NOT EVEN NOMINATED, PART ELEVEN

By Scott Bettencourt

AVALON - Randy Newman
DANCES WITH WOLVES - John Barry (the winner)
GHOST - Maurice Jarre
HAVANA - Dave Grusin
HOME ALONE - John Williams

AWAKENINGS - Randy Newman

Though The Natural is Newman's most popular score, Awakenings, an adaptation of Oliver Sacks' non-fiction book about a group of catatonic encephalitis survivors who were brought back to consciousness, may well be his finest. Dramas about people battling medical adversity tend to be scored in a style sometimes described as "Sensitive Piano Syndrome," but Newman's warm, emotional orchestral score avoids the cliches, beautifully complementing the restrained performances of Robert DeNiro and Robin Williams. Even Newman himself was reportedly pleased with his work, though typically he felt the film could have used perhaps ten minutes less of score. The long out of print score CD (from Reprise) is well worth tracking down, and it's a pity that director Penny Marshall has been unable to make a film remotely as sensitive or satisfying since. (Awakenings received 3 Oscar nominations)

THE GRIFTERS - Elmer Bernstein

One of the finest crime films of the 1990s, this Jim Thompson adaptation boasted a clever, Oscar nominated screenplay from the master caper novelist Donald E. Westlake, expert direction from Stephen Frears, memorable performances from John Cusack, Anjelica Huston and Annette Bening (surprisingly, Frears originally sought Melanie Griffith and Geena Davis for the female leads), and one of Bernstein's finest contemporary scores. Bernstein's wry, taunting music provided a deft and satiric counterpoint to the film's bleak view of the con man's life. Frears and Bernstein had a less than perfect relationship with the director resequencing some of the cues, but some of his choices were surprisingly effective, such as the placement of the action theme over the opening credits, which started the film with a burst of tension and excitement. The Varese score CD presents the cues in the order Bernstein intended (as well as some written by his daughter Emilie), and Bernstein would go on to collaborate with Grifters' producer Martin Scorsese for over a decade, their partnership apparently ending when Scorsese rejected his Gangs of New York score. (4 Oscar nominations)

PRESUMED INNOCENT - John Williams

Williams was a surprising choice to score this faithful, gripping adaptation of Scott Turow's terrific legal thriller, especially since director Alan J. Pakula normally used composer Michael Small and Williams was typically hired for more expansive subject matter. Possibly the studio would only trust a composer of Williams' A-list status with such a high-profile project, or maybe it just seemed like you had to hire John Williams for any Harrison Ford movie. Either way, his score was unusually restrained and low-key, with a piano based main theme reminiscent of the Beatles' classic "Norwegian Wood," and a secondary theme for the flashback romance between prosecutor Ford and the mistress he's accused of murdering. For those who haven't seen the film, definitely don't read the cue titles on the CD, which features one of the worst spoilers in the history of Williams soundtracks.

THE RUSSIA HOUSE - Jerry Goldsmith

In the late 1980s, Goldsmith was as commercially viable as ever, having scored some of his highest grossing films including Poltergeist, Gremlins, and the Rambo trilogy, but his new agent Richard Kraft (who still represents Goldsmith today) encouraged him to look beyond the familiar projects from familiar collaborators (like George Cosmatos' Leviathan) and seek a project that truly interested him. Goldsmith chose Fred Schepisi's film of John Le Carre's The Russia House, whose romantic spy plot and Russian setting inspired Goldsmith to write one of his strongest and freshest scores of the era. His music is marked by an atypically relaxed, jazzy sound, featuring expert work from saxophonist Branford Marsalis and pianist Michael Lang. The score is dominated by a melancholy yet hopeful love theme, performed on the CD in a vocal version (not heard in the film) with lyrics by Alan & Marilyn Bergman, "Alone in the World," and tension and momentum is provided by the wry "Training" theme. The score CD was unusually long for a Goldsmith soundtrack, but unfortunately Goldsmith took to heart some listeners' complaints about its length (I have trouble imagining anyone so cruel as to suggest a Goldsmith CD is too long), so for several other 90s soundtracks he pared down his lengthy scores (like First Knight) for CDs of frustratingly modest duration.

