” — a moment elevated, like so much of the movie, by composer Nicklas Schmidt and his angelic choir.”

Peter Debruge in Variety review of Beyond Beyond

“Working from an adaptation again penned by Nikolaj Arcel, Moland sets an evocative stage for the unsettling developments with the help of cinematographer John Andreas Andersen’s strikingly moody imagery and Nicklas Schmidt’s menacing score.”

Michael Rechtshaffen, LA Times

“Fabulous music”

Aftonbladet (Swedish daily newspaper)

“John Andreas Andersen brillerer med sine smukke billeder, danske Nicklas Schmidt har komponeret et flot og mytisk soundtrack, og Hans Petter Moland har sat det hele flot i scene.”
– Flaskepost fra P anmeldelse i BT (5/6 stjerner)

“Filmen er sød og sjov og har noget af den bedste musik, jeg længe har hørt i en dansk børnefilm”
– Weekendavisen (Danish weekly newspaper) review of Familien Jul

om “Den Kæmpestore bjørn” (The Great Bear):

“Musikken går lige i solar plexus”
–Hella Joof i ‘Åbent hus’ på DR P2

“Filmen har bemærkelsesværdig smuk musik”
– Birgitte Grue i B.T.

“Nicklas Schmidts musik er et kapitel for sig, den er meget stemningsfuld og smuk”
– Jakob Stegelmann i Troldspejlet på DR.

“Stemningen af mytisk urskov rammes med en ryggerislende effektfuldhed flere gange takket være netop animation og det lækre score komponeret af Nicklas Schmidt og spillet af DR SymfoniOrkestret”
– Nicolai Meldgaard Eskesen, Filmmagasinet Nosferatu

“Den Kæmpestore Bjørn er en film fuld af spænding og mystik og absolut en film, der også kan bære et voksent publikum. Ikke mindst på grund af den fantastiske musik, der er indspillet af DR SymfoniOrkestret og virkelig får underbygget den dystre og uhyggelige stemning.”
– Mette Stepnicka, Børn i byen.dk

“There is a crisp, clean and very beautiful sound to “Beyond Beyond”, which is orchestral with choral accents. It is colourfully orchestrated and wonderfully performed.”

-Synchrotones’ Soundtrack Reviews

“But the most riveting “Q” soundtrack singularly belongs to Nicklas Schmidt with the concluding cinematic chapter “A Conspiracy of Faith.” As the cops ferret out a religious community’s distinctly unholy secret behind a grisly child napping, Schmidt brings a powerful drive to “Faith’s” distinctive fusion of electronics and orchestra, keeping tension and emotion alive as the officials pray to reach the innocent in time. Ranging from an intimate, classically-styled piano theme to fragile bells and the hollow, gnarled presence of its villain, Schmidt keeps a suspenseful chase between innocence, pure evil and world-weariness alive, especially in a bravura ten-minute set piece set aboard a train.”

Daniel Schweiger, Film Music Magazine