Tag Archives: Hans Zimmer

The Wayward Wolf Annual Film Awards – 2017:

WWAFA Wolf Image 2017

Well, didn’t 2017 just fly by, folks?

And with the spectre of death looming ever larger over each and every one of us, the Wayward Wolf is here once again to make some sense of it all by picking over the bones of the year (just gone) in film, with the…

2017 Wayward Wolf Film Awards (The WWAFAS)!

76 (that’s SEVENTY-SIX) films were viewed on the big screen this year, one more than in 2016, and it has to be said that the standard was mind bogglingly good at times. So good in fact that there’s virtually nothing in it between the top ten entries. Indeed, picking the best film was harder this year than in any of the preceding four or five years that I’ve been doing all of this reviewing malarkey.

I should also acknowledge that there were a few choice films released in 2017 which seem to be have received all manner of rave reviews yet somehow slipped through my net for one reason or another, such as: God’s Own Country, Happy End, I am Not Your Negro, Good Time to name but four. Do bear this in mind then before bemoaning their lack of inclusion!

Lastly, you’ll notice that there is an absence of a Best Documentary category this year. Despite having seen any number of them on television during the year – including some magnificent serialised OJ Simpson and Vietnam documentaries, not to mention the brilliant Jim & Andy – unusually (for me), I’ve barely managed to see any on the big screen during 2017. Hopefully that’s something that can be rectified in 2018.

Don’t forget, it’s only films viewed in a cinema by yours truly – with a 2017 UK release date – that have been considered in the final reckoning.

And so, without anymore to-do, it’s on with the show…


This Year’s WWAFA Categories:

1. Best Soundtrack

2. Best Foreign Language Film

3. Best Actress (Lead or support)

4. Best Actor (Lead or support)

5. Worst Film

6. Best Film

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Best Original Soundtrack:


The Top Five: (in descending order):

5. It’s Only the End of the World  – Gabriel Yared

4. Jackie – Mica Levi

3. A Ghost Story – Daniel Hart

2. La La Land Justin Hurwitz

But the winner is…

1. Hans ZimmerDunkirk

As excellent as many other soundtracks have been in 2017, this year there was a clear winner. Hans Zimmer’s superb score is a precision piece of work complimenting magnificently Christopher Nolan’s epic vision of war. I’ve seen this relationship described as perfectly symbiotic, and truly it is. A superbly powerful emotionally charged soundtrack and a thoroughly deserving winner.

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Best Foreign Language Film:


The Top Five: (in descending order):

5. It’s Only the End of the World

4. The Handmaiden

3. Raw

2. En Man Som Heter Ove (A Man Called Ove)

But the winner is…

1. Toni Erdmann

Sandra Hüller’s subtle performance is absolutely spot on in Maren Ade’s wonderful film which fuses “a mostly subtle strand of comedy with an underlying melancholia in this absorbing tale of a disfunctional father/daughter relationship.”

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Best Actress:


Narrowly missing out on the top five in 2017, it’s only fair that we acknowledge the following brilliant performances:

Florence Pugh and her gloriously conniving performance in Lady MacBeth.

Teresa Palmer’s excellent portrayal of a girl held captive against her will in Berlin Syndrome.

Jennifer Lawrence’s breathtaking adrenalin-charged performance in Mother.

Sandra Hüller’s splendid performance in Toni Erdmann.

And Clare Foy, Julia Roberts and Natalie Portman for their roles in Breathe, Wonder and Jackie respectively.


The Top Five: (in descending order):

5. Tatiana Maslany – Stronger

4. Viola Davis Fences

3. Annette Bening Film Stars Don’t Die in Liverpool

2. Ellie Kendrick – The Levelling

But the winner is…

1. Isabelle Huppert – Elle:

A reassuringly superb performance from Huppert as “a woman whose experiences earlier in life have resulted in something of a twisted psyche…”
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Best Actor:


Some truly memorable performances in 2017, and it would be remiss of me not to mention the handful that narrowly missed the cut:

Andrew Garfield had quite the year when you consider that his superb performances in both Silence and Breathe weren’t even his best performances of the year!

