Film Score Monthly
Screen Archives Entertainment 250 Golden and Silver Age Classics on CD from 1996-2013! Exclusive distribution by SCREEN ARCHIVES ENTERTAINMENT.
Sky Fighter Wild Bunch, The King Kong: The Deluxe Edition (2CD) Body Heat Friends of Eddie Coyle/Three Days of the Condor, The It's Alive Ben-Hur Frantic Nightwatch/Killer by Night
FSM HOME MESSAGE BOARD FSM CDs FSM ONLINE RESOURCES FUN STUFF ABOUT US  SEARCH FSM   
LOG IN
Forgot Login?
Register
Search Archives
Film Score Friday
Latest Edition
Previous Edition
Archive Edition
The Aisle Seat
Latest Edition
Previous Edition
Archive Edition
View Mode
Regular | Headlines
All times are PT (Pacific Time), U.S.A.
Site Map
Visits since
February 5, 2001:
14916936
© 2021 Film Score Monthly.
All Rights Reserved.
Return to Articles

Intrada has released two new CDs this week -- Richard Band's score for the 1996 sci-fi action movie ROBO WARRIORS, a followup to Stuart Gordon's Robotjox; and a disc featuring three previously unreleased scores for Paramount films composed by Oscar winner Hugo Friedhofer: the adventure WILD HARVEST, the romantic suspense drama NO MAN OF HER OWN*, and the India-set drama THUNDER IN THE EAST.


Full Moon is beginning a series of CD releases of scores from their productions such as TOURIST TRAP (Pino Donaggio) and BAD CHANNELS (Blue Oyster Cult).


*No Man of Her Own, or at least its source material, has a fairly colorful history. I Married a Dead Man, the 1948 novel by Cornell Woolrich (writing, as he often did, as William Irish) was the source material for the film, which starred Barbara Stanwyck as an unmarried pregnant woman who is mistaken for another woman after surviving a train crash, and welcomed into a wealthy family. A 1983 French remake starred Nathalie Baye and featured a Philippe Sarde score, and was released in the U.S. as I Married a Shadow. Richard Benjamin directed a 1996 comedy remake Mrs. Winterbourne, starring Ricki Lake, Brendan Fraser and Shirley MacLaine, with a score by Patrick Doyle -- this is probaby the only romantic comedy whose plot hinges on a young man and his pregnant bride dying in a train crash. Mrs. Winterbourne garnered publicity when its makers alleged that the makers of While You Were Sleeping (which began as a script titled Coma Guy) had plagiarized the Woolrich storyline.


CDS AVAILABLE THIS WEE

Automata
- Zacarias M. de la Riva - MovieScore Media
Coliseum
- Marc Timon Barcelo - MovieScore Media
Halloween: The Sound of Evil -- Music from the Halloween Film Scores
- various - Buysoundtrax
The Hero of Color City
- Zoe Poledouris-Roche, Angel Roche Jr. - Varese Sarabande
John Wick - Tyler Bates, Joel J. Richard - Varese Sarabande
Le Monde Musical de Francois Truffaut
- various - Universal France
Miss Arizona
- Armando Trovajoli - Saimel
Nightcrawler - James Newton Howard - Lakeshore
Revenge of the Green Dragons - Mark Kilian - Varese Sarabande
Robo Warriors - Richard Band - Intrada Special Collection
Search for Paradise
- Dimitri Tiomkin - Sepia
St. Vincent - Theodore Shapiro - Sony
Stonehearst Asylum - John Debney - Lakeshore
White Bird in a Blizzard - Robin Guthrie, Harold Budd - Lakeshore
Wild Harvest/No Man of Her Own/Thunder in the East
- Hugo Friedhofer - Intrada Special Collection


