Music Box has announced two new, upcoming CD releases -- the music for the 2012 remake of the classic 1980 splatter film MANIAC, previously released only on LP but now with additional cues from the score by Robin Coudert, aka "Rob" (Horns); and a CD pairing two scores by Michel Legrand for films starring French star Annie Girardot: the marital drama LES FEUX DE LA CHANDELEUR (Hearth Fires), and the comedy LA VIEILLE FILLE (The Old Maid).

Varese Sarabande has announced plans to release the score for the upcoming miniseries THE DOVEKEEPERS, which retells the story of the siege of Masada (best known to less historically-minded film music fans from ABC's all-star 1981 miniseries Masada, with its Emmy-winning score by Jerry Goldsmith) from the piont of view of the women. The music was composed by three-time Emmy winner Jeff Beal (House of Cards, Roma, Appaloosa).

Intrada plans to release two new CDs next week.

CDS AVAILABLE THIS WEEK

Beneath the 12-Mile Reef - Bernard Herrmann - Kritzerland
Chuck - Tim Jones - Varese Sarabande
Debug - Timothy Williams - Phineas Atwood
Going Clear: Scientology and the Prison of Belief - Will Bates - Milan
Good Kill - Christophe Beck - Lakeshore
He-Man and the Masters of the Universe - Shuki Levy, Haim Saban, Erika Lane - La-La Land
Merchants of Doubt - Mark Adler - Lakeshore
Playing It Cool - Jake Monaco - Phineas Atwood
Unfinished Business - Alex Wurman - Lakeshore
Words and Pictures - Paul Grabowsky - Phineas Atwood
Zhong Kui: Snow Girl and the Dark Crystal - Javier Navarrete - Lakeshore

IN THEATERS TODAY

Broken Horses - John Debney - Score CD due May 5 on Lakeshore
Clouds of Sils Maria - no original score
Desert Dancer - Benjamin Wallfisch - Score CD due April 14 on Varese Sarabande
Dial a Prayer - Matthew Puckett
Ex Machina - Geoff Barrow, Ben Salisbury
Freetown - Robert Allen Elliott
Kill Me Three Times - Johnny Klimek
The Longest Ride - Mark Isham - Score CD due May 5 on Milan
Lost River - Johnny Jewel
The Reconstruction of William Zero - Ben Lovett
The Riot Club - Kasper Winding
The Sisterhood of Night - The Crystal Method, Tobias Enhus

COMING SOON

April 14
A Brief History of Time - Philip Glass - Orange Mountain
Desert Dancer - Benjamin Wallfisch - Varese Sarabande
April 21
Grabbers - Christian Henson - MovieScore Media
Little Boy - Stephan Altman, Mark Foster - Milan
Robot Overlords - Christian Henson - MovieScore Media
3:10 to Yuma - Marco Beltrami - La-La Land
Tom Sawyer & Huckleberry Finn - Robert Gulya - MovieScore Media
Zombeavers - Al Kaplan, Jon Kaplan - La-La Land
April 28
The Duke of Burgundy - Cat's Eyes - Milan
Effie Gray - Paul Cantelon - Lakeshore
Far from the Madding Crowd - Craig Armstrong - Sony
The Great Human Odyssey - Darren Fung - Varese Sarabande
May 5
Broken Horses - John Debney - Lakeshore
Demonic Toys - Richard Band - Full Moon
Girlhouse - tomandandy - Phineas Atwood
Journey to Space - Cody Westheimer - Phineas Atwood
The Longest Ride - Mark Isham - Milan
Meridian - Pino Donaggio - Full Moon
The Rewrite - Clyde Lawrence - Phineas Atwood
May 12
The Age of Adaline - Rob Simonsen - Lakeshore
Avengers: Age of Ultron - Brian Tyler - Hollywood
Child 44 - Jon Ekstrand - Lakeshore
Jerusalem - Michael Brook - Lakeshore
Max Max: Fury Road - Tom Holkenborg (Junkie XL) - Watertower
Orange Is the New Black - Gwendolyn Sanford, Brandon Jay, Scott Doherty - Varese Sarabande
May 19
Far from Men - Nick Cave, Warren Ellis - Goliath
Orphan Black - Trevor Yuile - Varese Sarabande
Poltergeist - Marc Streitenfeld - Sony
June 23
Cinderella - Paul J. Smith, Oliver Wallace - Disney
Date Unknown
Belle du Seigneur - Gabriel Yared - Caldera
The Belstone Fox - Laurie Johnson - Dragon's Domain
Davide Cavuti: I Capolavoari Di Alessandro Cigognini - Alessandro Cicognini - Beat
The Dovekeepers - Jeff Beal - Varese Sarabande
Drakar Och Demoner Trudvang - Simon Kalle - Waerloga
The Gunman - Marco Beltrami - Silva
Hungry Hearts/Banana/L'Amore Non Perdona - Nicola Piovani - Beat
Il Fiore Delle Mille E Una Notte/Il La Cugina - Ennio Morricone - GDM
Il Fiume Del Grande Camiano - Stelvio Cipriani - CSC
In the Flesh - Edmund Butt - Silva
Io Sto Con Gli Ippopotami - Walter Rizzati - Beat
L'appartement - Peter Chase - Disques CineMusique
Le Rat D'Amerique - George Garvarentz - Disques CineMusique
Les Feux de la Chandeleur/La Vieille Fille - Michel Legrand - Music Box
Maniac  - Rob - Music Box
The Psychic - Franco Bixio, Fabio Frizzi, Vince Tempera - Beat