STANLEY & IRIS - John Williams

This little seen romantic drama, loosely inspired by the English novelist Pat Barker's story collection Union Street, marked two Hollywood milestones -- it was Jane Fonda's final film before her retirement from screen acting (though she's set to return soon, paired with Jennifer Lopez in Monster-in-Law), and director Martin Ritt's final film period, released shortly before his death. Ritt's films were marked by their unusually sparse scores (The Outrage, Hombre, Norma Rae), and even his two previous collaborations with John Williams, Pete 'n' Tillie and Conrack, had atypically brief scores from the composer. Stanley may not have been a boxoffice blockbuster like Home Alone and Presumed Innocent, but it was a moving film with Fonda's best post-China Syndrome performance and Williams' score was one of his best of the decade, a delicate work whose heartfelt melodies exquisitely underline the film's story (about a woman's relationship with an illiterate man, played by Robert DeNiro), and a score greatly deserving of rediscovery.

There hasn't been a film music year as impressive since, and it was a struggle to limit this category to five scores, as such works as Gremlins II: The New Batch, The Hunt For Red October, Joe vs. the Volcano, Miller's Crossing, A Shock to the System, The Witches and Young Guns II also deserve special mention.

BACK TO THE FUTURE PART III - Alan Silvestri

Silvestri's score for the original, enormously successful Back to the Future was his breakthrough, featuring enormous energy and highlighted by the catchiest theme he's composed yet. After director Robert Zemeckis made the dazzling Who Framed Roger Rabbit (featuring Silvestri's finest score), he concentrated on back-to-back Future sequels, which would take Marty McFly (Michael J. Fox) first to his hometown Hill Valley's high-tech future then back to its Old West origins. Part II was a clever and technically impressive but disappointingly mechanical exercise, lacking the wit and charm of the original film, and even Silvestri's score was uninspired, mostly a reworking of action material from the first film. Part III, however, was a huge improvement -- not quite the modern classic that the original proved to be, but a lively and delightful comedy adventure. Silvestri's score showed a definite return to form, with a fine pastiche Western theme, exciting new action material, and a charming love theme for Doc Brown and his 19th century schoolteacher love interest (Mary Steenburgen), which is first heard as the film's main title and starts the movie off with a relaxed air that is a decided relief from the exhausting complications of Part II.

EDWARD SCISSORHANDS - Danny Elfman

Tim Burton's offbeat dark fantasy was a risky commercial prospect, especially since he turned down bigger names in favor of Johnny Depp for the title role, but it was understandably difficult for a studio to say no to the director of the staggeringly successful Batman, and the film ended up a modest hit. (Ironically, Ed Wood proved both to be his first boxoffice flop and his finest film) Elfman had spent the year on projects which resembled Batman to varying degrees, but with Scissorhands he demonstrated how ready he was to break out of this temporary musical rut with one of his most popular scores. Unlike recent works like Good Will Hunting and Big Fish, where he gives more emphasis to texture than to theme (one critic complained that his Fish score was "all orchestration and no melody"), his Scissorhands score is richly melodic, boldly emotional and utterly beautiful, featuring some of his finest themes (performed by orchestra and chorus) and charming stand alone cues like "Edwardo the Barber."

QUIGLEY DOWN UNDER - Basil Poledouris

A string of smash hits (The Blue Lagoon, Conan the Barbarian, RoboCop) ensured that Poledouris was working steadily in features during the 80s, but he took occasional detours into the realm of MOWs and miniseries, most notably with 1989's Lonesome Dove, but this 8-hour adaptation of Larry McMurtry's Pulitzer Prize winning epic Western, featuring a movie star cast (Robert Duvall, Tommy Lee Jones, Anjelica Huston, Danny Glover, Diane Lane) was one of the greatest productions in TV history, winning Poledouris an Emmy and beginning his collaboration with Australian director Simon Wincer. Poledouris and Wincer reunited the following year for this feature Western from John Hill's long-in-development script, with an appealingly relaxed Tom Selleck as an American cowboy in Australia, and Alan Rickman (fresh off of Die Hard but before he'd grown visibly bored with Hollywood villain roles) as his nemesis. Quigley was a lighter project than Lonesome Dove, and Poledouris' score was fresh and delightful, with a jaunty main title theme, surging action music, movingly romantic scoring for Quigley's emotionally troubled love interest (Laura San Giacomo), and culminating with a Morricone-esque musical pause during the final gunfight. Intrada's score CD is well worth tracking down.