IN THEATERS TODAY

The Aviation Cocktail - Wilson Helmericks
Before I Go to Sleep - Edward Shearmur
The Great Invisible - David Wingo
Horns - Rob
- Score CD due Nov. 4 on Lakeshore
Last Patrol - Marty Beller
Low Down
- Ohad Talmor
Missionary - Dani Donadi
Nightcrawler - James Newton Howard - Score CD on Lakeshore
The Overnighters - T. Griffin
Private Peaceful - Rachel Portman
Winter in the Blood - Heartless Bastards


COMING SOON

November 4
Horns - Rob - Lakeshore
The One I Love - Danny Bensi, Saunder Jurriaans - VMI
The Theory of Everything - Johann Johannsson - Backlot
Tracks - Garth Stevenson - VMI
November 11
Enter the Dragon
- Lalo Schifrin - Aleph
Laggies - Benjamin Gibbard - Lakeshore
November 18
The Imitation Game - Alexandre Desplat - Sony
Interstellar - Hans Zimmer - Watertower
'71 - David Holmes - Touch Sensitive (import)
November 25
Big Hero 6 - Henry Jackman - Disney
The Little Mermaid - Alan Menken - Disney
One on One - Charles Fox - Varese Sarabande
The Roosevelts: An Intimate History - David Cieri - PBS
December 2
The Better Angels - Hanan Townshend - Lakeshore
December 9
Elmer Bernstein: The Wild Side - Elmer Bernstein - Varese Sarabande
Exodus: Gods and Kings - Alberto Iglesias - Sony
The Homesman - Marco Beltrami - Varese Sarabande
Mr. Turner - Gary Yershon - Varese Sarabande
December 16
The Hobbit: The Battle of the Five Armies: Special Edition - Howard Shore - Watertower
Into the Woods - Stephen Sondheim - Disney
Night at the Museum: Secret of the Tomb - Alan Silvestri - Varese Sarabande
January 13
Repentance - Mark Kilian - Lakeshore
Date Unknown
Chicago Fire: Season One
- Atli Orvarsson - Phineas Atwood
Chicago Fire: Season Two
- Atli Orvarsson - Phineas Atwood
Collapse
- Vincent Gillioz - Howlin' Wolf
The Dead 2
- Irmin Ahmad - Howlin' Wolf
Die Hebamme
 - Marcel Barsotti - Alhambra
Doctor Who: The Day of the Doctor/The Time of the Doctor
- Murray Gold - Silva
Il Moralista
- Carlo Savina - Digitmovies
The Jerry Goldsmith Collection Volume Two: Piano Sketches
- Jerry Goldsmith - Buysoundtrax
Jona Che Vise Nella Balena
- Ennio Morricone - Beat
L'Uomo Che Garda
- Riz Ortolani - GDM
Magnificat
- Riz Ortolani - GDM
New York Chiama Superdrago
 - Benedetto Ghiglia - Digitmovies
1900/Sacco and Vanzetti
- Ennio Morricone - Intermezzo Media
P.J.
- Neil Argo - Kronos
[Rec] 4
- Arnau Bataller - MovieScore Media/ScreamWorks
Sinfonia Per Due Spie
- Francesco De Masi - Beat
Sodom and Gomorrah
- Miklos Rozsa - Digitmovies
Summer Song
- Andrew Holtzman, Peter Bateman - Kronos
Take Five
- Giordiano Corapi - Beat
Vieni Avanti Cretino
- Fabio Frizzi - Beat
Viy
- Anton Garcia - Kronos