THIS WEEK IN FILM MUSIC HISTORY

April 10 - Claude Bolling born (1930)
April 10 - Shirley Walker born (1945)
April 10 - Peter Bernstein born (1951)
April 10 - John Barry wins his first two Oscars, for the score and song Born Free (1967)
April 10 - Elmer Bernstein wins his only Oscar for, of all things, Thoroughly Modern Millie's score; Alfred Newman wins his final Oscar for Camelot's music adaptation (1968)
April 10 - Michel Legrand wins his second Oscar, for the Summer of '42 score; John Williams wins his first Oscar, for Fiddler on the Roof's music adaptation; Isaac Hayes wins his first Oscar for the song "Theme From 'Shaft'" (1972)
April 10 - Nino Rota died (1979)
April 11 - Herbert Stothart begins recording his score to Dragon Seed (1944)
April 11 - John Williams wins his fourth Oscar, for E.T. The Extra-Terrestrial's score; Jack Nitzsche wins his only Oscar, for An Officer and a Gentleman's song "Up Where We Belong"; Henry Mancini wins his fourth and final Oscar, for Victor/Victoria's song score (1983)
April 11 - Ryuichi Sakamoto, David Byrne, Cong Su win Oscars for their Last Emperor score (1988)
April 12 - Russell Garcia born (1916)
April 12 - Edwin Astley born (1922)
April 12 - Ronald Stein born (1930)
April 12 - Herbie Hancock born (1940)
April 12 - David Raksin begins recording his score for Right Cross (1950)
April 12 - Hugo Friedhofer begins recording his score to Soldier of Fortune (1955)
April 12 - Miklos Rozsa begins recording his score to Lust For Life (1956)
April 12 - Jerry Goldsmith begins recording his score for One Little Indian (1973)
April 12 - Bruce Broughton begins recording his score to Eloise at the Plaza (2003)
April 13 - Vladimir Cosma born (1940)
April 13 - Bill Conti born (1942)
April 13 - John Addison wins his only Oscar, for Tom Jones's score (1964)
April 14 - Shorty Rogers born (1924)
April 14 - John Barry wins his third Oscar, for The Lion in Winter score (1969)
April 14 - Georges Delerue wins his only Oscar for A Little Romance's score; David Shire wins song Oscar for Norma Rae's "It Goes Like It Goes" (1980)
April 15 - Gert Wilden born (1923)
April 15 - Michael Kamen born (1948)
April 15 - Lalo Schifrin begins recording his score to The Hellstrom Chronicle (1971)
April 15 - Francis Lai wins the score Oscar for Love Story (1971)
April 15 - John Greenwood died (1975)
April 15 - John Williams records his score for the Amazing Stories episode "Ghost Train"(1985)
April 15 - Arthur Morton died (2000)
April 16 - Charles Chaplin born (1889)
April 16 - Henry Mancini born (1924)
April 16 - Perry Botkin Jr. born (1933)
April 16 - Chaz Jankel born (1952)
April 16 - David Raksin records his score for Pat and Mike (1952)
April 16 - Basil Poledouris begins recording his score to Quigley Down Under (1990)

DID THEY MENTION THE MUSIC?

