The latest soundtrack release from the Brigham Young University Film Music Archive is a three-disc set titled CAGED: THE DARK SIDE OF MAX STEINER. The set features surviving score tracks for seven films scored by the multi-Oscar winner: the 1950 women's prison drama CAGED, nominated for three Oscars including Best Actress for Eleanor Parker; director John Huston's 1948 classic KEY LARGO, starring Humphrey Bogart, Lauren Bacall, Edward G. Robinson, and featuring an Oscar-winning performance by Claire Trevor; THE UNFAITHFUL, a remake of The Letter, starring Ann Sheridan; FLAMINGO ROAD, starring Joan Crawford; his uncredited main title music for 1950's BACKFIRE; uncredited cues from THE BREAKING POINT, Michael Curtiz's 1950 remake of To Have and Have Not, starring John Garfield and Patricia Neal; and King Vidor's 1951 romantic thriller LIGHTNING STRIKES TWICE.
The latest release from Counterpoint presents the first-ever release of the score for Fox's 1952 Argentina-set Western WAY OF A GAUCHO, starring Rory Calhoun, Gene Tierney and Richard Boone, directed by Jacques Tourneur (Curse of the Demon) and scored by Sol Kaplan (The Spy Who Came in from the Cold).
The latest CD from Intrada presents the LP tracks from Johnny Mandel's score for HARPER, the 1966 film version of Ross McDonald's Lew Archer mystery novel The Moving Target, adapted by the great William Goldman, starring Paul Newman as "Lew Harper" (re-named due to the success of Newman's The Hustler and Hud, and followed by Hombre), a role he reprised in 1975's The Drowning Pool.
The latest releases from Quartet include a two-disc, expanded version of Nino Rota's score for director Luchino Visconti's Oscar-nominated epic family saga THE LEOPARD, starring Burt Lancaster, Alain Delon and Claudia Cardinale, and 2017's PILGRIMAGE, a violent period adventure film starring Jon Bernthal, Richard Armitage, and our latest friendly neighborhood Spider-Man, Tom Holland, with a score by Stephen McKeon (Borstal Boy, Queen & Country).
La-La Land has announced their planned schedule of releases for this month -- on May 8th they will release a two-disc set of SUPERMAN IV: THE QUEST FOR PEACE, scored by Alexander Courage from themes by John Williams (including two specially composed for this film), with the same audio contents as FSM's Superman Collection; on May 22, music from the Karate Kid spinoff COBRA KAI, by Zach Robinson and Leo Birenberg, and the score for the live-action (not animated, as I'd previously writen) CRISIS ON EARTH-X, by Blake Neely, Nathaniel Blume, Daniel Chan and Sherri Chung.
CDS AVAILABLE THIS WEEK
Alien 3 - Elliot Goldenthal - La-La Land
Ancient Aliens - various - La-La Land
Attack of the Clones (re-release) - John Williams - Disney
Azul Y No Tan Rosa - Sergio De La Puente - Rosetta
Bad Samaritan - Joseph LoDuca - Varese Sarabande
Caged: The Dark Side of Max Steiner - Max Steiner - BYU
Downrange - Aldo Shillaku - Notefornote
The Empire Strikes Back (re-release) - John Williams - Disney
Fatima: El Ultimo Misterio - Oscar Martin Leanizabarrutia - Rosetta
Harper - Johnny Mandel - Intrada Special Collection
Kodachrome - Agatha Kaspar - Varese Sarabande
The Phantom Menace (re-release) - John Williams - Disney
Return of the Jedi (re-release) - John Williams - Disney
Revenge of the Sith (re-release) - John Williams - Disney
Seis Hermanas - Sergio Moure - Rosetta
Star Wars (re-release) - John Williams - Disney
Timeless - Robert Duncan - Varese Sarabande
Way of a Gaucho - Sol Kaplan - Counterpoint
IN THEATERS TODAY
After Auschwitz - Laura Hall
Alex & the List - Ryan Shore
Andover - Mike J. Newport
Bad Samaritan - Joseph LoDuca - Score CD on Varese Sarabande
The Con Is On - Charlie Klarsfeld, Zachary Seman
In the Last Days of the City - Amelie Legrand, Victor Moise
Jeannette - Igorrr
Love & Bananas - Ian Hultquist, Sofia Hultquist
Overboard - Lyle Workman - Song CD-R on Sony
RBG - Miriam Cutler
Racer and the Jailbird - Raf Keunen
Ray Meets Helen - Shahar Stroh