THIS WEEK IN FILM MUSIC HISTORY

October 31 - Now Voyager opens in theaters (1942)
October 31 - Adam Schlesinger born (1967)
October 31 - Jerry Goldsmith begins recording his score for Patton (1969)
October 31 - John Williams begins recording his score to The Towering Inferno (1974)
November 1 - John Scott born (1930)
November 1 - Roger Kellaway born (1939)
November 1 - Keith Emerson born (1944)
November 1 - David Foster born (1949)
November 1 - Leighton Lucas died (1982)
November 1 - Louis Barron died (1989)
November 2 - Gary Yershon born (1954)
November 2 - Bernard Herrmann begins recording his score for Journey to the Center of the Earth (1959)
November 2 - k.d. lang born (1961)
November 2 - Felice Lattuada died (1962)
November 2 - Joseph Mullendore's score for the Star Trek episode "The Conscience of the King" is recorded (1966)
November 2 - Gary McFarland died (1971)
November 3 - John Barry born (1933)
November 3 - Hal Hartley born (1959)
November 3 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Price" (1989)
November 4 - Laurence Rosenthal born (1926)
November 4 - John Charles born (1940)
November 5 - Elmer Bernstein begins recording his score for Fear Strikes Out (1956)
November 5 - Jonny Greenwood born (1971)
November 5 - Michel Legrand begins recording his score for The Mountain Man (1979)
November 5 - Les Baxter begins recording his score for The Beast Within (1981)
November 5 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Battle" (1987)
November 5 - James Newton Howard begins recording his score for Grand Canyon (1991)
November 6 - Ernest Irving born (1878)
November 6 - Peter Matz born (1928)
November 6 - Arturo Sandoval born (1949)
November 6 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "Behind the Locked Door" (1963)
November 6 - John Barry begins recording his score for Hanover Street (1978)
November 6 - Francesco De Masi died (2005)


DID THEY MENTION THE MUSIC?

ADDICTED - Aaron Zigman

"Tech credits are standard, including Aaron Zigman’s hot-and-bothered score, although production designer Jeffrey Pratt Gordon’s immaculate home and office spaces could allow for an alternate marketing strategy as interior-design porn."

Geoff Berkshire, Variety

ANNABELLE - Joseph Bishara

"'Annabelle,' directed by Wan’s longtime cinematographer John R. Leonetti, has some of the same DNA. The production design and filmmaking style seamlessly match the era. The outstanding camera work reveals itself early, during a well-staged slaughter scene in a neighbor’s suburban house, viewed through two sets of windows with an expert’s mastery of light and action. (The score by Joseph Bishara also shows early Hitchcock influences.)"

Peter Hartlaub, San Francisco Chronicle

"The doll in 'Annabelle' is nothing more than an inanimate object that, through moody lighting and a screeching score by Joseph Bishara, is suggested to have a personality, even if the filmmakers never make it explicitly clear that she actually has the ability to come to life and, say, stab you with a kitchen knife or crack one liners (if only!)"

Drew Taylor, The Playlist

"Given that the movie concerns a pregnant housewife alone for hours in a single space, and who is later seen pushing around a familiar-looking baby carriage, the choice to name Wallis’ fragile character Mia scans as an overt nod. But 'Annabelle' is no 'Rosemary’s Baby;' the film flirts with taking parental anxiety seriously, but every dramatic scene is undercut by stilted dialogue, oppressive music, and actors who often look like kids playing 1960s dress-up."

A.A. Dowd, The Onion AV Club

"It’s all repetitive and tired -- like discarded ideas from a better horror movie. Even Annabelle the doll seems mostly cursory to the horror at hand; besides, of course, the obligatory zooms into its creepy face as the soundtrack quavers and groans with atonal strings."

Bilge Ebiri, Vulture

"But when it comes to 'Annabelle''s five or six big stinger moments, Leonetti manages to deliver the jolts, and if audiences are sure to head home complaining about how dumb and predictable it all was, many may also find themselves nursing their significant others’ lightly bruised forearms. In this, Leonetti gets a big hand from editor Tom Elkins and composer Joseph Bishara ('Insidious,' 'The Conjuring'), whose score is still doing basso profundo backflips even as the end credits are rolling."