THE CAPTIVE - Mychael Danna

"Egoyan’s direction is compelling, confident and mysterious, playing with our sense of dread and the unknown, only drip-feeding us information for a good chunk of his film. For a long while, we experience various plot strands and time periods in fractured fashion. Egoyan gives us a puzzle and it’s not obvious who’s in the right or wrong, as he toys with our perspective. One early scene -- the kidnapping itself -- is handled in masterly fashion. The action happens offscreen and we’re left looking elsewhere as Egoyan’s camera glides slowly through the scene to an eerie score."

Dave Calhoun, Time Out London

"Not to mention the niggling fact that, in the face of 'The Sweet Hereafter''s sure-footed feel for tragic desolation, 'The Captive' resolutely doles out not one, but two giddily happy endings -- both hug-laden reunions/endurance tests, shot in blandest TV-movie fashion, as though even Egoyan couldn't care less about such tidy resolution. Though Paul Sarossy's cinematography is icily evocative, frequent Egoyan collaborator Mychael Danna's score suffers from what most politely could be described as a paucity of subtlety. On several occasions, its portentous blatting resembles nothing more than a sonic raspberry -- and, given the overall pointlessness and bad faith with which practically every aspect of this production has been crafted, that sounds just about right."

Budd Wilkins, Slant Magazine

"The repellent concept, evocatively chilly Canadian landscape and ominous score suggest an exploitative horror movie. But Egoyan seems to have more on his mind. It’s to his credit that we never see the worst violence, but this also means that he never truly addresses the severity of the extreme scenarios he suggests."

Elizabeth Weitzman, New York Daily News

"Have you ever Xeroxed a picture repeatedly until the image became so degraded that only the highest-contrast elements of the original remained? Imagine doing that with Denis Villeneuve’s 'Prisoners,' the other Canadian-directed child abduction movie, and you’d get something like Atom Egoyan’s 'The Captive.' Retreading 'Prisoners' territory to an extent that at times makes you wonder if they’re two parts of some sort of Canadian auteur experiment that no one else is in on, what is lost in the transfer, however, is any of the Villeneuve film’s subtlety or shading, and we are left only with its most lurid, credulity-stretching highlights, with all other textures blasted out to snowy blankness. Populate this sketchy version with the bargain-basement versions of the other film's leads (Ryan Reynolds instead of Hugh Jackman, Scott Speedman instead of Jake Gyllenhaal), add in a villain so ludicrously evil that he should really twiddle the obviously skeezy pencil mustache he sports, and drench the whole lot in an omnipresent score that crashes and thuds along in ever more hysterical crescendos, and you have an idea of what we experienced this morning at Cannes. There were boos."

Jessica Kiang, The Playlist

"The production features a typically high level of craftsmanship by the director’s regular collaborators, with a strong contribution by d.p. Paul Sarossy (beautifully capturing the region’s desolate snowy vistas in widescreen) and an obtrusively droning score by Mychael Danna."

Justin Chang, Variety

"Structured in Egoyan's familiar time-shuffling mosaic style, 'The Captive' is drowned from its earliest scenes in composer Mychael Danna's lugubrious score, unsuccessfully attempting to create suspense, atmosphere, or -- God forbid -- an emotional connection to this gelid account of a horrific crime and the years of family trauma that it sparks."

David Rooney, Hollywood Reporter

LEVIATHAN - Philip Glass (from "Akhnaten")

"Emboldened by an unconventionally restrained Philip Glass score, the movie strikes a tone that's both spiritually poignant and ominous at the same time."

Eric Kohn, IndieWIRE

"Bookended with passages from Philip Glass’ majestic opera 'Akhnaten,' 'Leviathan' takes place in a dead fishing village on the Kola Peninsula, a territory north of the Arctic Circle, and the presence of a skeletal whale carcass is enough to suggest the area’s absence of vitality."

