What’s a spectacular film without spectacular music? Not much, in my book. These are the scores that captured the heart of film this year.

5. Michael Giacchino for Dawn of the Planet of the Apes

Giacchino is one of the best composers out there as far as I’m concerned. He hasn’t been around as long as John Williams, Hans Zimmer or James Newton Howard. However, he solidifies his place in the film composer hall of fame. Dawn features rousing themes mixed in with suspenseful strings. All the Giacchino-isms are there (he loves plucking those strings) and they all work to great effect.

Favorite Track: The Great Ape Processional, one of the most rousing pieces Giacchino has ever done.

4. James Newton Howard for Maleficent

Howard has gone all out. The score is big, loud and grandiose. Also, it’s kind of wonderful to boot. Howard is not new to the fairy tale film genre (he previously scored Snow White and the Huntsman). Here, he is putting his all into making this film seem like epic fantasy. It totally works. The score is majestic with some knockout choral arrangements. He goes from bombastic (in a good way) to quiet seamlessly. Mr. Howard, scores like these are why you are one of my favorites.

Favorite Track: The Christening, a track with it all: suspense, grander and choirs.

3. Hans Zimmer for Interstellar

Zimmer gets away from the big boom of his famous Inception score and goes for something he has never done. I always love it when even established composers continue to take chances. He has thrown all wind instruments to the wayside for an organ-esque score that suits the film perfectly. Yes, it does feel like church. But in some weird way, it also feels like space. It’s one of the most daring and ambitious scores that Zimmer has ever done. I can’t wait to see what this continued partnership with Christopher Nolan will push him next.

Favorite Track: Cornfield Chase, the track where the organ really shines.

2. Steven Price for Fury

The man behind Gravity’s music won his first Oscar for just his second film. With Fury, I will say that he needs to at least be nominated again. This man is off to a fantastic start. Price takes the tricks that he used for Gravity. Short staccato notes with sudden dynamic changes are present. But now, he’s taking all of his tricks and applying it to a World War II film. He creates a sound that is haunting, grimy and chaotic. It also features the best and ugliest use of choral arrangements I have heard this year.

Favorite Track: Fury Drives Into Camp, a track I picked based on the choirs alone. I hope you’ll see what I mean when you hear it.

1. John Powell for How to Train Your Dragon 2

My love and admiration for the first film’s score knows no bounds. My love and admiration for the sequel’s score has exceeded “no bounds” territory. Powell doesn’t rehash his themes. They mature and are even more grandiose than before. Powell did not win the Oscar for the first film’s score. Here’s hoping to second time’s the charm. If not, he should know that I’ll always be a believer with these scores.

Favorite Track: Flying With Mother, the introduction to Valka’s incredible theme.

*All videos from MarioSoundtrack, Owen Eldridge, th3empor0r