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| Film Score Friday 9/30/16 |
| Posted By: Scott Bettencourt on September 29, 2016 - 10:00 PM |
Next week Intrada will release what Doug Fake in his column calls "a complete 2-CD restoration to a magnificent score."
CDS AVAILABLE THIS WEEK
Boulevard Nights - Lalo Schifrin - Varese Sarabande
Denial - Howard Shore - Howe
Elle (U.S. release) - Anne Dudley - Sony [CD-R]
Il Gladiatore Invincible - Carlo Franci - Digitmovies
Less Than Zero - Thomas Newman - La-La Land
Sapevano Solo Uccidere - Angelo Francesco Lavagnino - Digitmovies
Set Fire to the Stars - Gruff Rhys - Twisted Nerve
Star Trek: Enterprise, vol. 2 - Paul Baillargeon, David Bell, Velton Ray Bunch, Jay Chattaway, John Frizzell, Kevin Kiner, Dennis McCarthy, Brian Tyler - La-La Land
IN THEATERS TODAY
Amanda Knox - Danny Bensi, Saunder Jurriaans
American Honey - no original score
Closet Monster - Todor Kobakov, Maya Postepski
Clowntown - Holly Amber Church
Come What May - Ennio Morricone - Score CD En Mai Fais Ce Qu'il Te Plait on Quartet
Coming through the Rye - Jay Nash, Heath McNease, Greg LaFollette
Command and Control - Mark Adler
Danny Says - Henry Scars Struck
Deepwater Horizon - Steve Jablonsky
Denial - Howard Shore - Score CD on Howe
Flock of Dudes - Jonathan Zalben
The Free World - Tim Hecker
Generation Startup - Eric V. Hachikian
Harry & Snowman - Joel Goodman, Erik Alvarez
The Last Film Festival - Patrick Seymour
Long Way North - Jonathan Morali
Loserville - Cormac Bluestone
A Man Called Ove - Gaute Storaas
Masterminds - Geoff Zanelli
Maximum Ride - Bowie Dinkel, Kevin Pimont
Milton’s Secret - Michael Brook
Miss Peregrine’s Home for Peculiar Children - Mike Higham, Matthew Margeson - Score CD due on La-La Land
Seed: The Untold Story - Garth Stevenson
Southwest of Salem: The Story of the San Antonio Four - Sam Lipman
COMING SOON
October 14
Blair Witch - Adam Wingard - LakeshoreThe Girl on the Train - Danny Elfman - Sony
Halt and Catch Fire - Paul Haslinger - Lakeshore
Inferno - Hans Zimmer - Sony
October 21
American Pastoral - Alexandre Desplat - Lakeshore
The Girl on the Train - Danny Elfman - Sony
The Night Of - Jeff Russo - Lakeshore
Stranger Things, Vol. 1 - Kyle Dixon, Michael Stein - Lakeshore
October 28
Don't Breathe - Roque Banos - Lakeshore
Hans Zimmer: The Classics - Hans Zimmer - Sony
Outlander: Season 2 - Bear McCreary - Madison Gate
Ryuichi Sakamoto: Music for Film - Ryuichi Sakamoto - Silva
Stranger Things, Vol. 2 - Kyle Dixon, Michael Stein - Lakeshore
November 11
Arrival - Johann Johannsson - Deutsche Gramophon
November 18
Loving - David Wingo - Backlot
December 9
A Monster Calls (U.S. release) - Fernando Velazquez - Backlot
Date Unknown
A Bay of Blood - Stelvio Cipriani - CSC
Cezanne et Moi - Eric Neveux - Quartet
Gernika - Fernando Velazquez - Quartet
Il Giovane Garibaldi - Carlo Rustichelli - Kronos
It's Only the End of the World - Gabriel Yared - Quartet
Miss Peregrine's School for Peculiar Children - Mike Higham, Matthew Margeson - La-La Land
A Monster Calls (European release) - Fernando Velazquez - Quartet
Salome - Egisto Macchi - Kronos
Spain in a Day - Alberto Iglesias - Quartet
The Welts - Adrian Kornarski - Caldera
THIS WEEK IN FILM MUSIC HISTORY
September 30 - Miklos Rozsa begins recording his score for Young Bess (1952)
September 30 - Marty Stuart born (1958)
September 30 - Lyn Murray records his score for the Alfred Hitchcock Hour episode “Lonely Place” (1964)
September 30 - Jack Urbont records his score for the Mission: Impossible episode “Wheels” (1966)
September 30 - Andrew Gross born (1969)
September 30 - Richard Einhorn begins recording his score to Dead of Winter (1986)
September 30 - Virgil Thomson died (1989)