The Test and the Art of Thinking - Joel Goodman
Tully - Rob Simonsen
COMING SOON
May 11
Alias Grace - Mychael Danna, Jeff Danna - Lakeshore
Deadpool 2 - Tyler Bates - Sony
Life of the Party - Fil Eisler - Varese Sarabande
New Captain Scarlet - Crispin Merrell - Network (import)
A Quiet Place - Marco Beltrami - Milan
Superman IV: The Quest for Peace - Alexander Courage, John Williams - La-La Land
May 18
Avengers: Infinity War - Alan Silvestri - Hollywood
On Chesil Beach - Dan Jones - Decca (import)
Rampage - Andrew Lockington - Rambling (import)
Sgt. Stubby: An American Hero - Patrick Doyle - Varese Sarabande
May 25
Cobra Kai - Zach Robinson, Leo Birenberg - La-La Land
Crisis on Earth-X - Blake Neely, Nathaniel Blume, Daniel Chan, Sherri Chung - La-La Land
Jim Henson's The Storyteller - Rachel Portman - Varese Sarabande
Killer Klowns from Outer Space: Reimagined - John Massari - Varese Sarabande
The Little Prince and the Eight-Headed Dragon - Akira Ifukube - Cinema-Kan (import)
The Snake and the Silver-Haired Witch - Shinsuke Kikuche - Cinema-Kan (import)
Solo: A Star Wars Story - John Powell - Disney
Star Trek: Discovery, Chapter 2 - Jeff Russo - Lakeshore
June 1
Lost in Space - Christopher Lennertz - Lakeshore
Sirens - Craig Safan - Varese Sarabande
June 8
Hereditary - Colin Stetson - Milan
7 Days in Entebbe - Rodrigo Amarante - Lakeshore
June 15
Fahrenheit 451 - Matteo Zingales, Antony Partos - Milan
June 22
Under the Silver Lake - Disasterpeace - Milan
July 6
Don't Worry, He Won't Get Far on Foot - Danny Elfman - Sony (import)
Date Unknown
Edie - Debbie Wiseman - Silva
Keoma/Il Cacciatore di Squali - Guido & Maurizio DeAngelis - CSC
The Kronos Files - various - Kronos
The Leopard - Nino Rota - Quartet
The Mark Snow Collection vol. 2: Femme Fatales - Mark Snow - Dragon's Domain
Pilgrimage - Stephen McKeon - Quartet
Raul - Diritto di Uccidere - Andrea Morricone - Kronos
Solamente Nero - Stelvio Cipriani - CSC
The Verdict/The Seven-Ups/M*A*S*H [tv] - Johnny Mandel - Kritzerland
Viking - Dean Valentine - Kronos
Wild: Heart of Holland - Matthijs Kieboom - Quartet
Windwalker - Merrill Jenson - Dragon's Domain
THIS WEEK IN FILM MUSIC HISTORY
May 4 - Beatrice Thiriet born (1960)
May 4 - John Barry begins recording his score for Body Heat (1981)
May 4 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Sarek” (1990)
May 4 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “I, Borg.” (1992)
May 4 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Crossover” (1994)
May 4 - Albert Glasser died (1998)
May 5 - Patrick Gowers born (1936)
May 5 - Delia Derbyshire born (1937)
May 5 - Jerome Moross begins recording his score for The Jayhawkers (1959)
May 5 - David Shire begins recording his score for The Big Bus (1976)
May 5 - Recording sessions begin for Pino Donaggio’s score for Dressed to Kill (1980)
May 5 - Jerry Goldsmith begins recording his score for Congo (1995)
May 5 - Recording sessions begin for Christopher Young's score for Species (1995)
May 5 - Isao Tomita died (2016)
May 6 - Recording sessions begin for Bronislau Kaper's score to The Glass Slipper (1954)
May 6 - Recording begins on Alfred Newman and Hugo Friedhofer's score to The Bravados in Munich, Germany (1958)
May 6 - Tom Chase born (1965)
May 6 - Michel Legrand begins recording his score to Ice Station Zebra (1968)
May 6 - Morton Stevens begins recording his score for Parts 3 & 4 of Masada (1980)
May 6 - Leonard Salzedo died (2000)
May 6 - Jay Chattaway records his score for the Star Trek: Voyager episode “The Haunting of Deck Twelve” (2000)
May 6 - William Olvis died (2014)
May 6 - Antony Hopkins died (2014)
May 7 - George Stoll born (1902)
May 7 - Anne Dudley born (1956)
May 7 - Elliot Kaplan died (1992)
May 8 - Nathan Van Cleave born (1910)
May 8 - Larry Morey died (1971)
May 8 - Jerry Fielding begins recording his score for Escape from Alcatraz (1979)
May 9 - Richard Shores born (1917)
May 9 - Bruce Rowland born (1942)
May 9 - David Benoit born (1953)