THE RESCUERS DOWN UNDER - Bruce Broughton

Long before they regularly made direct-to-video sequels to their animated hits (some of which are getting theatrical releases, such as Jungle Book II and Return to Neverland), the Disney studio made this followup to 1976's The Rescuers, their first animated sequel. The success of Crocodile Dundee inspired a brief trend in Australian-themed films with this and Quigley (there were even plans for an Action-Jackson-Goes-To-Australia, but for the betterment of civilization it was abandoned), but more importantly the acclaim and top boxoffice for the previous year's Little Mermaid persuaded the studios that all animated films needed to be musicals, even when the subject matter wasn't especially suitable (The Hunchback of Notre Dame, The Prince of Egypt), and the disappointing grosses for Rescuers Down Under meant that it would be the last major non-singing Disney cartoon for a while. Regardless, it was a modest and enjoyable effort, making skilled and discreet use of the burgeoning computer animation technology, and was highlighted by Broughton's adventurous, at times percussively exciting score. Disney's score album featured 35 minutes of Broughton's music but, probably to make the album more kid-friendly, omitted the theme he wrote for the film's villain, voiced by (and drawn to look like) George C. Scott. Alas, for many film music fans this project is best remembered as the movie that, due to a scheduling conflict, Broughton scored instead of Home Alone. Any Broughton devotee must wonder how his career would have been different if he'd stayed on to score that blockbuster.

TOTAL RECALL - Jerry Goldsmith

Surprisingly, it was probably not so much Goldsmith's impressive track record with science fiction (Planet of the Apes, Loganís Run, Alien, Star Trek) that got him the job of scoring this mega-budget action movie expansion of the Philip K. Dick story "I Can Remember It For You Wholesale" as it was his relationship with Carolco moguls Mario Kassar and Andrew Vanja, for whom heíd scored the Rambo trilogy. Though Goldsmith's score gets off to a disappointing start -- the opening bars sound distractingly reminiscent of Poledouris' Conan and the main title theme is less than memorable, the score soon kicks into high gear, with thrilling, intricately composed action cues and a deft mix of symphonic and electronic elements. Though director Paul Verhoeven seemed to tire of the endless action scenes and is merely going through the motions by the film's end, Goldsmith's energy never flags, and it proved to be perhaps his last great action score. Verhoeven was sufficiently (and properly) impressed to hire him for Basic Instinct and Hollow Man, and Varese's well sequenced original soundtrack was supplanted ten years later by a dazzlingly expanded "Deluxe Edition."

Angelo Badalamenti scored his second film for David Lynch, but WILD AT HEART was no Blue Velvet, and his music wasn't allowed as much prominence as in that earlier breakthrough score.

Elmer Bernstein wrote a much more lush and bold score for Jim Sheridan's THE FIELD than his work for the director's My Left Foot, but the film was the director's weakest so far.

Bruce Broughton's score for the Peter Hyams remake of NARROW MARGIN, due to be released by Intrada in the next few weeks, featured thrilling action music but its main theme inexplicably tried to make the entertaining but bland film seem scary (probably at Hyams' insistence), while his score for Alan Alda's BETSY'S WEDDING was not one of his more memorable efforts.

Carter Burwell composed one of his most popular works for the Coen Brothers' stylish MILLER'S CROSSING, the sparsely spotted score dominated by a memorable main theme.

Gary Chang wrote his finest score for A SHOCK TO THE SYSTEM, providing this dark comedy of murder with suitably wry and edgy music. He also scored the cult favorite crime comedy MIAMI BLUES and the Jean Claude Van Damme prison thriller DEATH WARRANT.

Bill Conti provided an exciting orchestral score for John Frankenheimer's disappointing drama THE FOURTH WAR. Conti returned to the Rocky series with the final entry, ROCKY V, but both he and the filmmakers seemed to be as tired of the characters as the audience was.

Stewart Copeland was unusually prolific in 1990, scoring everything from the comedies TAKING CARE OF BUSINESS and MEN AT WORK to the derivate horror film THE FIRST POWER to Ken Loach's political thriller HIDDEN AGENDA.

Carmine Coppola scored THE GODFATHER PART III, making predictable use of Nino Rota's classic music from the first two films, though his original song "Promise Me You'll Remember" became an Oscar nominee.

Carl Davis contributed an imposing symphonic score (frustratingly unreleased on CD) for Roger Corman's ambitious return to film directing, FRANKENSTEIN UNBOUND.

