96th Annual Academy Awards: Best Score and Song

Harrison: The music within American Fiction feels like it tells a story with every note. From chaotic night club jazz to a simple piano and flute, the whole aura of this score is composed of snippets of the world within the movie. I am still waiting to see the movie, and hope to see it before the Oscars. The score by Karpman could easily find its way into my catalog of background music to enjoy the evening with.

Hunter: This soundtrack really moves. I like that. A lot of times listening to a soundtrack by itself can lull you half to sleep. But this is bursting with energy and flavor.

Hunter: It’s John Williams. Enough said, really. But I’ll go on… It’s great. His scores are always just as cinematic themselves as the films, and this is no exception. Although I will say that, when compared to the other scores on this list, it feels dated. But I suppose that’s what he’s going for. That old-timey serial film feel.

Harrison: John Williams is a legend in the film industry. He composed the music of my childhood and continues to be an icon. Mention John Williams’s name, and almost everyone will know who you are talking about. Unfortunately for this 4th (we don’t count the one with aliens, at least I don’t, and I don’t know what I’m even referring to) and final Indiana Jones movie, the legendary composer has lost a bit of the grip that he once held. Too much from this score felt overly recycled from previous Jones movies, and even had hints of Empire Strikes Back. This doesn’t stand out much for me as a Williams score should. When he creates something that doesn’t sound anything like him, it is incredible (see Catch Me If You Can), and even when the tools at his disposal are similar but different, it is fantastic (see Harry Potter 1). But this 5th, er, 4th adventure with Indy just feels like the nomination came to him because of his legend, his career, and the notoriety that comes with having him. I could see the award go to him if the Academy feels they want to provide him with another Oscar before his eventual re-retirement.

Harrison: Robbie Robertson, a renowned musician and composer, passed on August 9th, 2023, leaving a lasting mark on the cinematic world with his final score. “Killers of the Flower Moon,” just like “Oppenheimer,” boasts an epic narrative that extends beyond the three-hour mark, and within that expansive canvas, Robertson’s score encapsulates the essence of the Osage Nation and the story within. Interweaving blues rock with the cultural spirit of the Osage Nation, this score diverges from traditional film scoring to present a collection of what could be snippets of individual songs on an album. Each piece operates not just as a background score but as the heartbeat of the film, pulsing with life and sustaining the viewer and listener’s emotional spectrum, journeying through the gamut of human emotions – grief, loss, elation, hope — mirroring the story’s shifting landscapes. There’s an undeniable authenticity and raw emotion that Robertson has infused into this score, a kind of auditory alchemy that mutates note into narrative and feeling into form. Unlike Oppenheimer, there isn’t the sensation of seeing the movie through the music, but feeling the story through melody, rhythm, and harmony. There isn’t anything quite like it on the ballot this year, and that’s why I have to put this at the top of my list.

Hunter: I remember seeing this film in theaters, and the music was just so complimentary and so visceral, and I got that same visceral feeling listening to the soundtrack by itself. And of course, it’s made by the great Robbie Robertson, who sadly passed before the films release.

Kim: The 2023 film Poor Things has a soundtrack that is not just music; it’s a vibrant, living entity created by the genius of Jerskin Fendrix. This soundtrack isn’t just a background score; it’s a character in itself, mirroring the film’s quirky, eccentric, and absurdly humorous nature. Fendrix’s masterful use of classic instruments in unconventional ways creates a symphony that is both jarringly new and comfortingly familiar. Strings are plucked and pulled in odd, yet satisfying bends, wind instruments breathe life into the music like living beings, and pianos play softly off-key, creating a hauntingly beautiful melody. The blend of these elements is nothing short of magical, adding layers of depth and emotion to the film’s narrative in a way that is both unexpected and deeply satisfying. This soundtrack isn’t just deserving of an Oscar; it’s destined to be remembered as a masterpiece of modern cinema, a remarkable debut for Fendrix in the world of film composition.

Harrison: Without a doubt, the most original score of the five choices from the very beginning up to the very end, but even with its unique and distinctive musical composition, it is ultimately less memorable. Perhaps that is the charm. The standout track on the score “I Just Hope She’s Alright” felt the most comforting in a soundscape of toys and games, like living in an arcade of antique pinball machines. Perhaps in the context of the movie, it fits and flows better, but there is certainly nothing to write home about with this score. That said, it’s a composition that doesn’t beg for the spotlight, the music could serve as a pillar that supports the film’s storytelling, what appears less memorable when isolated may shine as a harmonious part of a greater whole. It is important to acknowledge that music and soundtracks have a profound impact on the viewing experience, helping to shape a viewer’s emotional journey without them being fully aware of it. It’s in this unseen influence that a score like this might truly hold its power – not in its ability to stand out, but in its subtlety and how it complements the story being told. Poor Things looks exciting and different from the typical Hollywood fare, and that’s what makes this score. I look forward to watching this film, and am curious to see if my connection to the score changes with the context.

