A visit to the cinema is one of the few opportunities we have to genuinely disconnect in 2025 – phones are silenced, the outside world can pause, and for two hours (or longer) we can lose ourselves in the story being told on-screen. The development and transformation of film soundtracks have only enhanced this experience – artists like Nick Cave and Warren Ellis have created extensive bodies of work from it, with the film industry seeking out some of today’s top musicians.
Reflecting on another year gone by, CLASH writer Richard Bowes highlights the standout film soundtracks of 2025.
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**28 Years Later**
Unlike the film itself (which received unfavorable reviews), Young Fathers’ score for ‘28 Years Later’ is powerful and memorable; raw, instinctual, and infused with emotion, the music plays a vital role in shaping the film's atmosphere.
Having previously collaborated with them on ‘T2 Trainspotting’, director Danny Boyle chose the Edinburgh trio for their unique sound, and the band provides their signature thumping percussion, harsh electronic cries, and deep textures reminiscent of gunfire and warning sirens. While some tracks embody brutality, they are balanced by sweeping, warm orchestral sections that add richness and humanity.
The interplay of chaos and beauty enhances the score's effectiveness, though the film's fate will remain uncertain until the next installment of the franchise debuts in January.
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**One Battle After Another**
Before Radiohead dazzled select cities in the autumn, Jonny Greenwood’s score for ‘One Battle After Another’ was essential in capturing the film’s dynamic energy and emotional spectrum. Demonstrating that his musical talents go beyond guitar skills, Greenwood’s music melded driving rhythms, unconventional piano, tense beats, and expansive synths. This combination crafted an unsettled, expressive sonic landscape that mirrored the characters’ anxious mental states.
Longtime fans could detect hints of Radiohead while maintaining Greenwood’s distinctive dissonance. As the wait for his band’s next album stretches into its tenth year, this made the days feel a bit shorter.
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**A Complete Unknown**
Is it controversial to re-record such a legendary collection of songs with a lead actor performing them? Yes, but when done in a spirit that aims for authenticity in a film that values accuracy, some leeway can be granted.
And what an impressive collection it is. While the quality of the soundtrack may be up for personal interpretation, the included songs are second to none. Of the twenty-three tracks, at least ten are renowned globally.
Fun fact: the alternative renditions of ‘Blowin’ in the Wind’ and ‘The Times They Are a-Changin’’ are based on Dylan’s earlier versions.
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**Deliver Me from Nowhere**
Refer to the above, but replace Dylan’s classics with tracks like ‘Born to Run’ and ‘Nebraska’. While the film itself garnered mixed reactions, critics swiftly praised Jeremy Allen White’s impassioned and heartfelt performances of the stark, acoustic songs from the ‘Nebraska’ period. It’s a challenging endeavor to step into Springsteen’s shoes (he earned the moniker The Boss for a reason), yet Allen White successfully honors the iconic tracks.
Related: Deliver Me From Nowhere Unveils Bruce Springsteen’s Darkest Chapter
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**Caught Stealing**
IDLES performed the score for this Darren Aronofsky film, composed by Rob Simonsen, while also contributing original pieces that blend distorted guitars, motorik drums, and tense textures, which is essentially their signature style.
Knowing what he wanted, Aronofsky aimed to channel a ‘punk’ spirit and carefully selected Bristol’s finest, making the soundtrack a perfect reflection of the film’s themes of chaos. Standout tracks include the explosive ‘Cheerleader’, which vividly captures feelings of loneliness and confusion; the intense, breakbeat-driven ‘Rabbit Run’ and the gritty, trip-hop-influenced ‘Coper’. This marks another significant step in IDLES’ ongoing progression, and it seems likely to serve as a perfect bridge between 2024’s ‘Tangk’ and whatever their upcoming sixth album holds.
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**Words: Richard Bowes**
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