Intrada will announce two new Signature Edition CDs next Monday, each limited to 1000 units.

The Boys Are Back - Hal Lindes
Capitalism: A Love Story - Jeff Gibbs
Coco Before Chanel - Alexandre Desplat - Score CD on Varese Sarabande
Disgrace - Antony Partos, Graeme Koehne
Fame - Mark Isham - Song CD on Lakeshore
Pandorum - Michl Britsch
Surrogates - Richard Marvin

THIS WEEK IN FILM MUSIC HISTORY

September 25 - Dmitri Shostakovich born (1906)
September 25 - Michael Gibbs born (1937)
September 25 - Randy Kerber born (1958)
September 25 - Danny Elfman and Steve Bartek's score for the Amazing Stories episode "Mummy Daddy" is recorded (1985)
September 26 - Edward Ward died (1971)
September 26 - Robert Emmett Dolan died (1972)
September 28 - Miles Davis died (1991)
September 28 - John Williams begins recording his score to Home Alone 2: Lost in New York (1992)
September 29 - Mike Post born (1944)
September 30 - Elmer Bernstein begins recording his score to The View From Pompey's Head (1955)
September 30 - Andrew Gross born (1969)
September 30 - Virgil Thomson died (1989)
October 1 - Irwin Kostal born (1911)
October 1 - George Duning begins recording his score to The Wreck of the Mary Deare (1959)
October 1 - Jerry Goldsmith begins recording his score to The Prize (1963)
October 1 - Ernst Toch died (1964)
October 1 - Ron Goodwin begins recording his score to Where Eagles Dare (1968)

BRIGHT STAR - Mark Bradshaw

"'Bright Star' is a movie of few discords, least of all in Mark Bradshaw's faux-Baroque score."

"Mark Bradshaw's  score reps a major plus."

Todd McCarthy, Variety

"Mark Bradshaw's elegant score is pleasingly delicate."

Ray Bennett, Hollywood Reporter

CLOUDY WITH A CHANCE OF MEATBALLS - Mark Mothersbaugh

"Lord and Miller are savvy pop-culture sponges, synthesizing decades of film and TV viewing into a sensibility thirtysomething parents and their kids will embrace immediately (the casting of Mr. T as the town cop is particularly inspired, as is Mark Mothersbaugh's geek-chic score, positioned at the intersection of Bruckheimer fare and science fair)."

Peter Debruge, Variety

THE INFORMANT! - Marvin Hamlisch

"It's an unshowy, workaday look that is completely at odds with what filmgoers hear on 'The Informant!'s soundtrack, dominated by Marvin Hamlisch's lush, swelling musical score. With its old-school orchestrations and exuberant evocation of Henry Mancini and other greats, Hamlisch's music becomes a character in itself, often providing the sole emotional key to scenes that would otherwise be dully routine. As important as Hamlisch's score is Whitacre's voice-over narration, delivered by Damon in a chirpy stream-of-consciousness that pings crazily from corn chemistry to Japanese sex fetishes to the relative merits of Oscar de la Renta and Brioni ties."

Ann Hornaday, Washington Post

"'The Informant!' feels like Steven Soderbergh was still high on the fumes of the 'Ocean's Eleven' movies when he made it. It's bright and perky, with a naggingly effervescent score by Marvin Hamlisch that channels late '60s game shows and never shuts up, even when you want it to."

"The ominous becomes innocuous, even playful -- the music (always a Soderbergh strength) is by Marvin Hamlisch, contributing his most amusing score since 'The Sting.'"

Gary Thompson, Philadelphia Daily News

"Except that 'The Informant!' isn't very funny. Sure, Matt Damon provides a bizarre stream-of-consciousness non-sequitur narration as Mark Whitacre, the real-life biochemist who told the FBI about price-fixing at Archer Daniels Midland, and Marvin Hamlisch's goofy score all but bruises your ribs by jabbing you with 'isn't this hilarious?' wackiness. But ultimately, the cast plays it so straight that to respond with laughter almost feels like chuckling at a funeral."

Alonso Duralde, MSNBC

"Few directors can make films with the same geek joy - the same love of cinematic history -- as Steven Soderbergh. He's always good for a few nerdy thrills, and 'The Informant! ' bestows a couple of nice ones: Matt Damon's old-fashioned, brilliantly calibrated character turn as a corporate schnook-turned-whistle-blower; and Marvin Hamlisch's retro-groovy score. For the movie's first hour or so, the pair of them together make for four-star entertainment."

Amy Biancolli, San Francisco Chronicle

"The exclamation point in the title is your first clue that Steven Soderbergh's intentions are more than a little askew with 'The Informant!' Then you notice Matt Damon's helmet of hair, his pouf of a mustache, his corny sportswear and the paunch where the 'Bourne' trilogy star's taut abs used to be. And once the strains of Marvin Hamlisch's jaunty score begin, an ideal accompaniment to the faded, '70s-style cinematography, you know you're in some vividly retro, comic parallel universe."

