Happy New Year, everyone!! 🥂ೃ🍾࿔🎉🌟 Whether you’re starting the day bright and fresh or you’re still hungover from last night’s countdown festivities, I thought I’d welcome y’all with music! ♫♪♬🎼

I’m still working on my Top 10 BEST FILMS list (coming in a week or so), but I’ve been thinking about some of my favorite movie music of 2025, so why not do a post on that! I’ve been pretty behind on my Music Break posts, but I’m hoping to do it more often this year, at least every other month. I’m not separating scores and soundtracks as some movies have both, and I’m also not ranking them. So, here they are in the film titles’ alphabetical order:

1. BLACK BAG – David Holmes

This Steven Soderbergh film came earlier in the year, but it remains my favorite of 2025. David Holmes mixes the thrilling intrigue of 1960s spy films with contemporary electronic sounds. I’m really into those deep bass lines and moody jazz-inspired beats that totally ramp up the tension in the espionage tale.

2. F1 – Hans Zimmer

If I had to rank this list, I’d definitely put F1 at the top. I’m a huge fan of Hans Zimmer’s score. Wish this score were included when I went to see his concert a couple of years ago, but he was probably still working on it. I remember tapping my feet often while watching the movie; the music really elevates the whole experience. Zimmer’s unique blend of driving, electronic-infused orchestral music perfectly embodies the speed, glamor, and pure adrenaline of Formula 1 racing with a fresh, high-energy vibe. It also features prominent needle drops like Led Zeppelin’s Whole Lotta Love and Lose My Mind featuring rapper Doja Cat.

3. FRANKENSTEIN – Alexandre Desplat

Desplat’s score for Guillermo Del Toro’s Pinocchio in 2022 has become one of my favorites of the past decade. It’s a travesty that it didn’t get nominated. Let’s hope Desplat’s amazing work here is not overlooked again. It’s a gorgeous and intricate Gothic orchestral piece that mixes Romantic and Baroque influences. I really enjoy the sorrowful solo violin and piano that enhance the emotional depth, which he balances with the dark themes for Victor, the monster’s ambitious and callous creator. There are also operatic touches, like Latin requiems, that heighten the tragic scenes.

4. HAMNET – Max Richter

Max Richter is an ideal composer for Chloe Zhao’s stunning, emotionally deep Shakespearean drama. His neoclassical tunes are typically marked by a leisurely tempo and expansive soundscapes that feel both personal and grand. Richter mixes Elizabethan elements with contemporary electronics, crafting a surreal sound that beautifully captures feelings of deep sorrow, awe, and the wildness of nature.

5. HEDDA – Hildur Guðnadóttir

Nia DaCosta’s Hedda takes place in the 50s and showcases a vibrant mix of Hildur Guðnadóttir’s moody, rhythmic original score along with some classic jazz/pop tunes. This combination creates an anxiety-filled vibe that reflects the main character’s struggles and the film’s wild party scenes. Sometimes, the sounds of wood and glass come off as suitably eerie, and there’s even a touch of vocalization that seems to suggest the devil whispering in her ear. I couldn’t help but think how amazing it would be if Guðnadóttir had invited her fellow Icelandic artist Laufey to lend her voice to one of the tracks, as Laufey’s singing would fit perfectly with the music.

6. JAY KELLY – Nicholas Brittell

While I don’t find Jay Kelly to be particularly impressive as a film, I absolutely adore Brittell’s score, which evokes a nostalgic reminiscence of the grand, emotional Hollywood melodramas from the 1940s and ’50s. It subtly weaves themes of yearning, remorse, and recollection by employing soft piano melodies, a warm analog feel, and soothing waltz-like rhythms that reflect the protagonist’s journey of self-reflection.

7. ONE BATTLE AFTER ANOTHER – Jonny Greenwood

I love Greenwood’s scores for Phantom Thread and The Power of the Dog, and he’s created another captivating piece for Paul Thomas Anderson. It ramps up the tension with dissonant sounds instead of the usual melodies, perfectly reflecting the film’s chaotic vibe and dark humor. It’s no wonder Greenwood is PTA’s top choice for a composer. Even though the music sometimes steals the spotlight from the action and dialogue, it didn’t bug me as it did in Highest 2 Lowest, (ironically, the score for that movie is my least favorite).

8. SINNERS – Ludwig Göransson

Göransson has composed the score for all five of Ryan Coogler’s feature films, and they’ve been working together since their college days at USC. Heck, why mess with perfection? The Swedish composer has once again delivered an Oscar-worthy soundtrack. The music is rich in symbolism and features enchanting elements, merging traditional blues, folk, and spirituals with rock and hip-hop.

You can’t discuss the music of Sinners without mentioning a key scene where different musical eras come together, showcasing everything from blues, 70s rock, 80s hip-hop, to West African drumming, illustrating the ongoing evolution of Black musical creativity. Here’s Coogler describing the iconic scene:

9. TRAIN DREAMS – Bryce Dessner

I’ve become a huge fan of Dessner (of The National band) from his astounding work in Joe Wright’s Cyrano, which is romantic with rock’nroll sensibility. This time around, Dessner mixes American folk with orchestral sounds, incorporating period-appropriate instruments such as banjos, harmoniums, and pianos to evoke the vast landscapes and emotional depth of early 20th-century America. The result is a touching, often understated, yet stunning score that embodies themes of solitude, nature, and loss.

I especially love this haunting and evocative title track by Nick Cave.

10. TRON: ARES – Nine Inch Nails

I’m a big fan of the orchestral electronica in Tron: Legacy by Daft Punk, but I’ve also started to appreciate the industrial-influenced electronic score by Nine Inch Nails (Trent Reznor & Atticus Ross) with its dissonant soundscapes, retro 80s synths, and pulsating beats. Just like in F1, I find myself moving to the rhythm while watching the film, and the soundtrack makes the recycled storyline and shallow character arcs bearable. This is a prime example of how the film’s music can completely overshadow the movie itself and elevate the overall experience. 

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HONORABLE MENTIONS

KPOP DEMON HUNTERS – EJAE & Mark Sonnenblick

This Netflix animated movie has become the surprise hit of the year. It’s become Netflix’s most-watched film ever by late 2025, breaking records with unprecedented viewership, dominating Billboard charts with songs surpassing established K-pop groups like BTS. I have to admit that I’m not into K-pop music generally, and I came into this movie quite late; I finally saw it in early December.

Well, the movie is enjoyable, but I think the music is the highlight. It’s vibrant and dynamic, blending catchy K-pop with fantasy themes, featuring fictional groups like HUNTR/X, Saja Boys, and real K-pop acts. Its high-energy anthems like Golden and Takedown and emotional ballads like Free (a sweet duet between EJAE and Andrew Choi) drive the story.

The singers that made up HUNTR/X – EJAE, Audrey Nuna, & Rei Ami performed at the recent NFL Christmas Day halftime show for the Minnesota Vikings vs. Detroit Lions. It was quite an eclectic lineup that included Snoop Dogg and Andrea Bocelli 😀

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Hope you enjoy the first Music Break of 2025!

So what are your favorite score(s) and/or soundtrack(s) of 2025?