Though the film was a stylish failure, JOE VS. THE VOLCANO featured a typically elegant and delightful score from George Delerue, including an original song, "Marooned Without You," with lyrics by the film's writer-director John Patrick Shanley. His score for the political thriller A SHOW OF FORCE had a Latin flavor and pleasant echoes of John Barry.

Barry DeVorzon's sparse score for the surprisingly creepy THE EXORCIST III consisted of little more than a reuse of the inevitable Tubular Bells.

Randy Edelman made a rare excursion into serious drama with COME SEE THE PARADISE, and one of his themes, "Fire in a Brooklyn Theater," went onto become one of the most popular trailer cues of all time. He worked in more typical territory on Ivan Reitman's KINDERGARTEN COP, and received the principal scoring credit for Bill Murray's hilarious, underrated QUICK CHANGE while Howard Shore received "additional music" credit, but it's not clear which of them composed the film's delightfully funky 70s style main theme.

Cliff Eidelman provided energetic comedy music for the uneven but often funny CRAZY PEOPLE, but the film was overspotted and his clever score frequently wears out its welcome. Surprisingly, though there was no soundtrack release, two of his themes were released separately as sheet music. Eidelman also wrote the themes for STRIKE IT RICH, a remake of Graham Greene's Loser Take All, which provided the basis for Shirley Walker's score.

Danny Elfman scored three films which followed in the footsteps of his seminal Batman -- NIGHTBREED was a satisfying horror fantasy score, DICK TRACY (with original songs by Stephen Sondheim) was lively but oddly forgettable, while Sam Raimi's DARKMAN (with additional action cues by Jonathan Sheffer) was effective with a pleasing Bernard Herrmann influence, but seemed to indicate that Elfman was in danger of getting stuck in a rut.

George Fenton wrote an effectively stirring orchestral score for the enjoyably old fashioned WWII saga MEMPHIS BELLE, provided a more modern, jazzy sound for the romantic comedy-drama WHITE PALACE, and incorporated Southern elements for the bus boycott drama THE LONG WALK HOME.

Jerry Goldsmith wrote an immensely satisfying score for the underrated GREMLINS 2: THE NEW BATCH, topping his score for the original film. Though normally comedy was not his strong suit, he managed to find just the right musical balance of comedy and thrills, and even worked in a parody of his own Rambo scores.

As usual, Miles Goodman worked mostly in comedy, scoring the original PROBLEM CHILD, the Dana Carvey vehicle OPPORTUNITY KNOCKS and Leonard Nimoy's FUNNY ABOUT LOVE, but he also scored the medical school drama VITAL SIGNS.

Dave Grusin's score for Brian DePalma's famously botched film of THE BONFIRE OF THE VANITIES took a sprightly, orchestral Hollywood approach to the material, though intriguingly the cover of the Grusin score CD barely mentions the composer.

Not surprisingly, James Horner recycled his original 48 Hrs. score for the enjoyable if unnecessary sequel, ANOTHER 48 HRS., but at least this time some of his kinetic action music managed to make it onto a soundtrack release. He wrote his only score for director Lawrence Kasdan, giving the failed black comedy I LOVE YOU TO DEATH a deft and peppy score.

James Newton Howard's eclectic score for the sci-fi horror film FLATLINERS, incorporating chorus and more modern elements, was very popular with film music fans but has never received a legitimate CD release. He also scored the Steven Seagal vehicle MARKED FOR DEATH (its title understandably changed from the original Screwface), worked in lighter territory with the unnecessary THREE MEN AND A LITTLE LADY and Joe Roth's failed comedy-drama COUP DE VILLE, and gave the enormously successful PRETTY WOMAN a lovely main theme.

Mark Isham composed an evocative main theme for the Oscar winning REVERSAL OF FORTUNE and wrote a dreamy, jazzy score for yet another Alan Rudolph project, the charming LOVE AT LARGE. His score CD for Karel Reisz' disastrous EVERBODY WINS is one of the rarest soundtracks of the era.

Maurice Jarre's experimental JACOB'S LADDER was highlighted by a lovely, John Barry-ish main theme. His ALMOST AN ANGEL featured a charming, quintessentially Jarre main theme, while his music for the stylish noir AFTER DARK, MY SWEET was another in his run of murky synth ensemble scores.