Scott Tobias, The Dissolve

"Though it takes place in a small town and involves only a handful of characters, the Russian drama 'Leviathan' has a feeling of expansiveness, even grandeur. It opens with distant, monumental views of Russia’s north shore, where huge rock formations slope down into a churning, slate-gray sea, images set to a propulsive Phillip Glass score. Soon we see the husks of abandoned sea-faring vessels along the water’s edge, where, later in the film, we’ll behold the enormous skeleton of a beached whale -- a leviathan evoking both the Book of Job and Thomas Hobbes’ famous political tract."

Godfrey Cheshire, RogerEbert.com

"Another movie might end here, but 'Leviathan' is just getting started, and though we don’t always know what we’re looking at or why, the film offers a banquet of surprises, right down to the shocker lurking in the pic’s final minutes. The experience feels akin to that of binge-watching a season of a juicy HBO series as our attention shifts among the various players in this relatively expansive, well-rounded ensemble. Though Kolya has been present from the moment Philip Glass’ agitated overture subsides, it takes nearly two hours for this emotionally, spiritually and financially depleted character to fully reveal himself as the film’s vodka-fueled protagonist."

Peter Debruge, Variety

"Drill down deep enough and just about every detail in the film feels freighted with deeper meaning. This extends from the way nearly every scene DoP Mikhail Krichman shoots seems to be happening at the magic hours of dawn and dusk, to the sparing but telling deployment of bursts from Philip Glass’ voice-and-orchestral symphony 'Akhnaten,' another mediation on power."

Leslie Felperin, Hollywood Reporter

"Without spoiling a film in which adultery, betrayal and a maybe murder all figure in the telling, be assured you won't want to miss a thing. That demands careful attention to Zvyagintsev's densely packed widescreen frames. 'Leviathan' is sometimes too ambiguous for its own good, but between bouts of fighting, illicit sex and prodigious vodka swilling, the film looks with humor and heartbreak on a working class that's not getting satisfying answers from God or the courts. The performances are ferociously fine, the camerawork from Mikhail Krichman makes poetry of light and its absence, the music from Philip Glass's 1983 opera 'Akhnaten' galvanizes, and Zvyagintsev gives biblical scope to a tale that draws meaning from the smallest details. 'Leviathan' brushes harsh reality with cinematic grandeur and marks Zvyagintsev as a world-class talent."

Peter Travers, Rolling Stone

"Zvyagintsev’s talents extend far beyond that. What makes him an artist rather than simply a craftsman is his ability to express in visual and aural terms the themes and tensions that drive the narrative. Philip Glass’s music is imposing enough, even without knowing that it has been transplanted from his 1983 opera 'Akhnaten,' which explored power and religion through the story of the pharaoh who pioneered monotheism. Coupled with the dusky cinematography of Mikhail Krichman, the effect is at once breathtaking and oppressive. The majority of the picture, whether interior or exterior, has been lit and shot to create pools of darkness in the foreground (in some scenes, the actors are reduced almost to silhouettes). Illumination does exist in this world -- the mountains in the distance are often streaked with sunlight. In common with hope and comprehension, that illumination lies stranded forever in the distance, frustratingly beyond the reach of Kolia and his woebegone countrymen."

Ryan Gilbey, Sight & Sound

Andrey Zvyagintsev's 'Leviathan' is a film hunting big game. His fourth feature presents modern Russia as a country rotten to its core -- corrupt, hypocritical and godless -- and uses the story of one man fighting the establishment to highlight the human cost of such a system. Aleksey Serebryakov is the humble mechanic trying to stop his family's land from falling into the hands of the crooked mayor (Roman Madyanov), and while we suspect this won't end well -- the imposing use of a Philip Glass piece introduces an instant note of foreboding -- the full tragedy of 'Leviathan' doesn't hit us until it has swallowed its characters whole."

