Hans Zimmer is one of the most recognized and employed composers in the world of film scores. His most recent scores, Dune and No Way to Die, join a long list of film credits ranging from science fiction films, such as Blade Runner 2049 and Interstellar, to animated features, including Kung Fu Panda. There’s no surprise that Christopher Nolan was not happy when Zimmer chose to score Dune instead of Tenet, particularly because the two had collaborated on several films prior, including the The Dark Knight trilogy.
The Dark Knight film score earned Zimmer a Grammy for Best Score Soundtrack Album (shared with fellow composer James Newton Howard). However, Zimmer’s superhero film compositions are not limited to just the The Dark Knight trilogy. Fans of the superhero film genre will recognize his music within several other superhero films too. While some of his compositions sound similar from track to track and even film to film, these ten tracks from superhero films capture the essence of their respective films and prove to be download-worthy for listeners.
"Teraforming" (Man of Steel)
The entire Man of Steel album is filled with great tracks, most of which have a unique yet related sound. "Terraforming" is featured in the movie during the scene when Superman, along with the help of the military, seeks to stop General Zod from destroying the entire planet.
At just under ten minutes, the track features the characteristic undertone of the entire film score. The album features other similar, shorter tracks, but the ten minute length is enough to build intensity without being ridiculously long and repetitive, which compliments the scene within the movie. Among several great tracks, "Teraforming" captures the most powerful tones of the movie. "Teraforming" is available on the deluxe film album (worth the extra cost for the extra tracks).
"Flight" (Man of Steel)
The track "Flight" includes the dramatic intensity of the Man of Steel theme in less time than some of the other, longer score tracks. Featured in the film when Clark dawns his suit and begins to understand his powers, "Flight" embodies the transition of Clark to Superman.
In the film, "Flight" is played in part while Jor-El's conscious guides Clark to understanding his purpose on Earth. As one of the key influencers for Superman, Jor-El's voice along with the "Flight" track create a milestone for the character and franchise. At about a four-minute run time, "Flight" maintains a steady increase intensity, which is missing in some of the longer tracks of the album. Listeners wanting more of the Man of Steel vibe without buying the entire album, may want to download the track titled "Man of Steel (Hans' Original Sketchbook)" within the deluxe album. At about 28 minutes, that song is a compilation of the dramatic segments throughout the film's score.
"Is She With You?" (Batman v Superman: Dawn of Justice)
While reception for the film was mixed, at best, Hans Zimmer and Junkie XL's Batman v Superman film score has several great tracks. Much of the tracks in the film feature similar melodies to Zimmer's previous scores, but within "Is She With You?" the triumphant, heroic builds of Man of Steel are replaced with subdued, angry undertones.
"Is She With You?" is slightly different from the rest of the album in that it features segments from the Man of Steel theme mixed with the Wonder Woman theme. The start of track sounds like the Man of Steel until the percussions build into the Wonder Woman theme. As such, the vibe is more heroic as compared to the other film's tracks. "Is She With You?" captures all of good aspects of the first Wonder Woman movie theme coupled with the grittiness of Batman v Superman.
"The End" (The Dark Knight Rises)
All three soundtracks for The Dark Knight trilogy are good, but several of those tracks sound very similar to one another, and some listeners might not want to shift through three albums to find the best tracks.
"The End" is one track that manages to compile great sounds from the previous Batman Begins and The Dark Knight while also remixing to create a new sound. At about six minutes, "The End" is a track that sounds like all three films and reflects the journey Bruce Wayne experiences as Batman from beginning to end. The track carries a subdued, melancholy vibe remnant of the first two films until about four minutes in when the intensity increases. Unused in its entirely in the film, "The End" is an extended version of the end credits music.
"Bombers Over Ibiza" (The Dark Knight Rises)
Junkie XL's influence is apparent on this track, which is a fun departure from most of the tracks on this album. Unused in the film itself, the track is featured as a bonus on the digital album.