October 1 - Irwin Kostal born (1911)
October 1 - Elia Cmiral born (1950)
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 - Lalo Schifrin records his score for the Mission: Impossible episode “Operation Rogosh” (1966)
October 1 - Johannes Kobilke born (1973)
October 1 - Dave Grusin begins recording his score for Falling in Love (1984)
October 1 - Dennis McCarthy records his scores for the Star Trek: Enterprise episodes “Impulse” and “Twilight” (2003)
October 2 - Leroy Shield born (1893)
October 2 - Bruce Montgomery born (1921)
October 2 - Eric Demarsan born (1938)
October 2 - Bernard Herrmann marries his first wife, writer Lucille Fletcher (1939)
October 2 - Damon Gough born (1969)
October 2 - Recording sessions begin on Nathan Barr's score to Hostel (2005)
October 3 - Roy Webb born (1888)
October 3 - Nick Glennie-Smith born (1951)
October 3 - Arnold Bax died (1953)
October 3 - Jeff Alexander begins recording his unused score to Saddle the Wind (1957)
October 3 - Bernard Herrmann begins recording his score for Tender Is the Night (1961)
October 3 - Robert Drasnin records his score for the Lost in Space episode "The Thief from Outer Space" (1966)
October 3 - Gerald Fried records his score for the Lost in Space episode "Collision of Planets" (1967)
October 3 - Johnny Mandel begins recording his unused score to The Seven-Ups (1973)
October 3 - Harry Sukman begins recording his score for Salem’s Lot (1979)
October 3 - Stu Phillips begins recording his score for the two-part Buck Rogers in the 25th Century episode “The Plot to Kill a City” (1979)
October 3 - Shirley Walker begins recording her score for Turbulence (1996)
October 4 - John Williams begins recording his score to Penelope (1966)
October 4 - Shawn Clement born (1968)
October 4 - BT born Brian Transeau (1970)
October 4 - George Romanis records his only Mission: Impossible score, for the episode “The Visitors” (1971)
October 4 - Henry Mancini begins recording his score for Sunset (1987)
October 5 - Malcolm Lockyer born (1923)
October 5 - Harold Faltermeyer born (1952)
October 5 - Alex Wurman born (1966)
October 5 - Jerry Fielding's score for the Star Trek episode "The Trouble With Tribbles" is recorded (1967)
October 5 - David G. Russell born (1968)
October 6 - Stanley Myers born (1933)
October 6 - David Raksin records his score for Daisy Kenyon (1947)
October 6 - Tommy Stinson born (1966)
October 6 - Giuseppe Becce died (1973)
October 6 - James Horner begins recording his score for 48 HRS. (1982)
October 6 - William Butler born (1982)
October 6 - Nelson Riddle died (1985)
DID THEY MENTION THE MUSIC?
ASHBY - Alec Puro
"Supporting cast is solid, though likewise held back from excelling by tonal inconsistency; some of their characters (like Silverman’s, or a local minister played by Zachary Knighton) are amusingly conceived but not developed to the point of sufficient payoff. Packaging is smoothly pro, though again, more assertive choices in various departments might have helped pic decide what it wants to be when it grows up -- certainly ones bolder than the bland instrumentals and lame granola rock songs soundtracked."
Dennis Harvey, Variety
"The animation sequences also makes the real-life scenes of Malala being examined by a doctor more jarring, which results in an overall manipulative feel. Moreover, the incessant use of Thomas Newman’s emphatic score cudgels audiences throughout. However, when Guggenheim uses silence -- as when he shows the harrowing pictures of the school bus where Malala was shot -- it too feels like a contrivance. The narrative toggling back and forth also does the film no favors; it just prevents viewers from engaging with the subject more fully."