May 9 - David Rose wins an Emmy for his Bonanza score “The Love Child,” and Walter Scharf wins for the Undersea World of Jacques Cousteau episode “The Tragedy of the Red Salmon” (1971)
May 9 - Michael Kamen records his score for the Amazing Stories episode "Mirror, Mirror" (1985)
May 9 - Recording sessions begin for David Arnold’s score for Independence Day (1996)
May 10 - Max Steiner born (1888)
May 10 - Dimitri Tiomkin born (1899)
May 10 - David Lindup born (1928)
May 10 - Jay Ferguson born (1947)
May 10 - Debbie Wiseman born (1963)
May 10 - Perry Blake born (1970)
May 10 - Isaac Hayes begins recording his score for Shaft (1971)
May 10 - Laurence Rosenthal begins recording his score for The Return of a Man Called Horse (1976)
May 10 - Dennis McCarthy records his score for the final episode of Star Trek: The Next Generation, “All Good Things…” (1994)
DID THEY MENTION THE MUSIC?
ANTARCTICA: ICE AND SKY - Cyrille Aufort
"Otherwise, editor Stephane Mazalaigue impressively maintains the delicate balance between narration and new and pre-existing footage of Lorius, while the latter, who was often silent, is greatly enhanced by expert, very atmospheric soundwork. Composer Cyrille Aufort’s score helps ensure that the rhythm doesn’t lag or things become too dry and scientific, with the frequent use of percussion foregrounding the adventurous elements of Lorius’ amazing life story."
Boyd van Hoeij, The Hollywood Reporter
THE BOOK OF LOVE - Justin Timberlake
"Written by Robbie Pickering and Bill Purple, and directed by Purple, there are some heartfelt moments, especially from Williams, who ultimately pulls out a touching performance. Sudeikis does the best with what he's given. Justin Timberlake composes a pretty score and performs a beautiful song toward the end. But for a film thats trying very hard to make you feel, it sure leaves you cold."
Katie Walsh, Los Angeles Times
"Ostensibly, the two men are meant to function as comic relief during these otherwise maudlin circumstances. Henry also tries to escape the pain through pot, either by smoking it or cooking it up in a stew. Marijuana is very edgy! Mostly, though, 'The Book of Love' seems more interested in exploring sappy, facile platitudes about love and redemption, with a treacly score from Justin Timberlake (Biel’s husband, who ordinarily can do no wrong) swelling to punctuate obvious moments of catharsis."
Christy Lemire, RogerEbert.com
"Can these two lost souls bond and find some sort of emotional balm as they construct their jerry-rigged boat made out of flotsam and dreams? Go ahead, take a stab. With an ace supporting cast that includes Mary Steenburgen, Paul Reiser, and Orlando Jones, and some surprisingly treacly music from Justin Timberlake, 'The Book of Love' isn’t nearly as heartwarming as it both wants to be and really should be."
Chris Nashawaty, Entertainment Weekly
"Sound the quirky-whimsical-uplift alarm, as ['The Book of Love'] delivers towering tidal waves of idiosyncratic mush. Maudlin flashbacks, contrived twists, transparent themes and a soppy score all slosh about Bill Purple’s drama, which concerns a grieving widower and a wayward female teenager who overcome their kindred abandonment issues to build a raft out of trash on which the girl plans to sail across the Atlantic Ocean to the Azores islands. Its every gesture phonier than the last, the Tribeca-launched film appears destined for a watery theatrical grave. Purple’s direction is largely unremarkable, but the soundtrack by Biel’s husband, Justin Timberlake, is a veritable pox upon the proceedings, its soaring arrangements of tender piano and guitar-plucking designed to make sure that not a single moment goes by without underlined musical emphasis. Pseudo-revelatory bombshells and heart-healing epiphanies inevitably arrive by film’s climax, which only reaffirms that -- no matter how it’s cleaned up, reconstituted and transformed into something new -- garbage is still garbage."