Philip Concannon, The Skinny

PADDINGTON - Nick Urata

"Specificity's a good term to talk about why the film's turned out so well in general, in fact. There's no homogenization or attempt to pander to a mass market, no product placement or montages set to jarring pop tracks (though Harvey Weinstein, inevitably, is adding a Gwen Stefani and Pharrell Williams collaboration to the U.S. release, which is hopefully just in the closing credits). There are pop culture references, but they're organic rather than shoehorned in -- particularly when it comes to a gorgeous Wes Anderson doll's house homage, complete with Nick Urata's lovely score incorporating some Mark Mothersbaugh-ish harpischord -- in the way that Edgar Wright might use them."

Oliver Lyttleton, The Playlist

STILL ALICE - Ilan Eshkeri

"There’s an extraordinarily tough and smart delicacy to 'Still Alice,' and it stretches far beyond the writing or Moore’s performance or even the sympathy of the circumstance. The film superbly uses its own focus (as shot by cinematographer Denis Lenoir, 'Carlos') as a device, with the world blurring and blooming into shapes and colors as Alice loses her train of thought and snapping back to crispness when -- or if -- she recovers her own mind from the ghostly hands dragging it down. The score, by Ilan Eshkeri ('Kick-Ass'), is also a standout, covering everything from beautiful notes in near-silence to sequences that are meant to -- and do -- evoke Alice’s confusion and loss."

James Rocchi, The Wrap

"'Still Alice' remains as polite, as informed, and as cautiously compassionate as the society that it depicts. It makes sure, from the start, that we grasp the irony of Alice’s plight. Lecturing on 'the relationship between memory and computation that is the very essence of communication,' she forgets a word. Later, speaking to health professionals and fellow-sufferers, she summons the courage to get through her speech, and is applauded at the end -- though not by her husband, who is away on business. You can feel Baldwin itching to make his character not merely square and industrious but troublesome and even cruel; the rest of the film, though, doesn’t want to go there. It prefers the softening touch: a score, by Ilan Eshkeri, that urges mourning upon us with slow-paced piano and strings; a reading, by Lydia, from 'Angels in America,' about ascending souls; and even clips of old home movies, from a grainy past that is now being swept away. That was a pretty cheap trick when it was used in 'Philadelphia,' and it’s no less manipulative -- and effective -- more than twenty years on."

Anthony Lane, The New Yorker

"But Alice’s lifelong luck is about to run out. A few days after her 50th birthday, she goes jogging on the Columbia University campus and suddenly gets disoriented. Standing outside the library she’s used for years, she can’t remember how to get back home -- a fact the filmmakers establish not with dialogue or voiceover but through the use of unsettling music (the score is by Ilan Eshkeri) and shallow focus that turns Alice’s surroundings into an indistinguishable blur (the warm-hued cinematography is by Denis Lenoir, known for his work with the French masters Olivier Assayas and Jacques Audiard)."

Dana Stevens, Slate.com

"'Still Alice' would be better if it didn't mirror the inevitability of Alice's decline with other predictable elements. Through Lydia, Alice is introduced to two plays, Chekhov's 'Three Sisters' and Tony Kushner's 'Angels in America.' Their borrowed themes echo a little too heavily. So do composer Ilan Eshkeri's tremulous violins, which ape Penderecki during Alice's most agitated moments."

Mark Jenkins, NPR

"'I wish I had cancer,' rages Alice (Julianne Moore). The focus may be soft, the music melancholy but, make no mistake, 'Still Alice' is furious. This film from directors Richard Glatzer and Wash Westmoreland sees a celebrated intellectual ravaged by Alzheimer's, aged just 50, destroying every semblance of the indomitable woman she once was. The film is hobbled by a naff, TV-movie aesthetic and jarringly mawkish score. Yet Moore gives us raw heartache, running the gauntlet from fear to fury to powerless frustration, before she's barely there at all. It's a display of acting alchemy: as the disease digs in the spark goes out of her eyes."

