Intrada has released two new, two-disc soundtracks this week -- David Shire's gorgeous and imaginative music for Walter Murch's stylish 1985 fantasy sequel RETURN TO OZ, featuring Shire's complete score plus several alternates as well as the original album sequencing from the Sonic Atmospheres LP, later released on CD by Bay Cities; and Alan Silvestri's rousing sci-fi action score for the 1995 film version of JUDGE DREDD, which will include both his first recording of his score in London, selections of which were featured on the original soundtrack CD, as well as the Los Angeles re-recordings which were featured in the final film -- plus the original cue Jerry Goldsmith composed and recorded for the film's trailer before scheduling conflicts kept him from scoring the actual film.

The latest release from Kritzerland presents Bernard Herrmann's exciting, percussive score for the 1953 adventure film WHITE WITCH DOCTOR. Many film music fans were first exposed to this score in a suite conducted by Charles Gerhardt for RCA's great Herrmann compilation album in the 70s, and the full score was released for the first time just a few years ago with Varese Sarabande's epic Bernard Herrmann at 20th Century Fox collection. The Kritzerland release features the same cues as the Varese box.

CDS AVAILABLE THIS WEEK

The Age of Adaline - Rob Simonsen - Lakeshore
The Battle of Algiers - Ennio Morricone, Gillo Pontecorvo - Quartet
Child 44 - Jon Ekstrand - Lakeshore
Davide Cavuti: I Capolavoari Di Alessandro Cigognini - Alessandro Cicognini - Beat
Jerusalem - Michael Brook - Lakeshore
Judge Dredd - Alan Silvestri - Intrada Special Collection
La Ragazza Di Via Condotti - Enrico Simonetti - Quartet
L'ingenua/L'oscendo Desiderio - Carlo Savina - Quartet
Max Max: Fury Road - Tom Holkenborg (Junkie XL) - Watertower
Orange Is the New Black - Gwendolyn Sanford, Brandon Jay, Scott Doherty - Varese Sarabande
Poldark - Anne Dudley - Sony (import)
Return to Oz - David Shire - Intrada Special Collection
A Royal Night Out - Paul Englishby - Sony (import)
San Andreas - Andrew Lockington - Watertower [CD-R]
Seeking a Friend for the End of the World - Rob Simonsen, Jonathan Sadoff - Lakeshore
Uccidere in Silenzio - Stelvio Cipriani - Quartet

IN THEATERS TODAY

Absolution - Michael Richard Plowman
Animals - Ian Hultquist - Score CD due Aug. 15 on Phineas Atwood
The Connection - Guillaume Roussel - Soundtrack CD La French featuring 6 score cues on Idol (import)
Dark Star: H.R. Giger’s World - Peter Scherer
Days of Grace - Nick Cave, Warren Ellis, Atticus Ross, Claudia Sarne, Leopold Ross, Shigeru Umebayashi - Score CD on Lakeshore
Echoes of War - Hanan Townshend
Every Secret Thing - Robin Coudert
Good Kill - Christophe Beck - Score CD on Lakeshore
I Am Big Bird: The Carol Spinney Story - Joshua Johnson
I’ll See You in My Dreams - Keegan DeWitt
In the Name of My Daughter - Benjamin Biolay
Know How - Kasper Gaddy, Danny Rockett
Mad Max: Fury Road - Tom Holkenborg (Junkie XL) - Watertower
Pitch Perfect 2 - Mark Mothersbaugh - Song CD on Universal with one score cue
Reality - Quentin Dupieux
The Seven Five - Amy Marie Beauchamp, Jose Cancela
Slow West - Jed Kurzel - Score CD due June 23 on Lakeshore
Time Lapse - Andrew Kaiser
Where Hope Grows - Kyle Newmaster