Hunter: A fittingly eccentric score for an eccentric film, but listening to it by itself doesn’t do much for me. I like the experimentation and off-beat nature of it, but I don’t think it stands on its own separate from the film the way the other soundtracks do.

Harrison: Certainly a fun and lighthearted, danceable song taking note from the Hispanic background of “Flamin’ Hot”. A positive and upbeat tune, but it isn’t quite on par with previous nominees like Pharrell Williams “Happy”, Eminem’s “Lose Yourself”, or even the Bollywood bop and last years winner “Naatu Naatu” from RRR. I still feel it a shame that “Try Everything” from Zootopia never got a nomination back in 2016, as it is a much better song than this.

Hunter: Nice to see the Oscars recognizing the movie about the creation of Flaming Hot Cheetos in some way. I mean, this is right up there with the story of Oppenheimer. This song, though, just doesn’t do much for me. Sounds like your run-of-the-mill Pop hit. Doesn’t stand up to the other songs nominated.

Hunter: This is the song people left theaters singing. It was a cultural phenomenon. I think that when people look back on Barbie this is one of the first things that comes to mind.

Harrison: God, I really hope that we are going to get Ryan Gosling to sing this on Oscar Sunday. Reminds me of a classic Disney song, which should put it up there at the very top of the race. It has already won ten different awards, including a win at the Critics Choice Awards. It is fun, memorable, and catchy, changing from a Disney ballad to high paced discothèque jam, but it is going up against another powerhouse in Billie Eilish, who’s already an Oscar winner for “No Time To Die” in 2021.

Harrison: Jon Batiste makes such amazing music. “American Symphony” has already won him a Critics Choice Documentary Award for Best Score. Having won in 2020 along with Trent Reznor and Atticus Ross for their Score for “Soul”, Batiste is no stranger to the Academy Awards. While the ballad written for his spouse, Suleika Jaoaud, her battle with lung cancer, and the everlasting love that exists between two people; it haunts and stays with you after hearing it, and after seeing the movie. It’s a hard decision to make, putting this up against the complete opposite of tone like “I’m Just Ken”, or even “What I Was Made For”, this is just too beautiful of a song to forget easily.

Hunter: I’ve never heard this song, or even heard of the project it’s from. That’s the bad thing about the media landscape nowadays. There are gems like this that can fly under the radar just because there’s so much stuff bombarding us constantly.

Hunter: A song written by Osage singer Scott George as a tribute to the resilience of his people, and performed with the Osage Tribal Singers. It differs from the other songs on this list by not being by a big named musician, or trying to be a hit on Tik Tok. No, it isn’t the type of thing you put on during your morning commute, but rather a testament to the continued history of a people.

Harrison: This is the most unique of the five nominees this year. Truly a beautiful performance, you can almost visualize the celebration and presentation as it plays out. I truly believe this will be the standout performance of the night come the Academy Awards, but where it stands with the other nominees is the true test. All of these songs are great in their own right (I’m stretching for “The Fire Inside”), but this might be a slight nudge behind “It Never Went Away”. That said, I wouldn’t be surprised in the least if it brings an Oscar home.

Kim: In a world of movie songs that often follow predictable paths, “What Was I Made For?” from Barbie, composed by sibling duo Billie Eilish and Finneas O’Connell, is a refreshing breeze of originality. This hauntingly beautiful melody, delivered in Eilish’s signature breathy vocals, transcends the typical clichés of movie ballads. It’s a song that not only stands on its own but also weaves itself seamlessly into the fabric of the film’s narrative. This isn’t just a song; it’s a soulful reflection, a melody that lingers, and a deserving contender for the 2024 Oscar for Best Original Song.

Hunter: Technically speaking, probably the best song up for this award. It’s so sweet and moving, and the lyrics fit the themes of Barbie so well. Also, this might just be one of Billie Eilish’s best songs. It’s rare that a soundtrack song is that good.

Harrison: Already a winner of seven awards, including big wins at the Golden Globes and the Grammys, this is probably the song to beat for the evening. The hazy, breathless voice from Billie Eilish cries out with a beauty and melancholy sadness that resonates with not just the Barbie character, but with someone on their own emotional journey, finding who they are. Regardless of gender, it touches the listener and makes you want to connect with it. Eilish is a musical powerhouse, along with her brother Finneas, they’ve been able to make some of the most honest, touching songs over the last few years, and this is another showstopper. I would be very, very surprised if it doesn’t bring Billie her second Oscar.