The Dark Knight – Hans Zimmer & James Newton Howard

The big theme for Hans Zimmer & James Newton Howard’s contributions to 2008′s gritty Heat-like comic book adaptation, The Dark Knight, was “strings in tension.” Hearing the slide of building crescendos on fragile, piercing notes, accented at the zero hour with Terminator-esque percussion. The nine minute opening number presents three things: a state of perpetual stress and suspense, the realization that this will not wrap up on a happy ending, and the primary focus of the villain’s lack of moral boundary.

Everything here is chaos incarnate, solidified by composers whose repertoires traverse films like Toys, Inception, and Hannibal — stark, unsettling strings in tension, introducing a little anarchy, and even paying a little bombastic brass homage to Danny Elfman’s original ’89 signature score via finale suite, “A Dark Knight”. -David Buchanan

2001: a space odyssey – György Ligeti & various

Director Stanley Kubrick does something incredible with the first two and a half minutes of his 1968 masterpiece, 2001: A Space Odyssey. He gives us a black screen – no text, no images – accompanied by the dynamically growing sound masses of György Ligeti’s Atmosphères. This is music to lose your mind to. As it peaks along with your mental condition, Kubrick eases into the opening of Richard Strauss’ Also Sprach Zarathustra, with its fanfare-like celebration of a sunrise echoing the appearance of the movie’s title, and offering a revelatory release from the tension-filled overture. Kubrick manages to create characters out of his musical objects, for they are the stars in the opening five minutes of this epic film. His musical choices, which only number six and comprise the entire soundtrack, each become a leitmotif: Ligeti’s eerie and otherworldly Lux Aeterna, with its unnatural and unconventional use of human voices, accompanies the appearances of the monolith, an unnatural and unconventional, but weirdly human “character.” Dave Bowman’s sad humanity plays out in Aram Khachaturian’s Gayaneh Suite, tinged with quiet melancholy. And the balletic dancing of spacecrafts in (what was at the time) a prophetic vision of the future is accompanied by the infamous Blue Danube Waltz. Kubrick allows for plenty of silence in 2001, giving the music even more power when it appears. His use of Ligeti is especially well-suited for this nearly three-hour mindfuck, and remains one of the more memorable aspects of the director’s magnum opus. Even though this was not an original score, what Kubrick did by mixing genres and finding the perfect dramatic musical accompaniment to his scenes merits inclusion on this list. -Jake Cohen

The Good, The Bad, & the Ugly – Ennio Morricone

Sergio Leone’s spaghetti Western masterpiece The Good, The Bad and The Ugly is an iconic film in its own right, with classic performances from Clint Eastwood, Lee Van Cleef, and Eli Wallach, respectively. But the original soundtrack composed by Ennio Morricone takes on a life of its own and makes the film that much more memorable. The haunting leitmotif Morricone created to open the film practically tells the story the viewers are about to watch before a single word is uttered, and introduces Blondie, Tuco, and Angel Eyes in successive fashion. As the movie unfolds, Morricone poignantly uses his compositions to accompany our hero and his antagonists along their journey in search of fortune. Morricone’s finest moment occurs as the opening strain of ”The Ecstasy of Gold” hits one’s ears and turns a cinematic stand-off into something extraordinary. The soundtrack to The Good, The Bad and The Ugly leaves no room for doubt that there are few composers who truly understand the art of using music to tell a story better than Ennio Morricone. -Megan Caffery

Tron – Wendy Carlos

Before Clu went all evil and some French electronic-duo invaded “The Grid”, Wendy Carlos revolutionized the film score for 1982′s Tron. In an era when the Moog synthesizer was just beginning to reach the mainstream, Carlos infused the cacophony of the London Philharmonic with the “futuristic” technology to create a digitally sentient soundscape. Tracks like “Tron Scherzo” and “Sea of Simulation” may be worthy stand-alone listens (along with the add-on Journey tracks), but the appeal is in the totality of the work, and the synergies that are created with the broader, visual spectacle. Although Carlos was not nominated for an Academy Award, very few films are so inexorably bound to their score. Tron ushered in a new era of cinema, but without her work, the film is little more than decent dialogue and bright, flashy colors. -Derek Staples

Psycho – Bernard Herrmann

Hiring Bernard Herrmann to compose the soundtrack to his groundbreaking thriller Psycho was one of the smartest things Alfred Hitchcock ever did. The film is highly regarded as a defining piece within the horror genre, and the score only heightens the notoriety and genius of Hitchcock’s work. Herrmann’s three-movement score, appropriately titled “Murder,” ebbs and flows along with Norman Bates’ deliberately-paced descent into psychosis. The most recognizable and chilling part of Herrmann’s soundtrack accompanies the infamous shower scene, coupling each stab of the knife with the violent tear of violin strings. The auditory and visual aesthetics of this moment would turn something as simple as taking a shower into a moment the public would dread for years on end. The Psycho soundtrack would set the tone for all horror movie scores to come, and Herrmann would rightfully take his place on the pedestal as a master of invoking human emotion through the power of sound. -Megan Caffery

The Godfather - Nino Rota

The Godfather is a masterful film for countless reasons. The acting, the writing, the cinematography, and more work together to create the story of Michael Corleone’s rise to the head of the New York Italian Mafia. However, the music of Nino Rota provides all the depth and emotion you can ask for from a scene where no words are spoken. The mournful main theme, known as “The Godfather Waltz,” is instantly recognizable and forever associated with the title. Just saying the name of this movie will likely put the melody of saddened horns into your head. “The Baptism” creates a dramatic juxtaposition as both Michael and his godson are baptized in different manners. The wailing organ plays in the background while the child is baptized in holy water and Michael’s assassins murder each of the dons heading the other New York families. The only words spoken are Michael’s vows to reject evil as he willingly heads down a path of crime he never wanted. For scenes like that, music is everything and The Godfather strikes the perfect note. -Joe Marvilli