COMING SOON

May 19
Avengers: Age of Ultron - Brian Tyler, Danny Elfman - Hollywood
Blackwood - Lorne Balfe - Lakeshore
Commando - James Horner - La-La Land
Far from Men - Nick Cave, Warren Ellis - Goliath
The Firm - Dave Grusin - La-La Land
Orphan Black - Trevor Yuile - Varese Sarabande
Poltergeist - Marc Streitenfeld - Sony
May 26
The D Train - Andrew Dost - Lakeshore
Ex Machina - Ben Salisbury, Geoff Barrow - Invada
Marco Polo - Peter Nashel, Eric V. Hachikian - Sony (import)
June 2
Lost River - Johnny Jewel - Republic of Music (import)
Spy - Theodore Shapiro - Milan
Tomorrowland - Michael Giacchino - Disney
Woman in Gold - Martin Phipps, Hans Zimmer - Sony (import)
June 9
Demons: 30th Anniversary Edition - Claudio Simonetti - Rustblade
Jurassic World - Michael Giacchino - Backlot
Pas de Deux [concert music] - James Horner - Mercury Classics
Puppet Master 1 & 2 - Richard Band - Full Moon
Somewhere in Time: The Film Music of John Barry, Vol. 1 (re-recordings) - John Barry - Buysoundtrax
June 16
Inside Out - Michael Giacchino - Disney
Obsession (re-recording) - Bernard Herrmann - Tadlow
June 23
Cinderella - Paul J. Smith, Oliver Wallace - Disney
A Little Chaos - Peter Gregson - Milan
Max - Trevor Rabin - Sony
Slow West - Jed Kurzel - Lakeshore
July 17
Game of Thrones, Season 5 - Ramin Djawadi - Watertower
August 15
Animals - Ian Hultquist - Phineas Atwood
Date Unknown
Backlight - Nuno Malo - Kronos
Belle du Seigneur - Gabriel Yared - Caldera
Doctor Who: Series 8 - Murray Gold - Silva
The Dovekeepers - Jeff Beal - Varese Sarabande
From Earth to Mars - Arturo Rodriguez -MovieScore Media
Gli Intoccbilii/La Donna Invisible - Ennio Morricone - GDM
Il Lumacone/Virilita - Daniele Patucci - Digitmovies
Il Tuo Dolce Corpo Da Uccidere - Carlo Savina - Digitmovies
L'Italia Vista Dal Cielo - Piero Piccioni - Saimel
Midsomer Murders: The Ballad of Midsomer County - Jim Parker - Silva
Pirate's Passage - Andrew Lockington - MovieScore Media
Ripper Street - Dominik Sherrer - Silva
The Searchers - Max Steiner - BYU
Spooks: The Greater Good - Dominic Lewis - Silva
Violentata Sulla Sabbia Bella Di Giorno Moglie Di Notte - Gianfranco Plenizio - Digitmovies
Viral - Sergo Jimenez Lacima - Kronos
White Witch Doctor - Bernard Herrmann - Kritzerland

THIS WEEK IN FILM MUSIC HISTORY

May 15 - Bert Shefter born (1902)
May 15 - John Lanchbery born (1923)
May 15 - Brian Eno born (1948)
May 15 - Mike Oldfield born (1953)
May 15 - Recording sessions begin for Bronislau Kaper's score for Somebody Up There Likes Me (1956)
May 15 - Gordon Parks begins recording his score for Shaft's Big Score! (1972)
May 15 - David Munrow died (1976)
May 15 - Billy Goldenberg records his score for the Amazing Stories episode "Secret Cinema" (1985)
May 15 - John Green died (1989)
May 15 - Alexander Courage died (2008)
May 16 - Elmer Bernstein begins recording his score to Hawaii (1966)
May 16 - Alan Silvestri begins recording his score for Back to the Future (1985)
May 17 - Taj Mahal born (1942)
May 17 - Heitor Villa-Lobos died (1959)
May 17 - Ron Grainer begins recording his score for The Omega Man (1971)
May 17 - Hugo Friedhofer died (1981)
May 18 - Meredith Willson born (1902)
May 18 - Rick Wakeman born (1949)
May 18 - Mark Mothersbaugh born (1950)
May 18 - Ron Jones records his score for the Star Trek: The Next Generation episode "Menage a Troi" (1990)
May 18 - Kevin Gilbert died (1996)
May 18 - Albert Sendrey died (2003)
May 19 - Irving Gertz born (1915)|
May 19 - Tom Scott born (1948)
May 19 - Edwin Astley died (1998)
May 20 - Zbigniew Preisner born (1955)
May 20 - Lyn Murray died (1989)
May 21 - Fiorenzo Carpi died (1997)

DID THEY MENTION THE MUSIC?