Trevor Jones' ARACHNOPHOBIA (with help from Shirley Walker) was highly uneven, mixing orchestral adventure/suspense with awkward comedy scoring. He also wrote a suitably mysterious main theme for Curtis Hansonís thriller BAD INFLUENCE.

Michael Kamen returned to familiar territory with DIE HARD 2, and though he composed some exciting new action material the use of Sibelius' Finlandia was much less deft than his classical and pop song interpolations for the original Die Hard. His brooding score for the British crime docudrama THE KRAYS spawned an extremely rare CD soundtrack, while his score for Bob Hoskins' directorial debut, THE RAGGEDY RAWNEY, was hurt by its inexpressive synth sound.

Bill Lee provided evocative jazz for MO BETTER BLUES, his final score for his director son Spike.

Henry Mancini wrote one of his final scores for the Bill Cosby comedy-fantasy GHOST DAD.

David Mansfield scored his final collaboration (so far) with director Michael Cimino, the remake of DESPERATE HOURS, but neither the offbeat composer nor the controversial director seemed comfortable with the old-fashioned subject matter.

John Boorman's failed comedy reworking of King Lear (!), WHERE THE HEART IS, featured typically stunning visuals and some lovely music from his Hope and Glory composer, Peter Martin.

Ennio Morricone gave the Mel Gibson/Franco Zeffirelli HAMLET a dark, brooding score, while providing lighter music for his only film with Pedro Almodovar, TIE ME UP, TIE ME DOWN. His powerful, Irish tinged music for STATE OF GRACE was well suited to Jordan Cronenweth's striking cinematography.

The great John Morris wrote a disappointingly forgettable score for STELLA, which was originally announced for John Barry.

Stanley Myers wrote one of his liveliest and most enjoyable scores for Nicolas Roeg's atypically charming film of Roald Dahl's THE WITCHES.

David Newman's dramatic, energetic score for MR. DESTINY was much better than the It's a Wonderful Life ripoff deserved. He wrote lively scores for THE FRESHMAN, MADHOUSE and DUCK TALES: THE MOVIE, and a rare action adventure score for FIRE BIRDS.

Thomas Newman's evocative music for the underrated drama MEN DON'T LEAVE was a portent of the richly emotional scores he would write over the next decade and a half, while his WELCOME HOME, ROXY CARMICHAEL score was in his trademarked quirky percussion mode.

Lennie Niehaus gave Clint Eastwood's disappointing adaptation of WHITE HUNTER, BLACK HEART a typically discreet score, while providing a cool, 70s style brassy theme for Eastwood's THE ROOKIE.

Surprisingly, Jack Nitzsche was one of the most prolific composers of the year, collaborating with such noted musicians as Miles Davis, John Lee Hooker and Taj Mahal on the forgettable noir THE HOT SPOT, whose most memorable element was a shot of Jennifer Connelly topless. He also scored the coming-of-age dramedy MERMAIDS, Tony Scott's REVENGE (a Mexico-set forerunner to his current Man on Fire remake) and the bland cop drama THE LAST OF THE FINEST.

Michael Nyman provided his expected mix of classicalism and minimalism for Peter Greenaway's visually stunning THE COOK, THE THIEF, HIS WIFE AND HER LOVER, and incorporated Brahms' Piano Quartet No. 1 for his score to the boring but beautifully photographed French drama MONSIEUR HIRE.

Film music fans were predictably outraged when Jerry Goldsmith was passed over for the troubled Chinatown sequel, THE TWO JAKES, and Van Dyke Parks' score was an awkward fit, though the composer had a colorful cameo as an attorney.

Jean-Claude Petit's romantic, symphonic score for the French remake of CYRANO DE BERGERAC featured one cue alarmingly reminiscent of Danny Elfman's Batman -- it turned out the director was a big fan of that score, so Petit was paying deliberate homage.

Basil Poledouris' rousing score for his highest grossing film, THE HUNT FOR RED OCTOBER, was highlighted by a stirring Russian choral main title, but the rushed post-production schedule may have hurt the score -- music from his No Man's Land was tracked in, and some sequences would have benefited from the kind of musical cross-cutting that Goldsmith specializes in.

Graeme Revell's score for CHILDíS PLAY 2 took a big scaled, orchestral approach much different from Joe Renzetti's score for the original film, aided by ace conductor-orchestrator Shirley Walker.