Terrific performances also from:

Jake Gyllenhaal in Stronger, Michael Keaton in The Founder, Geoffrey Rush in Final Portrait, both Armie Hammer and Timothée Chalamet in Call Me By Your Name and Jamie Bell in Film Stars Don’t Die in Liverpool, whilst Vincent Cassel’s rage-fuelled performance in It’s Only the End of the World was also a big highlight.

The Top Five: (in descending order):

5. Jim Broadbent – The Sense Of An Ending

4.  Willem Dafoe – The Florida Project

3. Casey AffleckManchester By the Sea

2. Andrew GarfieldHacksaw Ridge

But the winner is…

1. Denzel Washington – Fences:

An absolute masterclass from the ever impressive Denzel Washington, one part of a hugely impressive ensemble cast.

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Worst Film:


As was the case in 2016, there were reassuringly few poor films this year (at least this was the case with regard to the films that I saw, personally), and so, as with last year, there are just the three worst film entries in this particular category…

The Top Three: (in descending order):

3. Hampstead

2. Alien Covenant


But the winner is…

1. Denial

There are almost certainly umpteen more ‘conventionally’ awful films from 2017 than Director Mick Jackson’s Denial – a film which may well boast the likes of Timothy Spall and Rachel Weisz amongst its impressive cast, but sometimes it’s simply a film’s totally one-eyed unbalanced approach to its subject matter that’s enough to infuriate sufficiently and earn it the ‘not so’ coveted, Worst Film WWAFA.

Denial is most definitely one such film.

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Best Film:


Ten absolutely tremendous films, but there can be only one winner…


The Top Ten (in descending order):

10. The Handmaiden 

9. La La Land 

8. Fences

7. A Ghost Story

6. Raw

5. En Man Som Heter Ove (A Man Called Ove)

4. Toni Erdmann

3. Mother

2. Manchester By The Sea


But the winner, and Wayward Wolf Film Of The Year for 2017, is…


1. The Florida Project

It was always going to take something special to pip the rest to the post this year, and Sean Baker’s wonderful The Florida Project had all the right ingredients to do just that. Enchanting, moving and uplifting… “as poignant and wonderful an observational slice-of-life tale as you’re ever likely to see.”


So that’s it for another year!

It only remains to wish everyone an excellent 2018 and to leave you all with the full and final 76-strong, Wayward Wolf film list for 2017.


Ciao for now.

The Full 2017 Wayward Wolf Film List (in order of preference):

1. The Florida Project

2. Manchester By the Sea

3. Mother

4. Toni Erdmann

5. En Man Som Heter Ove (A Man Called Ove)

6. Raw

7. A Ghost Story

8. Fences

9. La La Land

10. The Handmaiden

11. Lion

12. The Sense of an Ending

13. Film Stars Don’t Die in Liverpool

14. Certain Women

15. It Comes at Night

16. The Founder

17. Lady MacBeth

18. American Made

19. The Party

20. A Monster Calls

21. Dunkirk

22. Get Out

23. The Red Turtle

24. It’s Only the End of the World

25. Elle

26. Moonlight

27. Call Me By Your Name

28. The Levelling

29. Blade Runner 2049

30. Berlin Syndrome

31. The Lost City of Z

32. The Beguiled

33. Gifted

34. Wind River

35. Stronger

36. T2 Trainspotting

37. Breathe

38. Hacksaw Ridge

39. Baby Driver

40. Wonder

41. Churchill

42. Alone in Berlin

43. Hidden Figures

44. Mountain

45. The Glass Castle

46. Mindhorn

47. Final Portrait

48. The Killing of a Sacred Deer

49. The Death of Stalin

50. Hell on Earth

51. The Ritual

52. Murder on the Orient Express

53. Detroit

54. Logan (Noir)

55. The Belko Experiment

56. Jackie

57. Their Finest

58. Life

59. War for the Planet of the Apes

60. Silence

61. Borg vs McEnroe

62. IT

63. Star Wars: The Last Jedi

64. Kong – Skull Island

65. Tiszta Szívvel (Kills on Wheels)

66. The Secret Scripture

67. Ghost in the Shell

68. Suburbicon

69. Jigsaw

70. Colossal

71. The Snowman

72. Power Rangers

73. Fai Bei Sogni (Sweet Dreams)

74. Hampstead

75. Alien Covenant

76. Denial



“…airborne vehicles swoop in and out of the huge neon-lit monolithic tower blocks from which [these] holograms emanate, visually bringing to mind Rupert Saunders’ 2017 offering, Ghost in the Shell.”

