Only 3 Fantasy Movies Have Better Music Than The Lord of the Rings

Only 3 – Even with Howard Shore’s iconic score behind one of fantasy cinema’s biggest triumphs, there are three other fantasy films—Pirates of the Caribbean: The Curse of the Black Pearl, Harry Potter and the Sorcerer’s Stone, and Disney’s Pinocchio—that some listeners

When people talk about fantasy film music at its highest level. the conversation almost always starts—and too often ends—with Howard Shore’s work on The Lord of the Rings. The trilogy, based on J. R. R. Tolkien’s seminal. pioneering novels. follows Frodo Baggins (Elijah Wood) on a quest to destroy the One Ring. a powerful item capable of subduing all the free people of Middle-earth. It’s also a box-office giant and a awards behemoth, winning 17 Oscar wins out of 30 nominations.

And the score is a huge reason why. Shore’s music captures the mythical. mysterious. and inviting nature of the franchise. and the opening track of The Fellowship of the Ring—”One Ring to Rule Them All”—is among the most evocative compositions in cinematic history. It became deeply influential and universally known. reaching a level of mainstream acclaim and awareness that few cinematic scores ever manage.

Yet there are listeners who will tell you the magic doesn’t stop there. They argue that at least three fantasy movie scores are better than The Lord of the Rings—less a refutation of Shore’s legacy. more a reminder that perception and personal taste can steer the needle. Still. the case for these three titles rests on the same kind of power: iconic themes. broad recognition. and a sound that feels like it belongs to fantasy itself.

First up is Gore Verbinski’s Pirates of the Caribbean: The Curse of the Black Pearl (2003). The film isn’t presented as flawless. but it’s described as “damn it. it’s fun.” It centers on Will Turner (Orlando Bloom). a blacksmith with a crush on the governor’s daughter. Elizabeth Swann (Keira Knightley). When Elizabeth is kidnapped by a band of pirates. Will reluctantly teams up with infamous pirate Captain Jack Sparrow (Johnny Depp) to rescue her. The kidnappers are undead pirates led by Captain Hector Barbossa (Geoffrey Rush). hunting for the pieces of an ancient Aztec cursed treasure so they can regain their mortality.

The score credited for driving much of the movie’s impact is Klaus Badelt’s epic. exhilarating work—one that became synonymous with the adventure genre as a whole. At that point. Badelt was a relative newcomer with only a few movies under his belt. and he collaborated with Hans Zimmer for most of the score’s primary themes. The most famous theme. “He’s a Pirate. ” is singled out as the perfect distillation of pirate life: exciting. enthusiastic. slightly over-the-top. and instantly iconic. The franchise may not be what it once was. but the score—especially for the first three movies—is still among its best and most acclaimed aspects. “Listen to ‘He’s a Pirate’ and tell me you don’t want to set sail. ” is the emotional challenge the argument leaves you with.

Then there’s Harry Potter and the Sorcerer’s Stone (2001). where fantasy’s mood swings are built right into the music. The piece reminds readers that the Harry Potter saga is intrinsically tied to The Lord of the Rings—both the Harry Potter film and The Fellowship of the Ring premiered in 2001 to massive critical and commercial acclaim. both played a pivotal role in revitalizing the fantasy genre on the big screen. both were based on literary juggernauts that marked their respective generations. and both spawned billion-dollar film franchises that remain influential to this day.

But when it comes specifically to score supremacy, the Boy Who Lived gets the nod. Composed by John Williams, the score is framed as something close to a generational template for how magic should sound. It’s described as whimsical and playful, with moments that turn haunting when needed, while staying joyous throughout. It’s credited with having a childhood aspect that fits the story’s tone—but also surprising versatility. easily transitioning to a darker. more somber tone when the moment calls for it.

Among the tracks, “Hedwig’s Theme” is treated as the centerpiece, considered the main theme of the entire Potter saga. The claim goes further: “Hedwig’s Theme” is called the unofficial soundtrack to fantasy. with an analogy that lands squarely in mainstream awareness—like the “Star Wars Main Theme” is to science fiction. “Hedwig’s Theme” is to fantasy. The argument doesn’t really ask you to do anything except remember the opening notes.

Finally, the list turns to Disney’s Pinocchio (1940), described as the studio’s crowning achievement and most emblematic effort. Released in 1940, it’s an adaptation of Carlo Collodi’s 1883 novel The Adventures of Pinocchio. The story follows the wooden puppet who comes to life thanks to the Blue Fairy. It’s widely remembered as a masterpiece of animation and the defining version of the seminal novel for many viewers. favoring the more innocent and playful aspects while still keeping darker undertones.

But the score—and the film’s musical identity—comes into focus through awards and emotional recall. The piece notes that it wasn’t a tradition for Disney movies to win the Oscar for Best Original Song and Best Original Score. but Pinocchio was actually the first movie to do it. Its most famous song. “When You Wish Upon a Star. ” is described as the soundtrack to cinematic childhood: a sweet lullaby with a poignant message that ranks among the greatest compositions in the medium’s history. The song is also framed as a studio signature. playing before most of Disney’s movies as the castle logo appears.

The score itself is credited with capturing the complexities of being a child—gentle and lighthearted. yet emotional and profoundly evocative. reaching a point of melancholy. The soundtrack’s versatility is illustrated with examples including “Little Wooden Head” for sweetness and charm. and tracks like “Monstro Awakens” and “Desolation Theme” for darker moments. In this telling. the Pinocchio score is less about fantasy’s monsters and more about fantasy’s feeling: childhood innocence rendered in music with a depth no one else quite matches.

What ties these three picks together isn’t just that they’re beloved. They each come with a signature sound—“He’s a Pirate,” “Hedwig’s Theme,” and “When You Wish Upon a Star”—that’s meant to be recognized fast, remembered longer, and replayed the moment you start thinking about their worlds.

The Lord of the Rings remains the towering benchmark—17 Oscar wins out of 30 nominations. and a score with “One Ring to Rule Them All” etched into mainstream consciousness. But for those who want their fantasy music to feel like a direct invitation—into adventure. into magic. into childhood wonder—these three movies offer arguments that are hard to dismiss just by citing legacy. In the end, it comes down to which kind of enchantment you’re chasing.

The Lord of the Rings Howard Shore fantasy movie scores Pirates of the Caribbean: The Curse of the Black Pearl Klaus Badelt Hans Zimmer “He’s a Pirate” Harry Potter and the Sorcerer’s Stone John Williams “Hedwig’s Theme” Pinocchio “When You Wish Upon a Star” Best Original Song Best Original Score