Ken W. Hanley is the Managing Web Editor for FANGORIA and STARLOG, as well as the former Web Editor for Diabolique Magazine and a contributing writer to YouWonCannes.com. He’s a graduate from Montclair State University, where he received an award for Excellence in Screenwriting. He’s currently working on screenplays, his debut novel “THE I IN EVIL”, and various other projects, and can be followed on Twitter: @movieguyiguess.
For Your Consideration: The 2016 Chainsaw Award Nominees for Best Score!Movies/TV,News Ken W. Hanley
With voting season now open on the FANGORIA Chainsaw Awards, fans are putting their minds at work to select their favorites out of every potential nominee. When it came to Best Score, there were many deserving compositions that chilled FANGORIA throughout the year, from THE FINAL GIRLS to KRAMPUS to SPRING. Nevertheless, only five scores could creep through the competition and take that extra step towards genre greatness.
So without further ado, here are the Chainsaw Award Nominees for Best Score in 2016…
THE BOY, composed by Hauschka (Volker Bertelmann)
Creepy, deliberate and unsettling in its implications, Hauschka’s composition helped establish THE BOY as one of 2015’s most eerie cinematic offerings.
CRIMSON PEAK, composed by Fernando Velazquez
Perhaps the only “traditional” score of our nominees, Fernando Velazquez’s rousing and chilling score set the terrifying tone for Guillermo del Toro’s epic Gothic horror film.
THE EDITOR, composed by Claudio Simonetti, Carpenter Brut, Brian Wiacek and Jeremy Gillespie
Capturing the essence of the greatest Italian horror scores, the team behind THE EDITOR transcended homage to create a sound unique and compelling in its own right.
IT FOLLOWS, composed by Disasterpeace (Richard Vreeland)
The most acclaimed horror score of the year, Disasterpeace’s excellent, pulse-pounding score felt like a long-lost John Carpenter score, helping turn IT FOLLOWS from an indie horror release into the must-see genre sensory experience of 2015.
WE ARE STILL HERE, composed by Wojciech Golczewski
A grungy, minimalist mix between classic and contemporary sounds, Golczewski gave WE ARE STILL HERE an appropriately haunting and occasionally emotional score that works even beyond the film.
If you would like to vote for any of these films for Best Score, check out the full ballot here and send your completed ballot to email@example.com.