disregarded his themes for the next films in the trilogy and onwards in the expanded universe. It’s sad that no other composer’s revisited his work to date, because the score sure sounded like Iron Man to me.
Composer/occasional editor Ottman was on top of the superhero composing world in the 2000s. He wrote scores for Fantastic Four and it’s sequel, Superman Returns, and perhaps his most lasting work, X2: X-Men United. Luckily, after a multi-film absence he returned for X-Men: Days of Future Past and X-Men Apocalypse. What he needs is a wider range of films because he has a good composing range. Ottman’s one of the only composers currently doing superhero films not to fall into the ‘Zimmer method’ of superhero film scoring, and thank goodness for it.
Like Ottman, Rabin’s never gotten a huge film to propel himself forwards. However, that doesn’t mean he hasn’t snuck his way into our public consciousness. Rabin’s major film credits are widespread, varying from Armageddon to The Guardian to Remember the Titans. None of those films are exactly new, however, that doesn’t mean he’s completely forgotten. Around the 2004 Olympics, NBC decided to use Rabin’s suite from Remember the Titans (sadly the only piece of his score released to the public) as their closing credits background music. It stuck and NBC used it for almost the next decade. Around a decade later, CBS asked Rabin to re-orchestrate their theme for NCAA March Madness. He did so and CBS still uses his orchestration on March Madness telecasts.
Sure, Doyle’s bombastic; it’s how he’s always composed. Yet for the movies that need a bombastic score, he’s a good choice. Doyle’s worked in the industry for years, grabbing his solo Oscar nom in the late 1990’s. Recently, he hasn’t done much in the way of blockbusters. The major films he’s scored over the past sixteen years are Harry Potter and the Goblet of Fire, Thor, Rise of the Planet of the Apes, and Brave. I don’t believe he’s retired, but seriously, can this guy not find any more work? He’s not terrible!
Longtime horror composer Christopher Young first caught my attention when I saw Flowers In the Attic (not the Lifetime movie). His score is simple but haunting. Then I came across The Fly II. Young’s score is fantastic and full of unsettling moments. His score to Spider-Man 3, while perhaps not quite on Danny Elfman’s level, is also worth checking out.
I’m putting him on the underrated side more than under-appreciated. Another Zimmer protege, Gregson-Williams has scored his fair share of hits, including the Shrek franchise, Unstoppable, The Chronicles of Narnia franchise, and The Martian. Despite this I never see his name in the talk for any sort of major award. Why? Sure, his music may not be instantly recognizable (aside from his use of electronics), but he’s composed catchy themes that are instantly recognizable to the movie they’re from. That should qualify you for some sort of award, right?
Okay, you may be thinking, why are the most famous and under-appreciated techno musicians of our generation here? Their one and so far only blockbuster score didn’t get enough praise is why! Daft Punk’s score for Tron: Legacy was and is stunning: I’ve never heard a score quite like it. Unlike some composers who overuse electronic music in their scores when it isn’t necessary (looking at you, Jackman), Legacy’s score mixes the two seamlessly to create a blend of both. And did this unique score get any sort of awards? No! I’m not talking Oscars or Golden Globes (would’ve been great), but some awards show, somewhere, should’ve given this score an award. And we haven’t heard a major Daft Punk film score since! What a shame.
He’s not the most underrated composer ever, besides, he has an Oscar win! Despite that, I think its his choice of movies (Alien 3, Heat, Batman Forever, to name a few) that keeps Goldenthal from the mainstream recognition. Not helping was that much of his work was in the 1990s. His music and style was unique even by today’s standards. He may not compose much anymore but I’m putting him here anyway. See my other posts about him and his music for more.
I didn’t know anything about Craig Armstrong for years. Armstrong’s so obscure and underused that he seemingly fades away behind other composers. However, he doesn’t need to because he’s excellent. His scores for The Incredible Hulk, World Trade Center, Moulin Rouge! (earning him BAFTA, Golden Globe, and AFI awards), Ray (earning a Grammy), and The Great Gatsby all contain catchy themes and unique sounds without sounding too bombastic or familiar. Even his scores to lesser-known movies like Victor Frankenstein contain the same depth and unique sound as larger films he worked on. And he also has something few living composers can claim to possess: he’s a member of the Order of the British Empire.