The Best Soundtracks & Scores Of The Decade [2010s] - Page 7 of 7

Honorable Mentions
Don’t complain or bitch. We basically always hate each other after we make these lists because there’s only so much time and so much amazing work doesn’t ultimately make the main list. But we considered everything, trust. Here’s a taste: “All Is Lost,” “The Comedy,” “The Shape of Water,” “Snowtown,” “The Bling Ring,” “Steve Jobs,” “Gravity,” “Only God Forgives,” “The Knick,” “Neon Demon,” “Moonrise Kingdom,” “Rust and Bone,” “Little Women,” “Burning,” “Contagion,” “American Honey,” “The Beach Bum,” “Beginners,” “Blade Runner 2049,” “Blue Valentine,” “Brawl in Cell Block 99,” “Mad Max: Fury Road,” “The Dead Don’t Die,” “Dunkirk,” “Ex Machina,” “The Girl with the Dragon Tattoo,” “The Hateful Eight,” “Heaven Knows What,” “Hereditary,” “A Hidden Life,” “Isle of Dogs,” “Inception,” “Krisha,” “Listen Up, Philip,” “The Lost City of Z,” “Lady Bird” (terrific use of bad songs) “Lost River,” “The Master,” “Midnight Special,” “Monos,” “The Mountain,” and “One More Time With Feeling” (which is technically just a documentation of the already in-progress Skeleton Tree album by Nick Cave and The Bad Seeds, but otherwise might vie for number one if it was a proper score or soundtrack to a movie).

Best Music Moments of the Decade
Look, we won’t be doing a Best Music Moments of the Decade feature this year, we’ll die, but look, these are basically the best ones and for reasons that are really only obvious if you’ve seen the movies, so go do that if you haven’t already (we reserve the right to keep adding when things come to mind :D)

Best Scores and Soundtracks of 2019
We’re also not doing a Best Scores and Soundtracks of 2019 list because seriously, do you want us to die, this has already been 13,000 words? But on top of the 2019 picks here, “Uncut Gems,” “Joker,” and “Transit,” please include, “The Last Black Man In San Francisco” (Emile Mosseri), Alexandre Desplat‘s “Little Women” score, “Parasite” (Jung Jaeil), “Ad Astra” (Max Richter), “Pain and Glory” (Alberto Iglesias), “1917” (Thomas Newman) and “Us” (Michael Abels).