MORTDECAI - Geoff Zanelli, Mark Ronson

"What’s not so bad? Mark Ronson and Geoff Zanelli’s ’60s-ish lounge-music score, which has patches that, in another context, would be transcendent."

David Edelstein, Vulture

"At least, in line with its eponymous protagonist’s aesthetic sensibility, the film isn’t afraid to splash its money around: James Merifield’s production design and Ruth Myers’ costumes both hit the right note of gauche grandeur, gleaming under the bright, color-intensive glare of Florian Hoffmeister’s camera. And pop-funk producer extraordinaire Mark Ronson, making his first foray into film scoring, was an appropriate choice to assist composer Geoff Zanelli: His cluttered horn arrangements are in keeping with the pic’s retro leanings and manic disposition. Editors Jill Savitt and Derek Ambrosi can take equal credit for the latter, though at 106 busy minutes, 'Mortdecai' could use a shave. Mortdecai himself, of course, wouldn’t dream of it."

Guy Lodge, Variety

SONG ONE - Jenny Lewis, Johnathan Rice, Nathaniel Walcott

"The movie, which marks the feature debut of writer-director Kate Barker-Froyland, has the low-key appeal of 'Once,' with its extended scenes of music and drama-free romantic subplot. But the characters in 'Song One' are stubbornly bland, despite their quirks. Franny may buy a gramophone and record random street noise, but those idiosyncracies feel randomly generated given that she is entirely eccentricity-free when she deals with other people. And yet, despite its flaws, 'Song One' has sweet and romantic moments. There really are pleasures to be had, and a big part of that may be the original music by Jenny Lewis, Jonathan Rice and Nate Walcott. But like the music, which is easy on the ears though never catchy, the movie doesn’t stick with you. Once it’s over, it’s gone."

Stephanie Merry, Washington Post

"The only surprise to be had in this predictable trifle is that Hathaway, a perpetual theater kid, doesn’t do much singing. That falls to Flynn, a folk demigod whose nascent film career will continue to pick up steam with his appearance in this spring’s 'Clouds of Sils Maria.' It’s too bad that the songs themselves, written by Jenny Lewis and Johnathan Rice, are wishy-washy tunes that better indicate Flynn’s talent rather than capture it. Barker-Froyland asks these underwhelming lo-fi jams to do an absurd amount of her story’s heavy lifting, the easy sentiment of Flynn’s voice compensating for the undercooked romance between Franny and Jonathan."

David Ehrlich, Time Out New York

"Despite the delicate shadings Hathaway brings to the role, 'Song One' moves inexorably from wan to wearying. Hoping to capture the bittersweet vibe of the 2006 cult hit 'Once,' Barker-Froyland injects the fragile plot with songs written by the indie-rock duo Jenny and Johnny. Hathaway stares longingly as Flynn sings, but 'Once,' I'm afraid, is enough."

Peter Travers, Rolling Stone

"Hathaway still sports her 'Les Miz' short haircut in this role, but she’s sober and subdued as an anthropology Ph.D. candidate named Franny, who’s doing field work in Morocco when she hears that her brother Henry’s been hit by a car and is in a coma back in New York. Also, to be clear: This is a movie with numerous musical numbers, none of them sung by Hathaway. (Most of the agreeable if not exceptionally memorable soundtrack, including the song 'In April,' is by former Rilo Kiley singer Jenny Lewis and her partner Johnathan Rice, aka the duo Jenny and Johnny.)"

Andrew O'Hehir, Salon.com

"Musically, the narrow scope is less rewarding. 'Song One' only occasionally deviates from solo-acoustic performances, depicting Williamsburg as full of tasteful MOR folkies -- a probably unintentional portrait of gentrification’s endgame. The new songs for the film were written by indie-rock couple Jenny Lewis and Johnathan Rice; they do an admirable job inhabiting a new musical character, but Lewis’ rueful humor and conversational storytelling is much missed. Even the real-life musicians who pop up for background flavor, like folk rock band the Felice Brothers, appear in less raucous, more stripped-down forms. (Forget about hip-hop or punk; the film’s Williamsburg barely even has any electric guitars or drum sets). There is nonetheless a sense of realism about this slice of the music world, like the way that James Forester, who hasn’t put out a record in five years, comes across as a slightly faded indie sensation busted back down to smaller venues -- and how some of his cult following seems to be maintained by his good looks as much as his art."