Wayward Wolf.

There is a school of opinion that I’ve been made aware of a number of times since the release of Blade Runner 2049. It’s one that suggests the film is overlong and drawn-out, with a bloated sense of self-importance. Now, that’s a pretty harsh assessment in anyone’s book and not one that I necessarily agree with, yet it’s not entirely a mystery as to why such an exaggerated conclusion might have come about.

At getting on towards three hours in duration, Denis Villeneuve’s epic sequel to Ridley Scott’s 1982 masterpiece, Blade Runner, is certainly in no rush, and clearly not concerned with your average curtailed 2017 attention span, and other such modern phenomena.

There is also a propensity for Blade Runner 2049‘s early exchanges to veer towards technological overload at times with the director positively wallowing in gadget and technology porn, leaving us in no doubt whatsoever that this is a point in time in which there have been absolute quantum leaps beyond what would be considered high-tech in 2017.

Less prevalent is the incessant rain of Blade Runner, now largely replaced by an overcast, desolate and arid climate over which hangs a smog so thick you could cut it. Perhaps an indication of a planet whose raised mean temperature has ultimately led to water becoming something of a scarce resource?

The future Los Angeles cityscape that has been conjured up here is one in which holographic advertisements for everything from major corporations to virtual call girls reach out and interact with the public. And airborne vehicles swoop in and out of the huge neon-lit monolithic tower blocks from which these holograms emanate, visually bringing to mind Rupert Saunders’ 2017 offering, Ghost in the Shell.

In amongst this rather soulless, gloom-sodden backdrop we are introduced to the story of  ‘K’ (an appropriately dead-pan performance from Ryan Gosling), a replicant working for the LAPD, who, on successfully executing a mission to ‘retire’ one of the few remaining rogue replicants, stumbles upon the remains of a female replicant buried beneath a nearby dead tree. This in itself isn’t necessarily news-worthy, but the fact that the replicant appears to have died during caesarean childbirth having obviously been pregnant – an impossibility according to mainstream scientific thought – clearly is.

Such a scenario presents the possibility of a hugely volatile situation unfolding, deemed potentially explosive enough to cause great conflict between humans and replicants, and K is therefore instructed by his superior, Lieutenant Joshi (Robin Wright), to track down the replicant child that had been born and eliminate it and all evidence that it had ever existed.

Blade Runner 2049 is noticeably built around a strong narrative, the slow and considered execution of which is very much to the benefit of the piece, building an introspective, mood-heavy work that offers its viewer ample time to consider and reflect upon the film’s myriad themes, not to mention opportunities to grapple with the film’s finer, slightly more cerebrally-taxing plot points.

Perhaps most impressive is its ability to elevate itself above 90% of any science fiction that has ever been committed to celluloid, by demonstrating considerable heart. Nowhere is this better exemplified than by way of K’s touching, if slightly unconventional relationship with his holographic other half, Joi (making full use of the seductive charms of Ana de Armas). Essentially, we’re talking about an android dating a moving picture here, yet Villeneueve successfully convinces us that such a scenario can be considered to be much more than just that, painting a picture of trust, intimacy, and dare I say it, something bordering on love? Not just a sequence of high-tech mechanics.

Joi’s frequent appearances are heralded by strains of Peter’s theme, from Sergei Prokofiev’s Peter and the Wolf. Such a sonically beautiful interlude, no matter how brief, is a nice touch, and a refreshing reminder from within such a cold impersonal landscape, of the true essence of humanity and of genuine emotion; not to mention a nod no doubt to the enduring longevity of real works of art.

