The MCU Needs To Copy A Major Lesson From Their Most Recent Box Office Disappointment

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About a year before “The Fantastic Four: First Steps” graced the big screen (and right as filming for the principal shots started), it was revealed that Michael Giacchino would be contributing to the movie’s score. With his impressive track record of scoring previous Marvel Cinematic Universe productions, along with the two nostalgic superhero films “The Incredibles” under Disney-Pixar, he seemed like an ideal and highly anticipated match for this project’s soundtrack. Yet, it’s unusual for composers in the MCU to garner as much anticipation as Giacchino did.

For quite some time, there have been numerous video essays and articles pointing out the uninspiring quality of scores in MCU films. To date, many movies and shows from Phases Four and Five haven’t managed to refute these criticisms effectively. Do you recall any melodies specifically from Rob Simonsen’s and Christophe Beck’s scores for “Deadpool,” “Wolverine,” and “Ant-Man and the Wasp: Quantumania”? Nevertheless, a potential remedy for enhancing the creativity of these soundtracks lies in collaborating with some of today’s top composers, as well as the score of the final film in Phase Five.

Here’s the Problem With So Many MCU Film Scores

Typically, American movie soundtracks, especially popular ones, receive criticism for having too much sonic similarity. In essence, Hans Zimmer’s film score company, Remote Control Productions, exerts significant influence in Hollywood. Over the years, numerous prominent composers have risen from this company, such as Nicholas Britell and John Powell, who are renowned contemporary film and television scorers.

In the past two decades, many have strongly criticized Remote Control veterans for being overly prevalent in Hollywood’s film industry. Nowadays, it appears that every major genre film from a studio is scored by artists like Lorne Balfe, Benjamin Wallfisch, Tom Holkenborg, or other veteran Remote Control composers. These artists have faced criticism for creating scores that sound remarkably similar to each other. Critics argue that these musicians, who primarily work in film scoring and lack diverse training, tend to produce scores that are predictable rather than innovative. They often reproduce familiar melodies instead of creating fresh, groundbreaking sounds that characterize the best film scores.

Right from its inception, the Marvel Cinematic Universe (MCU) has faced criticisms regarding its music. Notably, Ramin Djawadi’s Iron Man soundtrack was heavily criticized for its forgettable tracks that lacked a unique personality or daring musical approach. This pattern persisted with more unremarkable composer selections such as Brian Taylor, Henry Jackman, Bafle, and Simonsen. However, the most praised MCU scores either came from veteran movie score legends like Alan Silvestri or opted for a complete departure from tradition with Ludwig Göransson.

Instead of being frequently compared to Hans Zimmer’s style in creating music for blockbuster movies, Göransson’s celebrated work on “Black Panther” was vibrant and unique. Unlike Zimmer or John Williams, his compositions didn’t echo the past; they pioneered a fresh sound for film scores. This was a natural outcome for a composer who, aside from scoring films for seven years, has also worked extensively as a producer and co-writer for diverse bands such as Childish Gambino, Haim, and Chance the Rapper.

To achieve the same level of success with its soundtracks, as depicted by Göransson, the MCU should consider hiring composers whose primary focus is not on film scores. In simpler terms, they could look beyond established film score composers to find fresh talent.

MCU Soundtracks Should Take Come Cues From the Thunderbolts* Score

Among today’s most exceptional film composers are Trent Reznor and Atticus Ross from Nine Inch Nails, Jonny Greenwood of Radiohead, Tamar-kali known for her punk music in New York, and Daniel Pemberton, renowned for his work in video games and TV themes. Unlike some who merely follow Hans Zimmer’s style or rely on traditional methods, these artists shape the realm of film scores according to their innovative, daring ideas. They don’t compromise their creativity to become mere imitators of Zimmer; instead, they redefine the boundaries of film scoring.

Inviting unconventional artists to compose the music for motion pictures is a delight for cinema and music enthusiasts alike. These innovative musicians challenge norms and create unforgettable soundtracks that linger in your memory. Typically, the Marvel Cinematic Universe (MCU) has stuck to scores that shy away from such risks. However, the final movie of Phase Five, Thunderbolts*, dared to adopt an eccentric score. For this film’s soundtrack, the electronic band Son Lux was recruited. The trio of Son Lux had collaborated on only two full-length movie scores prior to this, one of them being the Oscar-winning Everything Everywhere All at Once.

Speaking as a film enthusiast, I must say that Son Lux was an outstanding pick for the “Thunderbolts*” score. Their compositions exuded a uniquely discordant and unpolished vibe. With fast-paced violins, haunting screeches, and brooding atmospheres even in tracks supposedly celebratory like “It’s Bucky!”, Son Lux’s Thunderbolts* score masterfully reflected the fractured, tumultuous minds of the main characters. Subtle details, such as sections within some tracks that seemed to be played from a distant location, only served to emphasize the artistry and individuality of this soundtrack.

What’s particularly captivating is that the Thunderbolts score deviates from the typical Marvel movie soundtrack. Instead, it incorporates intriguing dissonances that subtly rework Alan Silvestri’s Avengers themes. Speaking about Silvestri, his exceptional work in the MCU, along with Giacchino’s impressive contributions to this franchise, prove that experienced film score composers have a valuable role here. To truly break away from the long-standing criticisms of its original scores since Iron Man, the MCU should consider bringing on more composers like Son Lux who are not solely associated with film scores. By embracing novelty, audiences often respond positively rather than with fear towards such artistic boldness.

1. Option A: Thunderbolts can now be rented or bought digitally, while The Fantastic Four: First Steps will premiere in cinemas on July 25th.

2. Option B: You can either rent or purchase Thunderbolts digitally, and The Fantastic Four: First Steps is set to debut in theaters on July 25.

3. Option C: Thunderbolts is now available for digital rental or purchase, and The Fantastic Four: First Steps will be shown in theaters starting July 25th.

4. Option D: Digital rentals or purchases of Thunderbolts are now possible, whereas The Fantastic Four: First Steps will make its theatrical debut on July 25.

5. Option E: Thunderbolts can be rented or bought digitally, and The Fantastic Four: First Steps is coming to theaters on July 25th.

Choose the one that you think best captures the original message in a natural and easy-to-read manner while also being concise and engaging. Option E is a good choice since it effectively conveys the information while maintaining readability and flow.

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2025-07-09 02:11