Honestly, John Murphy might be the most "famous" composer you’ve never actually looked up. It’s a weird paradox. You know that haunting, building piano theme from every zombie trailer or "epic" YouTube montage? That’s him. The shimmering, tear-jerking orchestral swell that makes space look both beautiful and terrifying? Also him. He’s the guy who provided the sonic backbone for Danny Boyle’s career-defining hits and later became James Gunn’s go-to maestro for the weird and the wonderful.
He didn't take the traditional path. No Juilliard, no decades of classical training. He’s a self-taught multi-instrumentalist from Liverpool who started out in 80s bands like The Lotus Eaters. That "outsider" energy is exactly why john murphy movies sound so different from the polished, somewhat interchangeable scores we get in modern blockbusters. He treats an orchestra like a punk band.
The Danny Boyle Era: 28 Days Later and Sunshine
If we’re talking about john murphy movies, we have to start with the 2002 "zombie" (don't call them zombies) classic 28 Days Later. Before this, Murphy was doing gritty British crime flicks like Lock, Stock and Two Smoking Barrels and Snatch. But 28 Days Later changed everything.
The track "In the House – In a Heartbeat" is a masterclass in tension. It starts with a simple, almost annoying three-note motif and just... builds. It doesn't stop. It adds layers of distorted guitar and crashing drums until you feel like you're being chased through London by a pack of Rage-infected lunatics. It’s been ripped off, homaged, and licensed so many times that it’s basically the universal "the stakes are high now" button for editors.
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Then came Sunshine in 2007.
Critics and fans still argue about the third act of that movie, but nobody argues about the music. "Adagio in D Minor" (which is actually in E minor, but Murphy says the title sounded cooler) is arguably the most beautiful piece of film music written in the last twenty years. It has this incredible quality of feeling both intimate and cosmic. You’ve heard it in The Walking Dead, Wonder Woman 1984, and even Olympic coverage. It’s one of those rare tracks that makes a scene feel important just by existing.
Breaking the Rules with James Gunn
After a bit of a quiet period where he mostly focused on his own label, Taped Noise, Murphy had a massive resurgence when James Gunn tapped him for The Suicide Squad (2021). Gunn needed someone who could handle "gonzo."
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Murphy didn't disappoint. He recorded parts of that score in rooms with hard stone walls to get a "nasty" sound. He wrote the orchestral parts on a guitar with fuzzbox pedals. Who does that? Most composers sit at a pristine piano or a workstation. Murphy wanted it to feel like a garage band had crashed a symphony.
This partnership continued with Guardians of the Galaxy Vol. 3. Replacing Tyler Bates (who did the first two films) was no small feat. Murphy managed to keep the heroic themes but injected a lot more "human voice" into the mix. Tracks like "Mo Ergaste Forn" (a fictional opera) and his version of "Dido's Lament" added a layer of genuine grief to a movie about a talking raccoon. It worked because it didn't feel like "superhero music"—it felt like raw emotion.
The Superman Evolution
As of 2025 and 2026, the biggest project in the world of john murphy movies is the new Superman. This is where he’s facing his toughest crowd. Taking on the legacy of John Williams is basically a suicide mission for most composers.
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But Murphy’s approach is characteristically bold. He’s actually incorporated the iconic Williams theme but, in true Murphy fashion, he’s experimented with "electrifying" it. Imagine that legendary brass fanfare played on a filtered, gritty guitar. It’s polarizing, sure, but it’s also undeniably fresh. He’s also focused heavily on a "love theme" that leans away from the over-the-top romance of the 70s toward something more minimal and modern.
Notable Filmography Highlights
- Lock, Stock and Two Smoking Barrels (1998): Gritty, fast-paced, very British.
- Snatch (2000): More of that heist-energy music.
- 28 Days Later (2002): The birth of the "Murphy Build."
- Millions (2004): A lighter, whimsical side of his style.
- Miami Vice (2006): Dark, atmospheric, and very Michael Mann.
- Sunshine (2007): The peak of his collaborative work with Danny Boyle.
- Kick-Ass (2010): High-energy, comic-book-on-acid vibes.
- The Suicide Squad (2021): Pure rock-and-roll orchestral chaos.
- Guardians of the Galaxy Vol. 3 (2023): Heart-wrenching and operatic.
- Superman (2025): Redefining the most iconic theme in cinema.
Why His Style Actually Works
Most modern film scores are "wallpaper"—they’re designed to stay out of the way. Murphy’s music doesn't do that. It demands you listen. His secret is simplicity. He’s admitted he isn't interested in complex, academic music. He wants to hit you in the gut.
He treats the orchestra like a giant synthesizer. He’s not afraid of a four-chord loop if those four chords make you cry or want to run through a wall. That’s the Liverpool punk in him. He’s also one of the few big-name composers who actually plays most of the instruments on his scores himself, which gives his tracks a "handmade" feel that you just don't get with purely digital samples.
How to Dive Deeper into John Murphy's Music
If you're looking to really appreciate the range of john murphy movies, don't just watch the blockbusters.
- Listen to the "Sunshine" score in isolation. Don't just stick to the Adagio. Listen to "Kaneda's Death" and "Capa's Jump" to see how he handles kinetic energy.
- Compare 28 Days Later with 28 Weeks Later. Murphy returned for the sequel and evolved the "In the House" theme into something much more aggressive and nihilistic.
- Check out his work on the Peacemaker series. It shows his ability to blend 80s hair metal vibes with actual cinematic storytelling.
- Look for his "Taped Noise" releases. This is where he experiments without the pressure of a billion-dollar movie studio breathing down his neck.
The best way to understand John Murphy is to realize he isn't trying to be a "film composer." He's a songwriter who happens to have a hundred-piece orchestra at his disposal. That distinction is why his music stays in your head for years after you've forgotten the plot of the movie.