Christy Lemire, Associated Press

"Had a '90s date and place card not been supplied, I would have remained in an honest muddle about the era depicted on screen. And since Whitacre is subliminally likened to bumbling, fictional Maxwell Smart, that's probably as the filmmaker intended. The artistic choice is reinforced by a '70s-era 'Laugh-In' aesthetic seen in everything from the smiley yellow novelty typography of the opening credits to the fancy rubber-chicken music served up in heaps of horns and whistles by essence-of-'70s composer Marvin Hamlisch. Sock it to me."

Lisa Schwarzbaum, Entertainment Weekly

"Some scenes manage to be jaunty and wrenching at the same time. As Mark spirals further down into legal quagmires and psychic disintegration, the bouncy Marvin Hamlisch score, which sounds like something a '70s cartoon character would bop down the street to, grows ever punchier."

Dana Stevens, Slate.com

"If the exclamation point doesn't clue you in, then the curlicue-serif '70s-style typeface of the opening credits and the soundtrack music by Marvin Hamlisch will. Steven Soderbergh's new movie, "The Informant!," is a deliberately arch and goofy affair, an exercise in neo-retro geek chic. Soderbergh is always a careful and thoughtful craftsman, and I don't doubt that he has reasons for this movie's eccentric choices: Although the principal action takes place between 1992 and 1995, the credits, the soundtrack music and the bleached-out, solarized images all suggest films from a period 15 to 20 years before that. My response to this oddness is a lot like my overall response to this odd film: I enjoyed it, in a momentary-diversion sort of way, without really being sure it was worth doing."

Andrew O'Hehir, Salon.com

"And then there's the infectious, '60s-style score by Marvin Hamlisch, which at times appears to recycle bits and pieces of music from his two Woody Allen movies, 'Take the Money and Run' and 'Bananas. '"

Lou Lumenick, New York Post

"If you want to know why Steven Soderbergh tapped Marvin Hamlisch to write the zany score for 'The Informant!,' a deadly serious comedy about corporate malfeasance, consider the title's exclamation point. Like that unexpected mark of exuberance, which hints at fun times (yippee!), the brassy horns and racing piano notes of the neo-slapstick score -- think of 'Laugh-In,' 'Bananas' and Benny Hill -- initially suggest that Mr. Soderbergh has put on his party hat and broken out the kazoo. Except that he isn't laughing, or at least not all the way through. The story he tells is too maddening for sustained mirth, so he kills the jokes, with a vengeance."

Manohla Dargis, New York Times

"While the details are fresh, the story arc follows a standard pattern, a cautionary tale of spiraling bad-faith decisions. But Soderbergh and Burns compensate by playing the story for wry laughs and adding an almost distracting variety of texture, from the ugly period fashions to the bright '60s title fonts to a frisky, bubbling Marvin Hamlisch score full of comedic cues."

"Their conceit is made clear with the film's opening caveat, which warns that, yes, while this may be a true story about Whitacre -- played here by Matt Damon, beneath 30 pounds of pudge and a toupee -- some names have been changed and some events have been collapsed, 'so there.' And then, the irony hits fast and hard: the score by Marvin Hamlisch, offering a 1970s best-of; the flat, blindingly washed-out look shot in HD but borrowed from an episode of 'Dallas;' the stunt casting of comics (Patton Oswalt, 'The Soup's Joel McHale, Paul F. Tomkins,the Smothers Brothers, Tony Hale, Rick Overton, Allan Havey) in dead-serious roles; title cards whose font went out of style with shag carpet, and, um, Marvin Hamlisch. Soderbergh's sure got a lot of gimmicks -- the man's working hard."

Robert Wilonsky, L.A. Weekly

"Marvin Hamlisch's 'Laugh-In'-like music, the brightly colored credits and Whitacre's crack that he should be designated '0014' because he's "twice as smart" as 007 suggest that Whitacre is living not in the 1990s, but in the fantasies he had growing up in the 1960s and 1970s. And the flat, horizontal compositions in boardrooms and offices around the world suggest the leveling outreach of corporate culture and its inability to contain a wild card like Whitacre."

Michael Sragow, Baltimore Sun

"As Whitacre's web of lies get out of hand, Damon's alpha-male mannerisms are as gently teasing as Marvin Hamlisch's goofball score, which evokes the Muzak of a corporate training film."

Joe Neumaier, New York Daily News

"This is yet another of Soderbergh's 'exercises in style,' which means he has one big idea and sticks to it. He makes the space shallow and ugly (faces are bathed in orange) and adds groovy sixties titles and Marvin Hamlisch music." 

"The exclamation point on the title and the jaunty, old-fashioned score by Marvin Hamlisch serve as immediate tipoffs as to the film's hyperreal intentions, which will inevitably put some viewers off, but for others will provide an amusing, original angle on the sort of story that's almost always done with an earnest sense of self-importance."

Todd McCarthy, Variety

"Marvin Hamlisch's jaunty score, like something out of a 1960s Doris Day movie, and the protagonist's inner monologue, rambling the length of the movie and throwing off extremely weird fragments from a disordered mind, all but beg an audience to laugh. And, here and there, no doubt they will."

Kirk Honeycutt, Hollywood Reporter