13 Hours (Paramount Music, out now)Lorne Balfe composes 13 Hours, Michael Bay's controversial dramatisation of the Benghazi incident and it's what you'd expect, a mix of loud electronics interspersed with what sounds like a sonic representation of flag waving. It's not really half as bad as that sounds, although it never really shakes off the cliches to become anything interesting.
Burnt (Lakeshore Records, out now) Rob Simonsen's stock continues to rise, and while his score to Bradley Cooper cooking comedy Burnt may not be as memorable as something like The Age of Adaline, it's still worth your time and a lot of fun. Simonsen's music moves fast, and you can easily imagine images of the chef doing his thing to the bright and energetic score, which I guess means it's done its job.
Remember (Varese Sarabande, out now) Mychael Danna's score to the Atom Egoyan drama is certainly an interesting work, and certainly not in a dismissive way. It's not the easiest thing to listen to, moving between somewhat atonal and dissonant pieces and regretful strings, and in many places sounds threatening and inhuman. But once you get under its skin (and it gets under yours), you may find it rewarding.
Un gallo con muchos huevos (Moviescore Media, out now) The third in a series of animated films from Mexico, Zacarias M. de la Riva's score to Un gallo con muchos huevos (released in America as Huevos: Little Rooster's Egg-cellent Adventure) is a lot of fun to listen to, a big orchestral adventure that deftly switches from comedy to action to emotional pieces. It's this kind of thing where it might be easy to give way to snobbery, but you shouldn't - it's worth your time.
Dad's Army (Silva Screen, out February 5th) Yes, it's Dad's Army: The Movie, starring Toby Jones as Captain Mainwaring. I don't know whether it's absolute genius or spectacular lunacy, but either way composer Charlie Mole has done a fine job with the music. The pomp and circumstance is there along with the expected humour, but what appeals is the period details, such as the little bits of jazz and the spy-movie feel it sometimes has. And of course it ends with 'Who Do You Think You Are Kidding Mr. Hitler".
Lamb (Moviescore Media, out now) Daniel Belardinelli's score to the acclaimed drama is a powerful listen, showing the composer's great idea for melody and being able to get intensity out of a fairly stripped-down source. Electronic elements pop up from time to time to underline the less focused sections, but it's finely balanced to draw out the maximum effect aesthetically and emotionally, and it does that brilliantly.