Scott Foundas, Variety

THE GOOD LIE - Martin Leon

"The score, by Martin Léon, is deft and moving, never intrusive or maudlin; the cinematography, by Ronald Plante (who also shot the excellent 'Monsieur Lazhar') not only keeps the framing and staging natural but also manages to capture the grey-blue frozen mornings of Missouri and the scorched, barren-but-beautiful expanses of the Sudan. And editor Richard Comeau -- who also cut the similarly-tough Oscar nominee 'War Witch' switches locations and timelines clearly and beautifully."

James Rocchi, The Wrap

"Filming for his first time in English (as well as the Nuer and Dinka dialects) and using Sudanese actors with actual ties to the events, the helmer rejects the gritty pseudo-docu staging of pics like 'Hotel Rwanda' or the hallucinatory brutality of this year’s 'White Shadow.' Falardeau actually spent time filming in Sudan for a completely different project back in 1994 before being forced to evacuate by the U.N., but he consciously decides not to rub our noses in tarted-up awfulness, opting for steady-footed lensing and subdued music, then trusting our imaginations to fill in the horrors."

Peter Debruge, Variety

KITE - Paul Kepker

"Director Ralph Ziman struggles mightily to weave hot-girl assassin shtick, trendy exploitation style and future-shock grimness: The default setting seems to be whatever you've seen in a hundred other movies (and heard -- the electronic score is pure digital Muzak). Ziman also seems oblivious that when there's a third of the movie left after the villain is eradicated, it's not hard to figure out what else the story has up its sleeve."

Robert Abele, Los Angeles Times

PRIDE - Christopher Nightingale

"Matthew Warchus's 'Pride' is an impassioned and distinctly loveable movie about this period, a film on the unfashionable subjects of empathy and solidarity. It is warm and witty, with terrific performances; Stephen Beresford's script is fast and funny and there's a rousing musical score from Chris Nightingale."

Peter Bradshaw, The Guardian

"Given Warchus' background as a theater director, it's not a huge shock that the filmmaking here isn't especially innovative, but it's effective enough -- there's a docudrama immediacy to some of the protest scenes, but otherwise, Warchus is happy to get out of the way and let his actors do their thing. And though there are a couple of questionable choices (the score by Christopher Nightingale is totally misjudged, and hideous), that's definitely the right approach, because he's got some stellar material, and the perfect cast to pull it off."

Oliver Lyttleton, The Playlist

"Let me say again, the story has all the components for a fantastic film, a tale of unlikely brothers in arms united against an evil enemy in a desperate climate. But sadly the makers rely on the clichés we see in way too many light-as-a-feather British comedy-dramas -- see, in particular, 'Made In Dagenham,' 'Cemetery Junction' and 'Kinky Boots.' Slap your forehead as the hostile locals are won over by West dancing on the table in their community hall; feel your toes curl as two biddies show their innate lovability by calling their new pals 'the gays' or 'my lesbians'; and sink even deeper into your seat as the same swap talcum powder tips with a man in a gimp suit. Bless them! Aren’t they surprisingly tolerant? And then there’s an overwhelming, cloying, knuckle-chewing score signposting when we’re meant to laugh or cry."

David Edwards, Daily Mirror

"Yet the film spawned by this flashpoint in British history is as formulaically cheery, didactically 'uplifting,' and fundamentally false as a Disney sports movie, bloated with swelling music, healing hugs and hearty handshakes, suspiciously eloquent impromptu speeches, and tight-lipped expressions of bigotry smacked down by smugly delivered liberal pieties."

Elise Nakhnikian, Slant Magazine

"'Pride' is an unapologetic feel-good movie, which means it pushes many predictable buttons: There are places where the music swells in rousing, overly manipulative waves. There’s the obligatory scene of an upright Welshwoman (Imelda Staunton) in sturdy tweeds and sensible pumps encountering a dildo for (ostensibly) the first time -- she waves it in the air triumphantly, cackling like a Cymry Girl Gone Wild."