Nick Schager, Variety
CLAIRE IN MOTION - Xander Duell
"With its droning ambient soundtrack and blurry shots of stringed lights, 'Claire in Motion' traffics wholeheartedly in Amerindie clichés, using a lack of forward motion and a wealth of tight close-ups to connote emotional subtlety as it buckles under the weight of its symbolism. Professor Hunger is flummoxed by the artistic yearning expressed in her husband’s secret life, particularly as most of these revelations are delivered by an attractive MFA student, Allison (Anna Margaret Hollyman). Allison hosts bonfires where she and her fellow students liberate themselves by throwing their artworks over a cliff, and casually tells Claire that her work is 'contesting the hierarchy of pleasure.'"
Christopher Gray, Slant Magazine
"Reflecting her internalized nature -- as well as the different kind of 'nature' Paul seemingly vanished into -- 'Claire in Motion' has a low-key yet lyrical texture, highlighted by Andreas Burgess’ impressionistic widescreen lensing and Xander Duell’s sparingly used score. The style is flexible enough to successfully work in both an incongruous nightclub sequence and a brief stretch in which the film assumes Connor’s point of view. Those who seek neat narrative resolution to any mystery may leave underwhelmed. Still, the hard-won acceptance of uncertainty that Robinson and Howell allow their protagonist provides its own, more abstract satisfaction."
Dennis Harvey, Variety
THE CRASH - Guy Moon
"The cast members -- which include Minnie Driver as Guy’s wife, John Leguizamo as a computer whiz, and Ed Westwick as a protégé who is also dating Guy’s teenage daughter -- all seem to exist in a limbo somewhere outside the narrative; at no point is it clear what any of these people are supposed to be doing, aside from sounding off on events that seem to happen somewhere else, apparently on their own. Any movie about modern financial crime, however simplistic, has to overcome a plot that’s almost completely intangible: It can go big on ego and excess à la 'The Wolf Of Wall Street' or make narrative dislocation and abstraction into central themes, as in Michael Mann’s underappreciated 'Blackhat.' Rappaport seems to be going for something cosmetically similar to the latter; parts of the score even sound like they were written over a temp track of Elliot Goldenthal’s music for Mann’s earlier 'Public Enemies.' If only 'The Crash' were anything like a poor man’s Michael Mann movie. Bluntly obvious, indifferently organized, and unremittingly generic -- a hodgepodge of airplane hangars, book-lined living rooms, and downtown street corners -- it’s more like a poor man’s version of itself."
Ignatiy Vishnevetsky, The Onion AV Club
MY FATHER DIE - Justin Small, Ohad Benchetrit
"Not all of it works, but this is a bold and talented debut, all the more impressive for transcending (while embracing) some shameless exploitation tropes. Performances are well tuned, with much of the pic’s effectiveness owing to the genuine warmth in scenes between Anderson, Candace Smith’s grown-up Nana and Jonathan Billions as her playful young son. Other turns range from the poker-faced to the zestily stereotypical. The impressive tech/design package is highlighted by Marc Shap’s vivid widescreen lensing and a flavorful roots-rock score by Justin Small and Ohad Benchetrit."
Dennis Harvey, Variety
SOLACE - BT
"'Solace' moves through beat after beat of familiar territory, ponderously evoking everything from the sinister intellectual murder games of 'Silence of the Lambs' and 'Se7en' to the mismatched protagonist pairings of 'Kiss the Girls' and 'The Bone Collector.' The film’s music cues feature an obnoxious mix of nü-metal and saccharine strings that are as manipulative as they are derivative, harkening back to a short-lived cinematic tradition that exemplified the worst tendencies of its era. And if the film’s ridiculous plot and paper-thin characters aren’t frustrating enough, its chaotic visual scheme, driven by reckless over-editing and aimless zooms, exudes a direct-to-video quality that renders the film practically unwatchable."