Gary M. Kramer, IndieWire
"Even at 90 minutes in length -- which feels more like two hours -- 'Malala' suffers from serious repetition issues. It’s not that the subject can’t sustain that runtime (quite the contrary) but you can only hear the movie articulate how brave she was to speak out in the face of oppression with the same overcooked heart-swelling music so many times."
Rodrigo Perez, The Playlist
"Animated sequences give life to various voice-overs, but are never as interesting as the young woman herself. 'It is so hard to get things done in this world,' she says, sounding decades beyond her age, 'but you have to continue, and never give up.' The emotional score of 'He Named Me Malala' never lets us forget we should be moved by statements like this, but it’s overkill -- she’s one subject for whom cinematic bells and whistles are entirely needless."
Sara Stewart, New York Post
"Ultimately, though, it's the animation that most rankles. It's often gorgeous to look at, and some of the more imaginative touches are enchanting, such as the wisps of speech that emanate from the mouth of the animated Ziauddin as he struggles to deal with his stutter during his speech-giving, and the steadier stream that comes out of Malala's mouth. Whether such harrowing memories should be rendered in this storybook-like way, however, is more open to debate: The effect is to distance the viewer from real-life horrors -- another misguided attempt at turning recent history into instant myth. Thomas Newman's soupy score doesn't help matters either, as his sweeping orchestral style suffocates in its attempts at uplift."
Kenji Fujishima, Slant Magazine
"Guggenheim includes some obligatory, man-on-the-street criticism from those who perceive Malala as little more than an opportunistic celebrity, but they’re few and far between in a documentary that views its extraordinary subject with unqualified admiration. Where the film falters is in its willingness to settle for canned uplift, reducing the substance of Malala’s global activism to multicultural montages, goosed by Thomas Newman’s emotional cattle prod of a score. (Still, as musical overkill goes, it’s preferable to the goopy Alicia Keys ballad that drowns out the closing credits.)"
Justin Chang, Variety
"Beyond its protest of the subjugation of women in many parts of the Muslim world, the film contemplates the influence of parents on children. At the end of the movie, Malala ponders the question of whether her father chose her life by naming her after a rebel and by prodding her to speak out on issues of female education. But Malala answers calmly and decisively, 'I chose this life,' although she acknowledges the influence of her family. These final scenes, which also incorporate Malala’s memorable address to the United Nations, are heartrending, though Thomas Newman’s score is a bit over-emphatic. The story itself is so powerful that it really doesn’t need any underlining."
Stephen Farber, Hollywood Reporter
THE KEEPING ROOM - Mearl (Martin Phipps)
"However, the technical accomplishments of the film can’t be understated. Cinematographer Martin Ruhe ('The American,' 'Control') provides a beautiful, but also multi-faceted backdrop for 'The Keeping Room.'” From the film’s quieter, sun-dappled, nature-focused earlier sequences to the dark interior environs as the story becomes more enclosed, Ruhe manages a naturally evolving look for 'The Keeping Room.' Meanwhile, the shifting moods are aided by the atmospheric score by Martin Phipps ('Brighton Rock,' 'Peaky Blinders'), memorable work that lays down much of the dramatic groundwork. With both Ruhe and Phipps previously working with Barber on 'Harry Brown,' he was wise to give them a ring for this project."
Kevin Jagernauth, indieWIRE
“The Keeping Room,” meanwhile, unwaveringly takes the proto-feminist high road in its artier approach to similar material, while ably demonstrating how the devastation of war can obliterate any sense of shared humanity among fellow mortals. British director Daniel Barber makes good use of his plaintive score, long stretches of wordless silence and mostly deserted natural surroundings to put the audience on edge. About the only sounds heard during the film’s opening seven minutes come courtesy of several resounding gun shots and an angry bark-off between a snarling Doberman and the female slave in his path.