Stephanie Zacharek, Village Voice

WHIPLASH - Justin Hurwitz

"'Whiplash' is true to its title. It throws you around with impunity, yet Chazelle exerts tight, exacting control over his increasingly feverish and often weirdly comic melodrama. (At times the intensity rivals Darren Aronofsky's ballet nightmare, 'Black Swan.') The original score, fresh and alive, comes from Justin Hurwitz, who did the songs for 'Guy and Madeline.' The standards heard throughout include the great 'Caravan,' popularized by Duke Ellington, and Hank Levy's 'Whiplash,' which gave the film its title. Mashing up various genres, 'Whiplash' turns into a different sort of a-star-is-born saga in its final lap, set at a Carnegie Hall concert. I'm not sure the climax works as well as everything preceding it -- yet Chazelle's technique is fabulously effective even when his dramatic instincts wobble a bit."

Michael Phillips, Chicago Tribune

"Writer/director Chazelle ('Guy and Madeline on a Park Bench') hurtles us through the story, as student and teacher turn band practice into blood sport. But it’s always with a fine sense of momentum and deep respect for the music, which includes a can-you-top-this version of Duke Ellington’s 'Caravan' for a thrilling finale.  (Cinematographer Sharone Meir, composer Justin Hurwitz and editor Tom Cross also deserve major kudos; everything falls perfectly into place.)"

Peter Howell, Toronto Star

"The shooting, editing, sets, sound and lighting are exceptional; only what is essential remains. Credit director of photography Sharone Meir, editor Tom Cross, Justin Hurwitz on music, Melanie Paizis Jones' production design and an indie budget for the bare-bones effect, but it suits."

Betsy Sharkey, Los Angeles Times

"Still, the battle of master and disciple is exciting and terrifying to witness, and, at its best, the film can feel as wild and spontaneous, as risky and precise, as a live jam session. The music -- original compositions by Justin Hurwitz, Mr. Chazelle’s collaborator on 'Guy and Madeline,' supplemented by some classic jazz numbers -- is potent and pungent."

A.O. Scott, New York Times

"'Whiplash''s last scene -- about which I’ll say only that it involves a high-pressure concert at Carnegie Hall -- will be a subject of debate at many postmovie dinners. It’s extended, intense, and sometimes logically absurd, with enough turn-on-a-dime reversals to fuel an entire crime thriller, as the tension that’s been building between teacher and pupil resolves itself in a Sergio Leone-like standoff. That this musical showdown works as well as it does despite the scene’s mounting ridiculousness is a tribute to Chazelle’s sure hand behind the camera. In conjunction with his editor Tom Cross, he turns that last big performance into a directorial tour de force, cutting rhythmically without ever cutting directly on the beat. The music, most of it by Justin Hurwitz, is hard-edged modern bebop, and it suits this movie’s bold, staccato style."

Dana Stevens, Slate.com

THE ZERO THEOREM - George Fenton

"Gilliam’s frequent DP Nicola Pecorini bring a strong sense of continuity with the look of the director’s previous work, though the choice to shoot on 35mm film in 2D rather than digital is counter-intuitive. Composer George Fenton, in contrast, creates a romantic-sounding score out of electronic music. The special effects have some high points too, like the rotating Rubik's cubes that sail across the computer screen to complete a Tower of Babel construction -- again, it’s a good-looking effect that occupies a tad too much screen time."

Deborah Young, Hollywood Reporter


THE NEXT TEN DAYS IN L.A.

Screenings of older films, at the following L.A. movie theaters: AMPASAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianArclightLACMANew BeverlyNuartSilent Movie Theater and UCLA.