Emma Simmonds, The List

"The film’s focus on Alice’s perspective is by design, but that leaves the supporting characters in the lurch, not given much to do but comment on and react to her condition (the exception is Stewart, who gives a nuanced and heartfelt performance). A subplot concerning her children inheriting the disease is dramatically introduced and subsequently forgotten (no pun intended), and a thread involving John transferring to another state goes nowhere. And while, in places, the film attempts to break the mold of the usual 'disease of the week' tropes, it has them in spades. The cloying score by Ilan Eshkeri, the poignant public speech that is seriously the worst (she drops her notes! she recovers!), and the info-dump diagnosis scenes that play out like monotone PSAs all unwittingly undermine a great performance. So, see 'Still Alice' if you need to augment your day with some catharsis, see 'Still Alice' to better handicap your Oscar-pool odds, or see 'Still Alice' for a(nother) great performance by Moore in an otherwise tepid film. When she wins the Academy Award, I’m just going to pretend it was for Todd Haynes’ 1995 masterpiece, 'Safe,' and leave it at that."

Josh Kupecki, Austin Chronicle

"This is especially true when comparing 'Still Alice' to a couple of recent films that have tackled the same territory: Sarah Polley’s haunting 'Away From Her' and Michael Haneke’s unflinching 'Amour.' The flat lighting, the frequent use of maudlin music, a heavy reliance on medium shots and some awkward cutaways for reactions all contribute to the sensation of watching a rather workmanlike production better suited to the small screen. But the film’s heart is in the right place, and the message matters, and it surely will resonate with the millions of people whose loved ones have suffered from this cruel disease. "

Christy Lemire, RogerEbert.com

"That's mostly the fault of a film that's beholden to subtext-evading exposition and whose bathetic home-movie flashbacks of Alice frolicking on a beach with her long-deceased mother and sister speak less to her relationship with her family than to a superficial notion of life and memory drifting away from her. Worse is the sense of chronology that never artfully aligns with the deterioration of Alice's mind; in one scene, her condition is cloyingly literalized by having her family, presently discussing her future, appear out of focus in the background as she sits on a couch. And as if to compensate for images that often linger on characters at the most inexpressive of angles, no moment in Richard Glatzer and Wash Westmoreland's film seems to pass by without being shellacked by Ilan Eshkeri's intrusively maudlin score."

Ed Gonzalez, Slant Magazine

"The directorial couple must have gone through something very similar when Glatzer’s ALS kicked in, forcing him to accept that his body had become his greatest enemy. The pair bring that personal connection to the writing process, emphasizing Alice’s emotions over those of her various family members -- although Stewart, whose character steps in as caregiver at one point, gets several intimate, unshowy scenes with Moore. The helmers have made a conscious decision to keep things quiet, commissioning a score from British composer Ilan Eshkeri that doesn’t tell you how to feel, but rather how she feels: lost, emotional and anxious most of the time."

Peter Debruge, Variety

THE NEXT TEN DAYS IN L.A.

Screenings of older films, at the following L.A. movie theaters: AMPAS, American Cinematheque: Aero, American Cinematheque: Egyptian, Arclight, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.

April 10
THE CHASE (Michel Michelet), THE LEOPARD MAN (Roy Webb) [Cinematheque: Egyptian]
FOUR FLIES ON GREY VELVET (Ennio Morricone) [Silent Movie Theater]
FOUR ROOMS (Combustible Edison) [New Beverly]
JANE B. FOR AGNES V. [Cinematheque: Aero]
SHADOWS AND FOG, BULLETS OVER BROADWAY [New Beverly]
A STAR IS BORN (Max Steiner), NOTHING SACRED (Oscar Levant) [UCLA]

April 11
THE FRESHMAN [Silent Movie Theater]
THE FUNERAL (Joe Delia) [New Beverly]
JUMANJI (James Horner) [New Beverly]
KUNG FU MASTER (Joanna Bruzdowicz, Rita Mitsuoko) [Cinematheque: Aero]
SHADOWS AND FOG, BULLETS OVER BROADWAY [New Beverly]
A SUMMER AT GRANDPA'S (Edward Yang), DAUGHTER OF THE NILE (Hung-yi Chang, Ch'en Cihyuan) [UCLA]
THE UNDERWORLD STORY (David Rose), ABANDONED (Walter Scharf) [Cinematheque: Egyptian]
WINGS [UCLA]