Susan Wloszczyna, RogerEbert.com
"'The Keeping Room' is slow and rather arty, with a chamber-music (plus harmonica and fiddle) score and cinematography that shrouds the faces in shadow. But it’s a fine piece of storytelling and earns its look and feel. The movie is steeped in the kind of melancholy that lifts it above sensationalism. It starts with a quote from Sherman that 'war is cruelty' -- no way around it -- and it’s best to get that cruelty over with fast, without a pause for agonized reflection."
David Edelstein, Vulture
"The violent incursions in the concluding 45 minute stretch don’t always dodge clichés. Look out for the usual trope where the bad guy resists pulling the trigger just long enough for someone to take action. The mournful score goes a little too far in its quest to manipulate the tone. But even as 'The Keeping Room' plays with formulaic ingredients, it manages to combine them into an eloquent portrait of gender, race and the constant march of time without overstating any of its potent themes."
Eric Kohn, indieWIRE
"There are the rudiments of a gripping tale here, about women rejecting the passive roles traditionally assigned to them, along with the injustices visited upon them, taking charge of their own safety, dignity and destiny. And there’s no shortage of atmosphere in cinematographer Martin Ruhe’s images of the starkly beautiful locations and the lonely farmhouse. These are evocatively complemented by an unconventional Southern-flavored score with plaintive, wordless vocals, composed by London musician Martin Phipps through his soundtrack project, Mearl."
David Rooney, Hollywood Reporter
THE MARTIAN - Harry Gregson-Williams
"All that said, 'The Martian' is the most purely enjoyable picture Scott has made in years. The streamlined narrative and the film’s consistent pacing, aided by a cast who don’t make a wrongfooted move, makes for easy popcorn entertainment. Cinematographer Darius Wolski, who lensed Scott’s 'Prometheus,' makes the most of being able to open the color palette here, creating a rich visual scope for burnt red of Mars, and deep reaches of space. And it probably doesn’t even need to be said that the special effects work is top notch, though if there is one slight below-the-line disappointment, it’s the rather generic score by Harry Gregson-Williams."
Kevin Jagernauth, The Playlist
"For the record, it’s easy to identify the precise moment that 'The Martian' shifts from quirky originality to bloated cliche. It’s when we get a landscape shot of the Martian red sands as the soundtrack intermingles the usual Soaring Strings of Hope with the ever-popular Horns of Humane Triumph. Look out for those horns. At that point, it’s time to step out for popcorn -- or just go home."
Mick LaSalle, San Francisco Chronicle
"Weir did his research when writing the novel, basing each of Watney’s MacGyver-like solutions (using recycled human waste to turn Thanksgiving potatoes into a viable crop, burning hydrazine rocket fuel to create water, etc.), as well as their subsequent setbacks (killer Martian frost, explosive chemical reactions), on scenarios that could reasonably arise on Mars. Scott carries that scrupulous adherence to science forward in the film, eschewing a more predictable suspense-movie score from composer Harry Gregson-Williams in favor of the sort of mellow musical chain reaction heard in natural-science docs and Discovery Channel reality shows. The idea here is to capitalize on the excitement of human ingenuity, the musical metaphor for which can be heard percolating behind the team’s every breakthrough -- and they are a team. Unlike so many films that cast heroism as the doing of a single rebellious soul, this one does justice to the idea that truly amazing feats depend on the collaboration of exceptional people. In 'The Martian,' we identify with Damon, but he couldn’t do it without the planet’s best behind him."
Peter Debruge, Variety
MEADOWLAND - Adam Taylor
"While some filmmakers/cinematographers decide not to take on double duty chores to concentrate on performances, acting as her own DP does not hurt Morano in the least. She has a knack for making cold images look beautiful and haunting, and that preternatural quality is in full evidence. Adam Taylor’s score ('August: Osage County') does a lot of heavy lifting too, capturing the lost and haunted lilt of personal despondency. In tandem with the movie’s striking visuals, 'Meadowland' arguably might be at its most potent when it’s acting like a music video, with a focus turned toward dialogue free performances, poetic images, and elegiac, sonorous sounds."
