Over the last 20 years, synthesizers have become both more versatile and less expensive than orchestras, facilitating one of those happy accidents where movie studio profit motives can incentivize spectacular innovation. These scores leave you feeling suspended in space, ill-at-ease one moment, then rapturous the next. Reznor and Ross’ thrumming score elevates The Social Network from a standard biopic to an uncanny premonition. And more traditional orchestral composers have kept pace; “Time,” like much of Zimmer’s work with Nolan, brings esoteric math to evocative life.