This end credit song is a rare moment of introspective calm in the chaos.Ĥ. Oneohtrix Point Never, “The Pure and the Damned” (“Good Time”): In perhaps the year’s most innovative movie score, the mysterious Boston-raised, Brooklyn-based composer formerly known as Daniel Lopatin mirrors the Safdie brothers’ frenetic, disorienting day-and-night in the life of Robert Pattinson’s tireless, yet charismatic hustler, who rushes against time and circumstance to free his mentally challenged sibling from jail. Credit to veteran A&R exec Michael Hill’s music supervision.ģ.
Dave Matthews Band, “Crash Into Me” (“Lady Bird”): One of the most telling moments in Greta Gerwig’s critically acclaimed coming-of-age saga is when star Saoirse Ronan unabashedly expresses her unhip love for this song, completely missing (or perhaps inadvertently acknowledging) its sinister themes of stalking. “Wait, wait, I gotta start this song over … OK, go!”Ģ. The Damned, “ Neat Neat Neat ” (“Baby Driver”): Wright’s heist movie re-genrefication is a feature-length music video choreographed to the nines with a decibel-raising soundtrack of ‘70s and ‘80s new wave, none better than this revved-up speed-punk blaring in star Ansel Elgort’s ubiquitous headphones as he gets set to put pedal to the metal. Here is a countdown of the individual songs - some original, others re-contextualized - which provided those magic cinematic moments where sound and vision perfectly meshed to become seamlessly part of a greater whole.ġ. Music and film formed a potent partnership over the past 12 months, whether it was Hans Zimmer’s jarring score for Christopher Nolan’s “Dunkirk,” which served as another character in providing the on-screen tension, or the choreographed mayhem of Edgar Wright’s “ Baby Driver” and David Leitch’s “Atomic Blonde,” or Iggy Pop’s sepulchral presence in Oneohtrix Point Never’s stunning soundtrack for the Safdies’ “Good Time.”
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