Rodrigo Perez, The Playlist
SHANGHAI - Klaus Badelt
"'Shanghai' yearns to be a contemporary action movie, but in a different period and with an overeager amount of twists instead of bullets. Klaus Badlet’s thundering score distances from the ‘40s period and tries to achieve the same ebbs and flows of the audience’s attention as a 'Taken' movie soundtrack. Håfström’s noir vision does have some slick atmosphere, including some great things to look at, but it has very little to grab onto, never mind take out of the theater, other than a headache. "
Nick Allen, RogerEbert.com
SHERPA - Antony Partos
"Produced by respected docu veteran John Smithson (2003’s 'Touching the Void') and noted Kiwi-Aussie indie figure Bridget Ikin (2005’s 'Look Both Ways'), 'Sherpa' boasts first-class visual and technical qualities. Cinematographers Ken Sauls, Hugh Miller and Renan Ozturk (who is also credited as high-altitude director) have beautifully captured the many personalities of Mount Everest/Chomolungma, and the faces of those whose livelihood depend on it and whose spirits are connected to it. Antony Partos’ subtle orchestral score is elegantly woven into Sam Petty’s outstanding sound design package."
Richard Kuipers, Variety
"The film then winds back to 12 days earlier to the village of Khumjung, where Phurba Tashi is bidding farewell to his family before the season begins. The brother of Phurba Tashi’s wife died on Everest the year before; he went because he needed the money, she tells us. Needless to say, our apprehension is palpable. Gliding shots of the mountain in all its terrifying awesomeness are aided immeasurably by Sam Petty’s sound design and the score by Antony Partos, whose grandly ominous sound will be familiar to adherents of 'Animal Kingdom' and is a perfect fit here."
Harry Windsor, Hollywood Reporter
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, Crest, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.
September 30
ALIENS (James Horner) [Nuart]
THE BAD AND THE BEAUTIFUL (David Raksin), TWO WEEKS IN ANOTHER TOWN (David Raksin) [UCLA]
FROM DUSK TIL DAWN (Graeme Revell) [New Beverly]
POLTERGEIST III (Joe Renzetti) [Silent Movie Theater]
REBEL WITHOUT A CAUSE (Leonard Rosenman) [Cinematheque: Aero]
THE REINCARINATION OF PETER PROUD (Jerry Goldsmith), HAPPY BIRTHDAY TO ME (Bo Harwood, Lance Rubin) [New Beverly]
TAXI DRIVER (Bernard Herrmann) [Cinematheque: Egyptian]
October 1
ALIEN (Jerry Goldsmith) [New Beverly]
ESSENE [Silent Movie Theater]
JOURNEY TO THE CENTER OF THE EARTH (Bernard Herrmann) [New Beverly]
KING OF NEW YORK (Joe Delia) [Silent Movie Theater]
MISHIMA: A LIFE IN FOUR CHAPTERS (Philip Glass), THE LAST TEMPTATION OF CHRIST (Peter Gabriel) [Cinematheque: Aero]
PHANTASM (Fred Myrow, Malcolm Seagrave) [Cinematheque: Egyptian]
THE REINCARINATION OF PETER PROUD (Jerry Goldsmith), HAPPY BIRTHDAY TO ME (Bo Harwood, Lance Rubin) [New Beverly]
STREET TRASH (Ray Ulfik), NEON MANIACS (Kendall Schmidt) [Cinematheque: Egyptian]
October 2
AMERICAN GIGOLO (Giorgio Moroder), HARDCORE (Jack Nitzsche) [Cinematheque: Aero]
THE BEYOND (Fabio Frizzi - performing live!), THE GATES OF HELL (Fabio Frizzi) [Cinematheque: Egyptian]
THE BLOB (Michael Hoenig) [Arclight Hollywood]
CAT PEOPLE (Roy Webb) [Silent Movie Theater]
FELLINI SATYRICON (Nino Rota) [Silent Movie Theater]