Richard Robbins gave James Ivory's MR. AND MRS. BRIDGE the minimalism-tinged style that would dominate his 90s work, and scored another Merchant-Ivory production, the Indian mystery THE PERFECT MURDER.

While Leonard Rosenman felt his ROBOCOP 2 improved greatly on Basil Poledouris' original RoboCop score, most fans disagreed, and his use of female vocalists singing "Ro-bo-cop" over the end credits was not his greatest inspiration.

TALES FROM THE DARKSIDE: THE MOVIE was the rare anthology film that had different composers for each segment, with synth-based contributions from Donald Rubinstein, Chaz Jankel, John Harrison, and Jim Manzie & Pat Regan for the film's best segment, which starred Christian Slater, Julianne Moore and Steve Buscemi.

Ryuichi Sakamoto's score for Bernardo Bertolucci's painfully boring THE SHELTERING SKY was repetitively grand, while his work for THE HANDMAID'S TALE was more astringent.

Philippe Sarde scored the misconceived remake of LORD OF THE FLIES, his symphonic score featuring some distracting homages to Stravinsky's Rite of Spring.

Marc Shaiman made his feature scoring debut with an effective, restrained suspense score for the Oscar winning MISERY, and it's a pity he hasnít returned to the genre since.

Alan Silvestri's exciting score for YOUNG GUNS 2 mixed orchestral and rock elements to an unusually successful degree. Silvestri reworked his popular Predator score (even its "Taps" style mourning theme) for PREDATOR 2, and at least this time there was a soundtrack album. His urban action score for the forgotten buddy cop comedy DOWNTOWN was less satisfying.

Michael Small broke out of his usual suspense film typecasting with two projects -- MOUNTAINS OF THE MOON was a big scale historical adventure and though he tried hard he didn't seem quite suited to the milieu, while his 11th hour replacement score for the ill-conceived MOBSTERS featured some satisfyingly brassy cues.

Frederick Talgorn contributed a suitably larger-than-life orchestral score for the sci-fi action movie ROBOT JOX.

Ernest Troost received the scoring credit for his country-tinged music for the cult monster classic TREMORS, but Robert Folk wrote the film's pounding action music.

Following his back to back Best Picture winners, Hans Zimmer had an especially prolific year. With DAYS OF THUNDER, he took over from Harold Faltermeyer as the official composer for the Simpson-Bruckheimer universe, which was also his first film for director Tony Scott. He wrote a more traditional score for the period drama FOOLS OF FORTUNE, and an enjoyably trashy score for John Schlesingerís tenant-from-Hell thriller PACIFIC HEIGHTS. He got the job of scoring Peter Weir's romantic comedy GREEN CARD because he reminded Weir of the film's musician hero, played by Gerard Depardieu, and moved into Hollywood action comedy with the dreadful BIRD ON A WIRE. For the romantic crime drama CHICAGO JOE AND THE SHOWGIRL, he worked with 1990's top scoring collaborator, the inevitable Shirley Walker.

MOBSTERS (Stewart Copeland)

After Dark My Sweet, Almost an Angel, Another 48 Hrs., Arachnophobia, Avalon, Awakenings, Back to the Future Part III, The Bonfire of the Vanities, Come See the Paradise, The Cook the Thief His Wife and Her Lover, Cyrano de Bergerac, Dances With Wolves, Darkman, Desperate Hours, Dick Tracy, Die Hard 2, Edward Scissorhands, Everybody Wins, The Field, Fools of Fortune, Ghost, The Godfather Part III, Green Card, Gremlins II: The New Batch, The Grifters, Hamlet, The Handmaid's Tale, Havana, Home Alone, The Hot Spot, The Hunt For Red October, Jacob's Ladder, Kindergarten Cop, The Krays, Last Exit to Brooklyn, The Long Walk Home, Lord of the Flies, Love at Large, Memphis Belle, Millerís Crossing, Misery, Mr. And Mrs. Bridge, Mountains of the Moon, Nightbreed, Pacific Heights, Predator, Presumed Innocent, Quigley Down Under, The Raggedy Rawney, The Rescuers Down Under, Revenge, Reversal of Fortune, RoboCop 2, The Russia House, The Sheltering Sky, A Shock to the System, A Show of Force, Stanley & Iris, State of Grace, Tales From the Darkside: The Movie, Three Men and a Little Lady, Tie Me Up Tie Me Down, Total Recall, Welcome Home Roxy Carmichael, and White Palace.

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