Jesse Hassenger, The Onion AV Club

"You want to get back to Hathaway and her relationship with her brother, and mother -- Steenburgen is excellent, as always -- but instead we get bogged down in this soggy romance. And then the movie itself falls in love, not only with Flynn, but his morose music scene, padding things out with entire (and entirely uninvolving) songs, and singing its own hymn to amazing Williamsburg, land of raves, coffeehouses and overpriced lofts. (Yes, there is a character billed only as 'Tattooed Hipster.')"

Stephen Whitty, Newark Star-Ledger

"Barker-Froyland is clearly aiming to re-create the success of John Carney’s 'Once.' The director does deftly incorporate a plaintive, neo-folk soundtrack from Jenny Lewis and Jonathan Rice. The local settings add some texture, while Hathaway shares a delicate chemistry with the appealing Flynn."

Elizabeth Weitzman, New York Daily News

"A simple approach to art can be a virtue when chaos reigns in the world. Just like the neo-folk music that serves as its soundtrack while providing an emotional salve for its characters, 'Song One' initially serves as a lilting if sometimes downbeat respite from the cacophony that often passes as cinema today."

Susan Wloszczyna, RogerEbert.com

"Flynn is an actual British musician (Johnny Flynn And The Sussex Wit), but here, he’s performing songs written by the team of Jenny Lewis and Johnathan Rice, and something seems to have gotten lost along the way -- either the songs are bland, or Flynn’s interpretation of them is lifeless. And when he isn’t singing, he’s just a shaggy haircut with a beatific smile, while Hathaway is just two big teary eyes."

Mike D'Angelo, The Dissolve

"There's some winsome soul out there who will find this indie folk-scene romance just the thing: Johnny Flynn sings passionate songs penned by Jenny Lewis and Johnathan Rice, while Anne Hathaway beams, delicate as the inner ear of a butterfly, fresh moisture welling in those puddle-wide eyes. Hathaway plays a Ph.D. student called back to her Brooklyn home after her brother, a would-be singer-songwriter, is knocked into a coma."

Alan Scherstuhl, Village Voice

"'You know when you have a feeling and you don't want it to fade away, but you don't really know how to keep it?' James asks Franny during one of their heart to hearts. It might be preciously platitudinal, but it's a sentiment 'Song One' captures with a naturalistic dreaminess, connecting the transitory glory of music with the fleeting nature of the main characters' love affair. Though the soundtrack is comprised primarily of solid folk-rock tunes, the film itself often feels more like a bubblegum pop song, one whose familiar lyrics work to effusively evoke a deep-seated primal longing born of emotional agony that's temporarily remedied in these characters' soulful fling and connection to music itself. Better yet, the movie has the veracity to acknowledge that once the song ends, the real world still looms."

Nick Prigge, Slant Magazine

"However, if you can live with or suspend your disbelief with these problems, although you probably shouldn’t totally let it off the hook, 'Song One' might be your kind of tune. Intermittently charming, Hathaway and Flynn have restrained chemistry, but it’s not exactly alchemic (which is perhaps one of the film’s quieter deal breakers). A musician not well-known for his acting, Flynn is authentic with the guitar, while never quite remarkable as an actor. So a lot comes down to the music written by Johnathan Rice and Rilo Kiley’s Jenny Lewis. It would be refreshing to hear an indie music film for once not featuring plaintive, earnest folk songs, but that’s exactly what is delivered here. And while these folk ballads are are occasionally touching (the final song in particular is the film’s best), more often than not these tunes, again, sound awfully familiar. It’s perhaps telling that outside the film’s final scene—effectively tearjerky, for all its narrative manipulation -- the most transcendent musical moment is a sequence where Hathaway and Flynn dance to Dan Deacon with wild, charged abandon."

Rodrigo Perez, The Playlist

"Heartfelt but enervated, 'Song One' noodles around the Brooklyn music scene without stirring up magic. The original songs (by Jenny Lewis and Johnathan Rice) are pleasant if unmemorable, and Mr. Flynn’s performance is too tentative to counter the story’s lack of drama. That leaves John Guleserian’s lovely hand-held photography and Ms. Hathaway’s quiet radiance to pick up the slack, which they might have done had they been allowed more time with Mary Steenburgen. Her zesty turn as Franny’s freewheeling mother is as invigorating as a shot of Red Bull to a sleep-deprived student."