Ghostbusters – Elmer Bernstein

Most critics praise Elmer Bernstein’s work on The Magnificent Seven, The Great Escape, or his themes used by the National Geographic. It wouldn’t be wrong of them, either. They’re all wonderful compositions that changed the face of each project. However, where Bernstein really brought the magic to life was in Ivan Reitman’s 1984 all-time classic, Ghostbusters. Now, think back to the film. Several images come to mind: There’s Bill Murray doing an odd skip at the fountain, the Stay-Puft Marshmallow Man (’nuff said), a sexually possessed Sigourney Weaver, one manic Rick Moranis, floating books, and lots and lots of green. It’s not just the special effects and timely comedy that sell this picture, though. It’s not even Ray Parker, Jr.’s “Ghostbusters” theme song – you know, the one that Huey Lewis loves? It’s the mood and atmosphere that Bernstein creates. Using the obscure ondes Martenot, Bernstein melded classical odes with modern elements, crafting together one of the most exceptional scores to grace film. It’s sweeping (“Dana’s Theme”), it’s mystical (“Library and Title”), it’s bouncy (“Ghostbusters Theme”), it’s triumphant (“I Respect You”), it’s ominous (“Cross Rip”), and it’s downright chilling (“Halls”). That last inclusion is so bizarre and otherworldly that it must not go without mention. In certain places, namely the beginning, just before the piano kicks in, the track makes you wonder how it ever fit into the comedy in the first place. But, that’s just it. This film isn’t just a comedy. It skates the fine line of being quotes-at-the-bar funny to creepy-at-home spooky to downright nerdy-scientific. Because of this, it’s one of the best films ever created…no lie. Much of that is due to Elmer Bernstein’s incredibly unique score that not only sounds great but becomes an integral facet to a film that might have failed without it. Check it out. Then you’ll fully understand why Ghostbusters II was weak as hell. -Michael Roffman

Vertigo – Bernard Herrmann

Jack Lemmon and Walter Matthau. Ismail Merchant and James Ivory. Bernard Herrmann and Alfred Hitchcock. All of these dynamic duos were based on a creative partnership that melded the world of television and film, and no one presented the warped pairing of stirring music and macabre cinema than composer Bernard Herrmann and director Alfred Hitchcock. Since their first collaboration for 1955′s The Trouble with Harry to his use of sparse electronic bird sounds in 1963′s The Birds, some of the most compelling examples of images and sound came from their unique partnership. His most intimate and prolific work is associated with Vertigo, which also happened to be Hitchcock’s most personal film. Herrmann’s incredibly iconic and moving score is as much a character of the film as Jimmy Stewart’s obsessed Scotty Ferguson and the underrated Kim Novak’s dual performance. Though aptly eerie at times, the lush, dizzying orchestration of the Vertigo theme feels almost like a love letter from the masters. There’s real emotion and resonance here, something rarely felt in Hitchcock’s other films, that pulls the viewer’s heart directly into the ghostly love triangle. Simply put, without Herrmann’s score, Vertigo would not have reached the cinematic heights that it did. -Karina Halle

Midnight Express – Giorgo Moroder

Midnight Express, the 1978 thriller directed by Alan Parker with screenplay by Oliver Stone, didn’t exactly do a great deal for the Turkish tourism industry. The film’s savage and brutal depiction of the country’s penal system was stuff to give you nightmares rather than dreams of Byzantine splendor. While in retrospect something of a one-sided downer on Turkish prison guards, there was no doubt that the movie made for a powerful and disturbing viewing as the film’s central character, US traveler Billy Hayes, played by Brad Davis, lived out his personal nightmare in prison after being caught smuggling dope. The music was equally memorable and won an Oscar for Best Original Score in 1978 for its composer, Italian-born Giorgio Moroder. Somewhat of a Godfather of electronica, Moroder went on to have a huge influence on especially 80’s synth music. His list of collaborations is singularly impressive. Moroder is really successful in finding sounds that elevate the already edge of seat suspense in Midnight Express. Like the best movie music, it’s there, almost ever-present but doesn’t swamp the dialogue or curb the action. Rather, the accents are all in the right places. Unfortunately, the soundtrack album glossed over most of the film’s true material, but it’s still worth checking out. Though my advice is to just watch the movie. -Tony Hardy

Star Wars – John Williams

Set this stage in your mind: yellow text, scrolling slowly upwards. Your brain is going to more than likely automatically provide a booming soundtrack; specifically, the main title theme from Star Wars. One of the most iconic and unforgettable movie themes of all time, the song spearheads a soundtrack that is equally as amazing. Though the entire series has a great soundtrack (“Imperial March” and “Duel of the Fates”, anyone?), Episode IV: A New Hope is where it all started. Aside from the aforementioned main theme, the film carries within it a musical motif that John Williams manages to spin to fit just about any mood. In “Burning Homestead”, the notes convey desperation and sorrow as Luke Skywalker races to his uncle and aunt, only to find out that he is too late to save them. By the end of the film, the same exact tune is used in “The Throne Room” as one of triumph and victory, celebrating the Rebel Alliance’s victory over the Galactic Empire. Whether it be the simple catchy tune of  “Cantina Band”, the beautiful sweeping notes of “Princess Leia’s Theme”, or the urgency in “The Battle of Yavin”, John Williams’ score keeps a person on the edge of their seat as much as the battles do. A New Hope‘s music marked itself as the start of something great, Williams proceeding to stay on target for the rest of the series. -Dana Grossman