In The Blink of An Eye by Thomas Newman

It will already be clear that I am a huge fan of Thomas Newman, hands down my favourite film composer and consequently, my most listened to by far. Newman isn’t releasing as many scores per year as he used to so when something new arrives then it should be savoured. February 2026 saw him reunite with Andrew Stantion for Disney+ film “In The Blink of An Eye”. It’s a small scale epic - excuse the contradiction in terms - that explores complex themes around human connection spanning time and space. The film received a muted reception and is likely little seen due to the streaming rather than theatrical release but Newman’s score is one that continues to grow on me with every listen. It’s such a shame that this work has not been enjoyed by a wider audience. The music really controls the narrative structure in the film and links the three timelines before eventually uniting them at the climax of the film. The soundtrack features a number of lengthy tracks due to the prominence of music within the film.

The album starts with Double Helix which features extensive use of dramatic strings and a choir creating an ethereal slow build of an introduction. The opening choral chants explode into a mix of choir and percussion to capture the big bang before using a more subtle use of voice to mix with a almost ambient soundscape with bursts of strings and percussion throughout. It captures the slow nature of human progression in a haunting and powerful manner. It’s a track with an inherant richness that rewards repeated listens as the soundscape envelopes you. Initially I was underwhelmed with the piece and found it too ambient for a listening experience but the richness of the strings and choir - and the link to the film’s musical conclusion - are well worth exploring.

Handprint is another track that initially appears underwhelming but again, there’s a gorgeous mix of percussion, strings and vocals to be found in it and it sets out a thematic motif that really explores later in the film and the album.The significance of a simple hand print may seem inconsequential but later delivers an emotional pay off. The plucking and twanging of the guitar, underscored with beautiful strings is something to savour.

One of the three narratives is essentially a love story and the next two tracks do some of the initial heavy lifting to sell that love story within the film. Zero to Very Little is a short track that uses some sci-fi Passengers-esque twinkling along with more string, guitar and subtle vocals to suggest the possibility of something warm and romantic within a colder landscape. This builds beautifully in Left Palm which is the first of two presentations of the key love theme motif that Newman has created. Classic Newman piano kicks it off with a lovely and memorable motif that captures two people falling in love as that warm strings kick in - it really is music to fall in love with - and to! The piano in the last minute of the track is just so wam and rich and hopeful. It’s everything I love about film music, it makes you feel like your heart is swelling, and it’s a theme Newman returns to and builds on later.

Oxygen is a six minute plus soundscape which captures a key moment in the film. There is pulsing electronic drum beat used to create a tension that is then consumed by a colder sweep of strings and vocal to add to that enveloping and tense soundscape with flickers of warmth and humanity via the vocals and guitar throughout. Again it was not a track that felt like a pleasant listening experience initially but it’s a grower. A soundscape to become enveloped within for six minutes.

Mothers Die returns to that theme explored in Handprint but with added vocal pathos before a run of fairly ambient tracks that reprise those established themes in interesting ways. Then the album - and the music within the film itself - shifts dramatically. The detached sci-fi coldness that has perhaps dominated the initial portion of the score, despite those beautiful explosions of strings and vocals, dissipates and it becomes something far more warm and orchestral.

Since When is a stunning track that begins with that piano motif established in Left Palm and is this time supported with warm percussion and the piano motif is allowed to grow and breathe as the love story is fully embraced within the film. This captures the first “I love you” and Newman scores that moment with a brass and string combination that is stirring, warm and inspiring. Again, music that warms the heart and soul. That wonderful trumpet flourish that kicks in at 1.55 is just a joy. Then Good Fortune is the most un-sci-fi piece of music you could imagine, it’s Newman’s love letter to classical scoring, 6 minutes and 21 seconds of pure joy as the narrative shifts within all three stories of the better. Sweeping strings that go full orchestral and a wonderful joyful soundscape to get lost in with hope, happiness and playfulness. I’m not sure a better piece of film music will be produced in 2026 - more people need to hear this track. An Ancient Wedding follows this with plucked percussion that adds further warmth and playfulness with a lovely use of woodwind, vocals and strings to craft a celebration that captures the time and characterisation perfectly.

The album concludes with my three favourite tracks. Golden Acorn is a soaring, extended piece that brings al three narratives together for the conclusion of the film. It revisits the beautiful theme from Handprint and Mothers Die in a sweeping orchestral piece that features emotive strings and some wonderful work on the guitar and more brass building on their use within Since When. The string build from around 2.28 until it’s crescendo around 4 minutes is epic and powerful with the brass doing the heavy lifting around 4.30 and then the track progresses into something softer and more tender and meditative. It’s 7.25 and music to get truly lost in. The film concludes with Joy x Remembrance J which is just a, well, joyful piece of music. It builds on the ending of Golden Acorn and pulls together the themes explored through the full score with percussion, strings, vocals and a subtle yet soaring melody which builds to an utterly sublime and powerful climax over the final shot of the film. The build up is just wonderful and the emotional pay off is significant as all aspects of the music grow and that wonderful brass returns to add weight to the emotional depth of the music before an almost percussive explosion of joy which perfectly captures all three narrative strands. A must listen.

The end title track is called Atmospheric and we return to some of the themes from that very first track but this time, they are all warmer, fuller and more emotionally resonate that the colder opening version. A wonderful mixture of vocals and strings which are moving and poignant as the credits roll. The use of strings is so emotionally powerful at some points. Incredible film music.

If there were any cinematic justice in the world, this score would have received far more attention and acclaim. Maybe it will just take those who appreciate film music a little longer to find it, when they do, I’m sure there will be much to enjoy.

Favourite Tracks: Since When, Good Fortune, Golden Acorn, Joy X Remembrance, Atmospheric