And talking of music: though lacking the soaring sonic themes of its predecessor, Blade Runner 2049 – through the efforts of both Benjamin Wallfisch and the ever reliable Hans Zimmer – has at least tipped its hat to those sumptuous sensual swelling synth sounds of the magnificent Vangelis original, producing a soundtrack that, whilst unexceptional, at least offers some degree of continuity between the two films, and hence a reassuring familiarity.

Gosling, Wright and De Armas are joined in a strong cast by Jared Leto who puts in a powerful turn as Niander Wallace – a character that I felt a little more could have been made of – and naturally Harrison Ford is brought back in for a cameo role, reviving his portrayal of Rick Deckard, a move which thankfully proves to be far more than just a fleeting contractual obligation, with his character carefully and convincingly engrained into the film’s nuanced narrative.

It’s been 35 years now since Blade Runner first hit the big screen, and to even have attempted to create a sequel that does justice to the revered original was something of a bold move. The fact that Denis Villeneuve’s dystopian vision, whilst by no means perfect, not only doesn’t sour the lingering memory of one of the all time greats but proves to be a very fine film in its own right, is testament to the work of an excellent and courageous director.







“Nolan’s vision is rich in both feel and flow. A most visceral and enthralling effort…”

Wayward Wolf.

Hans Zimmer has a film soundtrack CV as long as your arm. For many years now he has been one of the go-to Hollywood composers – very much a Jerry Goldsmith of his time in that respect. Revered, and rightly so, for both the impact and the prolificacy of his work.

His soundtrack for Christopher Nolan’s Dunkirk, is arguably his crowning achievement to date.

It’s a quite astonishing effort, in fact. Admirable for its simplicity, yet breathtakingly tense and evocative in its impact. An unremitting soundscape that compliments perfectly a film that is essentially one elongated action scene.

All too rare is it that a soundtrack forms the most prominent, pivotal aspect of a film, but Hans Zimmer’s repetitive score is absolutely integral here, forming an almost symbiotic relationship with Director, Christopher Nolan’s epic war film.

The sound of a ticking timepiece and the insistent chugging of outboard motors on a plethora of fishing boats, form something of a sonic metronomic device – the very crux of Zimmer’s score. These are then mimicked instrumentally through accelerating and decelerating orchestral tremolos and staccato passages of varying intensity. Eerie chromatic glissando string lines are then weaved in and out on top of this, morphing at times into the unsettling sound of German dive bombers and the like.

It’s breathtaking, sensational stuff.

But whilst Zimmer’s score no doubt enhances the entire cinematic experience greatly, it’s not to take away from the nuts and bolts of the film itself. Nolan’s vision is rich in both feel and flow. A most visceral and enthralling effort charting the progress (or rather lack of), of a desperate band of thousands of men and boys, stranded on the beaches of Northern France, embroiled in a desperate game of survival – sitting ducks to wave upon wave of enemy fire.

Whilst we can rightly point to the on-screen presence and qualities of Kenneth Brannagh, Mark Rylance, Cillian Murphy, and not to forget a particularly measured, yet heroic performance from spitfire pilot, Tom Hardy, Dunkirk is not a film of star names or star turns. There is little by way of character development here, and in this instance, that’s not a bad thing, almost as though to emphasise the point that all of these allied soldiers, no matter their rank or background, were mere numbers here facing the same grim uncertainty.

Nolan’s direction is both strong and purposeful but never overly-indulgent, and never distracts from the film’s core theme and message.

Once again though it’s Zimmer’s score which takes centre stage, having the last, glorious word when the tide of events finally turns in the Allies’ favour, with a stripped down, minimalistic interpretation of Elgar’s Nimrod.

It’ll have the hairs raised on the backs of even the most peace-loving of non-patriotic pacifists.

Dunkirk is a very fine war film indeed. A brilliant, big screen contemporary re-imagining of one of the most significant episodes of World War II, conveying, without the need for overly-gratuitous violence, a most harrowing vision of war.