April 12
CLEO FROM 5 TO 7 (Michel Legrand) [Cinematheque: Aero]
EARTH (George Fenton) [UCLA]
FARGO (Carter Burwell), THE HUDSUCKER PROXY (Carter Burwell) [New Beverly]
JUMANJI (James Horner) [New Beverly]
PRETTY IN PINK (Michael Gore) [Arclight Sherman Oaks]
WITNESS TO MURDER (Herschel Burke Gilbert), JEOPARDY (Dimitri Tiomkin) [Cinematheque: Egyptian]

April 13
FARGO (Carter Burwell), THE HUDSUCKER PROXY (Carter Burwell) [New Beverly]
SAY ANYTHING (Anne Dudley, Richard Gibbs) [Arclight Sherman Oaks]

April 14
EXOTICA (Mychael Danna), CALENDAR [New Beverly]
THE UMBRELLAS OF CHERBOURG (Michel Legrand) [LACMA]

April 15
CIRCLE OF DANGER (Robert Farnon), BERLIN EXPRESS (Frederick Hollander) [Cinematheque: Egyptian]
GEORGIA, MRS. PARKER AND THE VICIOUS CIRCLE (Mark Isham) [New Beverly]
ROAR (Terrence P. Minogue) [Silent Movie Theater]

April 16
BRICK (Nathan Johnson) [Arclight Hollywood]
GEORGIA, MRS. PARKER AND THE VICIOUS CIRCLE (Mark Isham) [New Beverly]
NINOTCHKA (Werner R. Heymann) [Silent Movie Theater]
RIDE THE PINK HORSE (Frank Skinner), THE FALLEN SPARROW (Roy Webb) [Cinematheque: Egyptian]
ROAR (Terrence P. Minogue) [Arclight Sherman Oaks]

April 17
ARMY OF DARKNESS (Joseph LoDuca), DARKMAN (Danny Elfman) [New Beverly]
BACK TO THE FUTURE (Alan Silvestri) [Nuart]
EL VAMPIRO NEGRO (Juan Ehlert), NO ABRAS NUNCA ESA PUERTA (Julian Bautista), SI MUERO ANTES DE DESPERTAR (Julian Bautista) [Cinematheque: Egyptian]
INVASION OF THE BODY SNATCHERS (Denny Zeitlin) [Cinematheque: Aero]
THE PUBLIC ENEMY, NIGHT NURSE [UCLA]
ROAR (Terrence P. Minogue) [Silent Movie Theater]

April 18
ARMY OF DARKNESS (Joseph LoDuca), DARKMAN (Danny Elfman) [New Beverly]
THE GUILTY (Rudy Schrager) [Cinematheque: Egyptian]
HANDS ON A HARDBODY (Neil Kassanoff) [New Beverly]
THE MIGHTY DUCKS (David Newman)[New Beverly]
THE PUPPETMASTER (Ming-chan Chen, Hongda Zhang) [UCLA]
ROAR (Terrence P. Minogue) [Silent Movie Theater]
SHOGUN ASSASSIN (W. Michael Lewis, Mark Lindsay) [Silent Movie Theater]
SIMPLE MEN (Ned Rifle) [Silent Movie Theater]
STAR TREK II: THE WRATH OF KHAN (James Horner), STAR TREK III: THE SEARCH FOR SPOCK (James Horner), STAR TREK IV: THE VOYAGE HOME (Leonard Rosenman) [Cinematheque: Aero]

April 19
DEATHWATCH (Gerald Fried) [Cinematheque: Aero]
HEROES FOR SALE, MIDNIGHT MARY (William Axt) [UCLA]
HOW THE WEST WAS WON [presented in Cinerama] (Alfred Newman, Ken Darby) [Arclight Hollywood]
LIVING IN OBLIVION (Jim Farmer), THE REAL BLONDE  (Jim Farmer)[New Beverly]
THE MIGHTY DUCKS (David Newman)[New Beverly]
THE NINTH GUEST, LET US LIVE (Karol Rathaus), HEAT LIGHTNING, SAFE IN HELL [Cinematheque: Egyptian]
ROAR (Terrence P. Minogue) [Silent Movie Theater]
RUSHMORE (Mark Mothersbaugh) [Arclight Sherman Oaks]