Latest reviews of new albums:
Gundam: Next Universal Century

I had absolutely no idea what Gundam was before I came across this soundtrack album. Turns out it’s a gigantically popular franchise in Japan (and elsewhere) based on robots – tv series, movies, games, manga, books – and this album is the soundtrack from a pavilion at the 2025 World Expo. And let me tell you – it is Epic. With a capital E. American-born, Tokyo-based composer Evan Call only came onto my radar a couple of years ago, since when I’ve heard a fair bit of his work and liked all of it – and this is one of the best yet. Anyone who loves great big orchestral film music is in for a treat: this is Big. With a capital B. (Actually, the only thing that isn’t Big is the length of the album – I spend so much time complaining about soundtrack albums that are too long – but this one’s only 29 minutes and I just want it to go on and on. I assume this is all the music Call wrote – but still, that isn’t going to stop me complaining.)

Little Siberia

Antti Tuomainen is one of my favourite living writers – the Finn writes magnificently quirky stories which tend to see fairly dull lead characters’ mundane lives suddenly being thrown out of kilter by some unfortunate event and then them wrestling to try to bring things back under control. In Little Siberia, the fairly dull lead character is a pastor and the unfortunate event is a meteorite striking the small Arctic town in which he lives, leading to his life spiralling out of control. Tuomainen wouldn’t be for everyone and perhaps it’s difficult to translate his unique tone from page to screen, but any fan of the Coen brothers would do well to give it a go. Finland’s leading film composer Panu Aaltio is best-known for his sweeping natural history documentary music but of course he’s very versatile and he flexed his muscles in a way he likely never has before for Little Siberia, writing a score that is likely as divisive as the movie – I think it’s magnificent, by far my favourite musical thing of 2025 so far.

La Cache

Released in the English-speaking world as The Safe House, Lionel Baier’s La Cache is set in the period of civil unrest in France in 1968 and tells the story of a young boy hiding away in his grandparents’ apartment in Paris. While I haven’t seen it, reviews suggest it has an interesting tone bridging between serious drama and comedy and this is reflected in its fine score, composed by Diego Baldenweg with his siblings Nora and Lionel. Their music is a great throwback to jazzy film music of the late 1960s and 70s by the likes of Michel Legrand and Lalo Schifrin (along with countless Italians) – mostly played by a small jazz ensemble, it is deliciously quirky as it toes that line between serious and silly.

Lee

Typical woke nonsense – a biopic of Robert E. Lee starring Kate Winslet as the Civil War general – it’s no wonder it didn’t perform too well in the southern states. No, I’m only joking, it’s actually about Lee Miller, the pioneering WWII photojournalist, and was a real labour of love for Winslet. It’s the first feature directed by the cinematographer Ellen Kuras, and while it took years to make due to funding issues, and sat on the shelf for a long time after its festival debut in 2023 (which are not often good signs), it was met with praise when it finally saw the light of day and has received some awards attention, particularly for Winslet’s performance.

Out of Africa

Sydney Pollack’s classic romantic weepie Out of Africa was one of 1985’s most popular films, audiences really falling for Meryl Streep and Robert Redford as Karen Blixen and Denys Hatton, whose complicated early 20th century relationship in Kenya formed the basis of Blixen’s popular memoir. The film won seven Oscars – including Best Picture and Best Director – and the fourth of the great John Barry’s five Academy Awards. Pollack’s previous six films had been scored by Dave Grusin (and several of his later ones were), but it is hard to imagine anyone other than Barry scoring this film – it is one of the great film scores.

Mufasa: The Lion King

You can imagine the pitch meeting for this: “Oh that’s a great idea – an origin story for Mufasa. Let me just check one thing: you do mean doing it like the 2019 “photorealistic” version that everyone hates, don’t you? And not like the 1994 one that’s universally-beloved? You do, that’s great, thanks.” One of […]

Moonraker

While undoubtedly very silly, Moonraker still has its attractions: “He’s attempting re-entry, sir”, Holly Goodhead, Ken Adam’s amazing production design and John Barry’s brilliant music. Incredibly, it was the highest-grossing Bond movie until Goldeneye, and when adjusted for inflation it took in more money than any of the remaining Moore films, either of the Dalton […]

SuperKlaus

After Santa bumps his head and comes to believing he is the superhero SuperKlaus, the Christmas caped crusader takes on a nasty businessman and it’s up to his elves to save the day in this Spanish animation. Providing the score is the ever-reliable Diego Navarro. Most years there seems to be a new lovely festive […]

The Return

Based on the final part of Homer’s Odyssey, Uberto Pasolini’s The Return covers Odysseus’s return to Ithica after decades away fighting in the Trojan war. Starring Ralph Fiennes and Juliette Binoche, the film has garnered positive notices, especially for the actors. Interesting fact: Pasolini is no relation to the other director of that name – […]

The Man with the Golden Gun

Roger Moore’s second Bond film, The Man with the Golden Gun was released precisely fifty years ago on the day I’m writing these words. It raised the camp levels so far that the film is generally regarded as one of the series’ weakest (though – while acknowledging it is clearly not at the level of […]

That Christmas

Penned by Richard Curtis and helmed by Simon Otto, That Christmas is an animated family story about stockings, snow and Santa and is the first Christmas movie scored by John Powell. It is far from the first animated movie scored by John Powell however, and if you like them then you’ll be pleased to know […]

Carry-On

Say what you want about director Jaume Collet-Serra, you certainly can’t accuse him of lacking balls: reviving the once-popular Carry On series in these woke times is a bold move indeed. I have to say I didn’t find it as funny as the better films in the series – Taron Egerton is no Sid James, […]

Moana 2

In the middle of all the creatively bankrupt “live action” remakes of classic animations and increasingly desperate Marvel movies, Disney did release a couple of genuinely great animated features in the last decade in Moana and Encanto. Both of these featured wonderful sets of songs by Lin-Manuel Miranda, suggesting they may have finally found their […]

Blitz

I found Steve McQueen’s revisionist tale of life for one family during the German bombardment of London to be slick and well-made but surprisingly unmoving; the concentration on terrors domestic rather than foreign is of course the whole point but takes a little getting used to. Musically, there are two elements here – first, period […]

Gladiator II

The first Gladiator film changed film music, completely. It was the first time a real “prestige” film had been scored that way – you could write a book about its influence, all the reasons why nothing was the same again afterwards – but that’s for another time. Over two decades later, the sequel – the […]


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