The fast, techno beat is not featured as strongly in any other of part of the album. A fast beat builds until about the 2 minute mark of the song in which the deep, dark undertones of Bane take over. Zimmer's score in The Dark Knight featured an industrial electronic sound not present in Batman Begins, and in The Dark Knight Rises, that industrial, electronic mix is more apparent with Junkie XL's influence.
"Why Do We Fall?" (The Dark Knight Rises)
At two minutes in length, "Why Do We Fall" is short enough to be intense and long enough to create a mood. Plus, the track is featured in one of the most important scenes of the film.
As such a short track, the song remains intense for its entire duration, matching its use in the film. "Why Do We Fall?" is titled after the line in the film when Bruce's father asks him the same question during a flashback. The track is featured as Bruce ascends from the underground prison. At about 1:30 minute into the song, a slight pause occurs as Bruce makes the impossible jump during his escape. Similar to the theme in the "Rise," track, "Why Do We Fall?" is shorter and more intense.
"Like A Dog Chasing Cars" (The Dark Knight)
While the entire album is great, many of the tracks on The Dark Knight score are similar to (and better in) The Dark Knight Rises. "Like a Dog Chasing Cars" is unique in that in builds steadily for the first 3 minutes before calming in the late two minutes. Unlike Batman Begins, The Dark Knight features electronic and industrial sounds, fitting for the chaos that is present within the film's action.
The entire album features many of the same melodies and dramatic rises from track to track. However, "Like a Dog Chasing Cars" is short enough to avoid repeating its themes but long enough to create the dramatic build that is characteristic to Zimmer's entire score. The title is taken from Joker's line within the movie. While the track itself is not featured in full within the movie, portions are heard during the rooftop scene between Gordon and Batman and during Batman's fight to save the clown-disguised hostages.
"Molossus" (Batman Begins)
The forceful rhythm within "Molossus" becomes the iconic and repeated theme within all three of Nolan's Batman films. For the first of the films, James Newton Howard is credited along with Zimmer.
All tracks within the Batman Begins soundtrack are Latin names for bats, a quality noted only within the first Batman film. "Molossus" is featured in separate action sequences within the film, fitting because of its urgent nature caused by rising intensity of the horns mixed in with smooth sequences from strings. While Zimmer isn't scoring 2022's The Batman, Micheal Giacchino's new theme sounds promising.
"Open Road" (Wonder Woman 1984)
"Open Road" features similar themes and intensity as "Is She With You?" from Batman v Superman with segments from The Dark Knight score.
About one minute into the track, the melody shifts from the familiar Zimmer/Batman theme into the unique and fast sound of Wonder Woman. The entire track builds from there, becoming more intense until three minutes, in which the "Thermyscira" theme from other tracks with the film is featured. "Open Road" has all of the quality sounds from the entire album in 5:30 minutes, building intensity until the very end.
"Radio Waves" (Wonder Woman 1984)
At 8 minutes, "Radio Waves" has the same qualities of many of Zimmer's longer score tracks. Although Zimmer did not score the first Wonder Woman movie, "Radio Waves" in one track from 1984 where Zimmer's influence is apparent.
The pulsating brass sounds during the first two minutes hint at the intensions of the villain (Max) with the film itself. Slowly, the brass builds intensity until the Wonder Woman theme strongly enters. The track continually shifts between the tones of evil and good using Zimmer's characteristics brass/strings combo. The entire track is a wild ride of action.
"Dark" (X-Men: Dark Phoenix)
Even bad films can have good soundtracks. Dark Phoenix was not well received by fans, but in typical fashion, Zimmer still made the film sound good.
At 4:30 minutes, "Dark" features the same thematic sounds as the longer 8-minute track titled "Gap." In half the running time, "Dark" features the score's melody with a more intense pace. The same industrial sounds used in Wonder Woman and The Dark Knight are present with very melancholy vocals throughout. The entire score sounds very similar, but of the tracks, "Dark" has the most interesting pace while featuring the score's main theme and vibe.