Derek Smith, Slant Magazine
"For most of the first and second acts the movie follows the genre conventions with little evidence of originality. Clancy’s early spat and later warming relationship with Merriwether’s sidekick Katherine Cowles (Abbie Cornish), a specialist in psychology, the slo-mo and flash-cut visions with suggestions of occult influences, the portentous-percussive soundtrack, the initial suspect who escapes and is killed in a shoot-out following a car chase, are all straight out of the gothic crime thriller tool-kit."
Bernard Besserglik, The Hollywood Reporter
SUNSET SONG - Gast Waltzing
"As in all of his films, 'Sunset Song' takes place in cinematic memory. What I mean by that is that it’s not so much realism, but history filtered through a deep language of classic cinema. Though not as dreamlike as his autobiographical films, 'Sunset' still feels distinctly Davies. Each shot has a painterly look, and the camera moves purposefully to an essential score by Gast Waltzing (and shot by Michael McDonough). The Scottish countryside becomes art with horizons reflected in lakes and fields of wheat that Malick would envy."
Brian Tallerico, RogerEbert.com
"'There are lovely things in this world, lovely that do not endure and the lovelier for that,' a young Chris observes with a wisdom that will serve her well later in life, when loss increasingly comes to color her experience. As its title implies, 'Sunset Song' serves as the elegy for a lost era, with its patriarchal Christian values and half-forgotten colloquial expressions (the novel comes with its own glossary). Even if a distrib were to add subtitles, the film could be a challenge for English speakers to follow, patiently unfurling at a speed that will strike contemporary audiences as far too slow -- though it’s useful to remind oneself that boredom itself is a relatively modern concept. It’s almost best to watch as one might a silent film (one embellished by Gast Waltzing’s regional-string score and several traditional Scottish tunes), studying the actors’ mostly impassive expressions for clues as to what their characters are feeling. While Grassic Gibbon sought to confront these unpleasantries head-on, Davies isn’t so naturalistically inclined, crafting each shot as one might a painting, where compositional concerns trump any outward display of emotion -- at least, until Chris receives that fateful telegram, finally giving Deyn a chance to act. The film’s final reel is by far the most important, in which all the pieces that have been quietly introduced come together to tip its general sense of melancholy into full-blown tragedy, and yet Davies makes it difficult to untangle the particulars of Ewan’s fate or what exactly it means to Chris (whose affair the film also admits). And so, as the sun sets on Kinraddie, the film’s final doleful musical choices -- especially the -'Taps'-like 'Flowers of the Forest' -- reinforce the notion of something significant passing, though ambiguity (or more accurately, a lack of clarity) choke whatever emotions we might have felt, and we’re left with little to do but admire the scenery."
Peter Debruge, Variety
X-MEN: APOCALYPSE - John Ottman
"Singer’s regular composer John Ottman works overtime to make us feel that exciting, important things are happening, but the movie never delivers them. 'X-Men: Apocalypse' provides a hint at what might one day take down the ubiquitous superhero genre: utter dullness. For all its bangs, the movie is ultimately a whimper."
Alonso Duralde, The Wrap
"The movie kicks off in the Nile Valley in 3600 BCE with an introduction to Apocalypse (Oscar Isaac). Fortunately he’s sealed inside a pyramid for thousands of years, but then in 1983, he’s set free and begins recruiting his Four Horsemen so that they can 'cleanse' the world together. 'Apocalypse' opens with a lot of force thanks to that first sequence. The combination of the grand scale destruction with the building choral music and the high stakes ticking clock that comes with Apocalypse’s mission to transfer his consciousness to another body makes for an especially powerful start that hurls you into the opening title sequence with a significant amount of momentum."
Perri Nemiroff, Collider
"These two men compete by reproducing—both literally and figuratively, as with so much in the movie -- and by trying to win over a figure of all things feminine straight out of the dank recesses of the misogynist imagination: an unpredictable, ageless shape-shifter named Mystique (Jennifer Lawrence). Occasionally, they cross paths with the ideal of pure, hirsute manhood that is Hugh Jackman’s Wolverine. Here, they are confronted with the threat of ICBMs being launched by the United States and the USSR, and with Apocalypse, who reproduces asexually, moving his consciousness into a new body when necessary. Apocalypse also happens to be a Fagin figure, shuffling around the back alleys of Cairo, where he makes the weather-controlling pickpocket Storm (Alexandra Shipp) his first follower by offering her baubles. Just to make it clear what Singer and his team are going for, John Ottman’s opening credits march is arranged to sound exactly like the theme music from Tobe Hooper’s 1985 space-sex-vampire flick 'Lifeforce.'"