October 31
CABIN FEVER (Nathan Barr, Angelo Badalamenti), HOSTEL (Nathan Barr), HOSTEL PART II (Nathan Barr) [New Beverly]
EVIL DEAD 2 (Joseph LoDuca) [Arclight Hollywood]
INGLOURIOUS BASTERDS [New Beverly]
THE LEGO MOVIE (Mark Mothersbaugh) [Cinematheque: Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]

November 1
HELLO, DOLLY (Jerry Herman, Lennie Hayton, Lionel Newman) [Cinematheque: Egyptian]
MS. 45 (Joe Delia), NIGHT OF THE JUGGLER (Artie Kane), WOLFEN (James Horner) [New Beverly]
MULHOLLAND DRIVE (Angelo Badalamenti) [Silent Movie Theater]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SEVEN WONDERS OF THE WORLD (Jerome Moross, Emil Newman, David Raksin) [Arclight Hollywood]

November 2
BELLS OF SAN ANGELO, RUSTLER'S RHAPSODY (Steve Dorff) [New Beverly]
BLOW-UP (Herbie Hancock) [Cinematheque: Aero]
IN THE HEAT OF THE SUN (Wenjing Guo) [UCLA]
MEMENTO (David Julyan) [Arclight Sherman Oaks]
SEARCH FOR PARADISE (Dimitri Tiomkin) [Arclight Hollywood]
2001: A SPACE ODYSSEY [Arclight Hollywood]

November 3
BELLS OF SAN ANGELO, RUSTLER'S RHAPSODY (Steve Dorff) [New Beverly]
LITTLE ANNIE ROONEY [LACMA/AMPAS]
THE SUN ALSO RISES (Joe Hisaishi) [UCLA]

November 4
BABY FACE [LACMA/AMPAS]
LONG LIVE ROBIN HOOD (Gianni Ferrio), BEN AND CHARLIE (Gianni Ferrio) [New Beverly]

November 7
BELLE DE JOUR [Silent Movie Theater]
DETOUR (Erdody), THE STRANGE WOMAN (Carmen Dragon) [LACMA/AMPAS]
DOLLS (Fuzzbee Morse) [Silent Movie Theater]
INGLOURIOUS BASTERDS [New Beverly]
JAWBREAKER (Stephen Endelman) [Nuart]

November 8
THE FAST RUNNER (Chris Crilly) [UCLA]
J'ACCUSE [Cinematheque: Aero]
THE PHANTOM OF LIBERTY [Silent Movie Theater]

November 9
THE GRAND BUDAPEST HOTEL (Alexandre Desplat) [Cinematheque: Aero]
GRAND ILLUSION (Joseph Kosma) [Cinematheque: Aero]
HIROSHIMA, MON AMOUR (Georges Delerue) [Silent Movie Theater]

Return to Articles Author Profile
Comments (0):Log in or register to post your own comments
There are no comments yet. Log in or register to post your own comments
Film Score Monthly Online
Best Supporting Themes, Part 1
Cry Mancin-o
Free Beck
Ramin-iscence
Star Trek II: The Remastered Album Discussion (Expanded Edition*)
Return of the Blind Man
A Cinderella Story
Wong's Turn: Non-Broadway Musical Round-Up 2020-2021
Digging in His Heels
Ear of the Month Contest: Best Supporting Themes
Today in Film Score History:
September 19
Alfred Newman begins recording his score for How Green Was My Valley (1941)
Arthur Benjamin born (1893)
Daniel Lanois born (1951)
Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “The Search - Part 1” (1994)
Jerry Goldsmith begins recording his score for Powder (1995)
Joel McNeely wins the Emmy for The Young Indiana Jones Chronicles episode “Young Indiana Jones and the Scandal of 1920;” Dennis McCarthy wins for his Star Trek: Deep Space Nine main title theme (1993)
Johann Johannsson born (1969)
Johnny Harris begins recording his score for the Buck Rogers in the 25th Century episode “Planet of the Slave Girls” (1979)
Nile Rodgers born (1952)
Paul Williams born (1940)
Vladimir Horunzhy born (1949)
Willie Hutch died (2005)
FSMO Featured Video
Video Archive • Audio Archive
Podcasts
© 2021 Film Score Monthly. All Rights Reserved...