FLASH GORDON: ROCKET SHIP, FLESH GORDON (Ralph Ferrraro) [New Beverly]
JOURNEY TO THE CENTER OF THE EARTH (Bernard Herrmann) [New Beverly]
KING OF NEW YORK (Joe Delia) [Silent Movie Theater]
October 3
THE ADDAMS FAMILY (Marc Shaiman) [Arclight Sherman Oaks]
BLUE COLLAR (Jack Nitzsche), AUTO FOCUS (Angelo Badalamenti) [Cinematheque: Aero]
FLASH GORDON: ROCKET SHIP, FLESH GORDON (Ralph Ferrraro) [New Beverly]
ROSEMARY'S BABY (Christopher Komeda) [Arclight Hollywood]
October 4
THE FLY (Paul Sawtell, Bert Shefter) [Arclight Hollywood]
THE HELTER SKELTER MURDERS (Thomas Sean Bonniwell), ABDUCTION (Ron Frangipane, Allan Steckler) [New Beverly]
IDIOCRACY (Theodore Shapiro) [Cinematheque: Aero]
SHADOW OF A DOUBT (Dimitri Tiomkin) [LACMA]
October 5
BIG TROUBLE IN LITTLE CHINA (John Carpenter, Alan Howarth) [Cinematheque: Egyptian]
TOURIST TRAP (Pino Donaggio), SLITHIS (Steve Zuckerman), THE DARK (Roger Kellaway) [New Beverly]
October 6
DAYBREAK (Maurice Jaubert), THE TRUTH OF OUR MARRIAGE (J.J. Grunenwald) [Cinematheque: Aero]
FRIGHT NIGHT (Brad Fiedel) [Arclight Culver City]
THE HOLY MOUNTAIN (Alejandro Jodorowsky) [Cinematheque: Egyptian]
TOURIST TRAP (Pino Donaggio), SLITHIS (Steve Zuckerman), THE DARK (Roger Kellaway) [New Beverly]
October 7
DIABOLIQUE (Georges Van Parys), THE WANTON [Cinematheque: Aero]
THE EVIL DEAD (Joseph LoDuca) [Nuart]
THE FRENCH CONNECTION (Don Ellis) [AMPAS]
FROM DUSK TILL DAWN 2: TEXAS BLOOD MONEY (Joseph Stanley Williams) [New Beverly]
IT CAME FROM OUTER SPACE [Arclight Hollywood]
THE TEXAS CHAIN SAW MASSACRE (Tobe Hooper, Wayne Bell), TORSO (Guido & Maurizio De Angelis) [New Beverly]
October 8
DAWN OF THE DEAD (Goblin) [Cinematheque: Egyptian]
FRIDAY THE 13TH (Harry Manfredini) [Arclight Hollywood]
JOY HOUSE (Lalo Schifrin), BACK TO THE WALL (Richard Cornu) [Cinematheque: Aero]
JUVENILE COURT [Silent Movie Theater]
THE LAST WARNING [Silent Movie Theater]
MAD MONSTER PARTY? (Maury Laws) [New Beverly]
MARTIN (Donald Rubinstein), THE CRAZIES (Bruce Roberts) [Cinematheque: Egyptian]
THE WOLF MAN (Hans J. Salter, Frank Skinner) [Cinematheque: Egyptian]
October 9
THE CREATURE FROM THE BLACK LAGOON [Arclight Hollywood]
MAD MONSTER PARTY? (Maury Laws) [New Beverly]
MANON (Paul Misraki), THE DAMNED (Yves Baudrier) [Cinematheque: Aero]
PLANET OUTLAWS, BUCK ROGERS IN THE 25TH CENTURY (Stu Phillips) [New Beverly]
2001: A SPACE ODYSSEY [Cinematheque: Egyptian]
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Today in Film Score History:
April 25 |
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| Alec Puro born (1975) |
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| Brian May died (1997) |
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| David A. Hughes born (1960) |
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| Franz Waxman records his score for Stalag 17 (1952) |
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| Gary Hughes died (1978) |
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| Georges Delerue records his score for L’Homme Qui Revient De Loin (1972) |
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| Heinz Roemheld's score for Union Station is recorded (1950) |
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| John Williams begins recording his score for How to Steal a Million (1966) |
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