Ignatiy Vishnevetsky, The Onion AV Club
"'X-Men: Apocalypse' certainly represents a high level of Hollywood craftsmanship, from Grant Major’s imposing production design in sequences set across multiple continents to Louise Mingenbach’s multifarious costumes (some lifted directly from comic-book pages, including Munn’s skimpy skintight garb). Regular Singer d.p. Newton Thomas Sigel’s contributions are seemingly enhanced by the work of visual effects designer John Dykstra in nearly every shot, but Singer’s steadfast editor-composer John Ottman once again delivers on his double duty, somehow finding a way (with fellow editor Michael Louis Hill) to zip between a multitude of storylines without drawing attention to the cuts, and scoring the action in a galvanizing, but never overpowering, fashion."
Geoff Berkshire, 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, Laemmle, New Beverly, Nuart and UCLA.
May 4
BATMAN: MASK OF THE PHANTASM (Shirley Walker) [Nuart]
THE SEVENTH SEAL (Erik Nordgren), THE MAGICIAN (Erik Nordgren) [Cinematheque: Egyptian]
May 5
PERSONA (Lars Johan Werle), FROM THE LIFE OF THE MARIONETTES (Rolf Wilhelm) [Cinematheque: Egyptian]
May 6
WAITING WOMEN (Erik Nordgren), ALL THESE WOMEN [Cinematheque: Egyptian]
May 7
BACK TO THE FUTURE (Alan Silvestri) [Arclight Santa Monica]
THE DEER HUNTER (Stanley Myers) [Arclight Hollywood]
JASON AND THE ARGONAUTS (Bernard Herrmann) [Arclight Sherman Oaks]
May 8
BEFORE THE DEVIL KNOWS YOU'RE DEAD (Carter Burwell), GATTACA (Michael Nyman) [Cinematheque: Egyptian]
FIELD OF DREAMS (James Horner) [Arclight Culver City]
MONTY PYTHON'S THE MEANING OF LIFE (John DuPrez) [Arclight Hollywood]
OFFICE SPACE (John Frizzell) [Arclight Sherman Oaks]
THE SEVENTH SEAL (Erik Nordgren) [LACMA]
May 9
AFFLICTION (Michael Brook), LIGHT SLEEPER (Michael Been) [Cinematheque: Aero]
THE FISHER KING (George Fenton) [Arclight Hollywood]
May 10
DAY FOR NIGHT (Georges Delerue) [Laemmle Royal]
LET'S SCARE JESSICA TO DEATH (Orville Stoeber, Walter Sear) [Cinematheque: Egyptian]
M*A*S*H (Johnny Mandel) [Laemmle NoHo]
THE PASSION OF ANNA, THIRST (Erik Nordgren) [Cinematheque: Egyptian]
May 11
A CUBAN FIGHT AGAINST THE DEMONS (Leo Brouwer, Luis Gómez, Jesús Ortega), THE SURVIVORS (Leo Brouwer) [AMPAS]
HOUR OF THE WOLF (Lars Johan Werle), THE SERPENT'S EGG (Rolf Wilhelm) [Cinematheque: Egyptian]
PSYCHO (Bernard Herrmann), PSYCHO II (Jerry Goldsmith), PSYCHO III (Carter Burwell) [Cinematheque: Aero]
SERIAL MOM (Basil Poledouris) [Nuart]
May 12
THROUGH A GLASS DARKLY, THE SILENCE, WINTER LIGHT [Cinematheque: Egyptian]
May 13
GREY GARDENS, MOMMIE DEAREST (Henry Mancini) [Cinematheque: Egyptian]
MARY POPPINS (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [Cinematheque: Aero]
THE SOUND OF MUSIC (Richard Rodgers, Irwin Kostal) [Cinematheque: Egyptian]
SUPERMAN (John Williams) [UCLA]
WONDER WOMAN (Rupert Gregson-Williams) [Cinematheque: Aero]
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