Jeanette Catsoulis, New York Times

"Let’s say you want to shag a sexy British indie rocker. 'Song One' not only instructs you on how to go about it (first tip: try to look like shagging said indie rocker is the last thing on your mind), but also suggests your lucky conquest could inspire the first track on his next album -- though it helps to have a comatose brother, the way Anne Hathaway’s character does here. With its sensitive original score, true-chemistry central perfs and refreshing lack of irony, first-timer Kate Barker-Froyland’s low-key musical romance ought to send young emo crowds swooning en masse. Everything that follows in 'Song One' depends on what you make of James’ decision to stop by, bearing tea and sympathy. Against all odds, Barker-Froyland manages to sell this scene -- a credit to both the grief-stricken authenticity Hathaway shows and the director’s own intuitively naturalistic style behind the camera. A significant talent in the making, Barker-Froyland earns our trust with almost imperceptibly handheld lensing and a welcome tendency to let shots linger long enough for the emotions to register. But mostly, it’s the songs -- by Jenny Lewis and Johnathan Rice of indie-rock duo Jenny and Johnny, with music help from Nathaniel Walcott -- that makes it possible for this unassuming little drama to penetrate the cynical defenses of modern auds. Vaguely reminiscent of 'Once,' another Sundance breakout that went on to find mainstream success (and eventually made its way to the Broadway stage, as this pic could conceivably do as well), 'Song One' plays with the notion of two pitiful souls who meet at precisely the right moment to complement one another’s emotional needs.The story may be slight, but that leaves ample room to embellish with music, capturing a surprising range of styles (indie rock, blues, electronica) from the New York scene by way of texture. The film positively swells with songs, the lyrics of which have been attentively crafted to suit the emotions onscreen, especially when it comes to the pic’s eponymous number, 'Silver Song.' While Hathaway earned her Oscar for live-singing last year, it is Flynn’s turn to impress with his heartfelt renditions of five original songs, at least one of which is sure to be heard at the Dolby Theatre next February."

Peter Debruge, Variety

"The movie’s theme tune could almost have been 'Brother in a Coma' if the Smiths hadn’t gotten there first with their divinely glum ditty about a girlfriend on life support. Instead, the songs (all heard in naturalistic performance mode) are by indie duo Jenny Lewis and Jonathan Rice, and while pleasant and occasionally poetic, they tend to have a melancholy sameness about them that makes for non-dynamic accompaniment. A little more of the pluck and flavorful twang of Lewis’ solo material or her work with Rilo Kiley and the Watson Twins might have been welcome."

David Rooney, Hollywood Reporter

WYRMWOOD - Michael Lira

"Pic is ably performed by a solid ensemble and shot in appropriately unfussy style by first-time feature lenser Tim Nagle. The ace in the packaging deck is a terrific score by Michael Lira that includes everything from crunching industrial noise to fun variations on the type of overblown library music used in 1950s B-grade sci-fi movies. Visual effects work and all other technical contributions are fine."

Richard Kuipers, 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.

May 15
THE GREAT ESCAPE (Elmer Bernstein) [New Beverly]
KILL BILL VOL. 1 (The RZA) [New Beverly]
A SUMMER AT GRANDPA'S (Edward Yang), DUST IN THE WIND (Ming-chan Cheng, Ching Chun Hsu)[Cinematheque: Aero]
THROUGH THE LOOKING GLASS [Silent Movie Theater]
TO CATCH A THIEF (Lyn Murray), ARTISTS AND MODELS (Walter Scharf) [AMPAS]

May 16
A CITY OF SADNESS [Cinematheque: Aero]
DRACULA SUCKS [Silent Movie Theater]
THE GREAT ESCAPE (Elmer Bernstein) [New Beverly]
GRIMM'S FAIRY TALES FOR ADULTS, THE HOTTEST SHOW IN TOWN [Silent Movie Theater]
THE PEOPLE THAT TIME FORGOT (John Scott) [New Beverly]
POLYESTER (Michael Kamen) [Nuart]
SEX ON THE RUN (Riz Ortolani) [New Beverly]
STILL LIFE [UCLA]
SUBMARINE [Silent Movie Theater]

May 17
ALL IN A NIGHT'S WORK (Andre Previn), ARRIVIDERCI, BABY (Dennis Farnon) [New Beverly]
BARRY LYNDON (Leonard Rosenman) [Cinematheque: Egyptian]
GOODBYE, SOUTH, GOODBYE (Giong Lim), MILLENNIUM MAMBO (Yoshihiro Hanno, Giong Lim) [Cinematheque: Aero]
JOHNNY MINOTAUR [Silent Movie Theater]
THE PEOPLE THAT TIME FORGOT (John Scott) [New Beverly]
RAIDERS OF THE LOST ARK (John Williams) [Arclight Culver City]

May 18
ALL IN A NIGHT'S WORK (Andre Previn), ARRIVIDERCI, BABY (Dennis Farnon) [New Beverly]
FANTASM, VANESSA [Silent Movie Theater]

May 19
DOUBLE INDEMNITY (Miklos Rozsa) [LACMA]
HELL SQUAD (Jay Richardson), SUICIDE BATALLION (Ronald Stein) [New Beverly]
MISS NUDE AMERICA, SEX AND THE ANIMALS [Silent Movie Theater]

May 20
BEERFEST (Nathan Barr) [Arclight Hollywood]
THE IMITATION GAME (Alexandre Desplat), SOLDIER OF ORANGE (Rogier van Otterloo) [New Beverly]
THE ROYAL TENENBAUMS (Mark Mothersbaugh) [Arclight Culver City]

May 21
THE IMITATION GAME (Alexandre Desplat), SOLDIER OF ORANGE (Rogier van Otterloo) [New Beverly]
OLD SCHOOL (Theodore Shapiro) [Arclight Hollywood]
THE SEXORCISTS [Silent Movie Theater]
SHOOT THE PIANO PLAYER (Georges Delerue), LOLA (Michel Legrand) [AMPAS]

May 22
ALIEN (Jerry Goldsmith) [Nuart]
INVASION OF THE BODY SNATCHERS (Carmen Dragon), BEYOND A REASONABLE DOUBT (Herschel Burke Gilbert) [AMPAS]
KILL BILL VOL. 1 (The RZA) [New Beverly]
PARIS IS BURNING [Silent Movie Theater]
REBEL WITHOUT A CAUSE (Leonard Rosenman), THE UGLY AMERICAN (Frank Skinner) [Cinematheque: Aero]
SOMETHING WILD (John Cale, Laurie Anderson), MARRIED TO THE MOB (David Byrne) [New Beverly]
SUPERCOP (Jonathan Lee), SNAKE IN THE EAGLE'S SHADOW (Fu-Liang Chou) [Cinematheque: Egyptian]

May 23
THE ABSENT-MINDED PROFESSOR (George Bruns) [New Beverly]
CAGED HEAT (John Cale) [New Beverly]
DRUNKEN MASTER (Fu-Liang Chou), THE LEGEND OF DRUNKEN MASTER (Michael Wandmacher) [Cinematheque: Egyptian]
HARRY POTTER AND THE SORCERER'S STONE (John Williams), HARRY POTTER AND THE CHAMBER OF SECRETS (John Williams, William Ross), HARRY POTTER AND THE PRISONER OF AZKABAN (John Williams), HARRY POTTER AND THE GOBLET OF FIRE (Patrick Doyle) [Cinematheque: Aero]
PARIS IS BURNING [Silent Movie Theater]
SOMETHING WILD (John Cale, Laurie Anderson), MARRIED TO THE MOB (David Byrne) [New Beverly]

May 24
THE ABSENT-MINDED PROFESSOR (George Bruns) [New Beverly]
HARRY POTTER AND THE ORDER OF THE PHOENIX (Nicholas Hooper), HARRY POTTER AND THE HALF-BLOOD PRINCE (Nicholas Hooper), HARRY POTTER AND THE DEATHLY HALLOWS PT. 1 (Alexandre Desplat), HARRY POTTER AND THE DEATHLY HALLOWS PT. 2 (Alexandre Desplat) [Cinematheque: Aero]
VERTIGO (Bernard Herrmann) [Cinematheque: Egyptian]
WHAT A WAY TO GO (Nelson Riddle), GAMBIT (Maurice Jarre) [New Beverly]
WHO FRAMED ROGER RABBIT (Alan Silvestri) [Arclight Culver City]