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Intrada has announced two new score CDs, including one score by a top composer which had previously been unreleased in any form.

Veteran screenwriters Henry & Phoebe Ephron wrote the hit 1961 Broadway comedy TAKE HER, SHE'S MINE, about the relationship between an overprotective dad and his daughter, studying abroad in Paris, inspired by their own daughter Nora. The play won a Tony for Elizabeth Ashley's performance as the daughter, and the 1963 film version, directed by Hollywood veteran Henry Koster (The Bishop's Wife, The Robe), cast James Stewart as the dad and Sandra Dee as the daughter (for trivia buffs, this answers the question "In what film did Sandra Dee play a character based on Nora Ephron?"). The project was one of the first films which Jerry Goldsmith scored at 20th Century Fox during his lengthy working relationship with the studio and was his first score for a feature comedy, and while for many years the music tracks had been thought unusable, Intrada has been able to restore nearly the entire score, presenting it in both stereo and mono versions.

James Horner reunited with his Glory director Edward Zwick for the 1994 period drama LEGENDS OF THE FALL, a film which helped cement star Brad Pitt's fame as the "Sexiest Man Alive," also starring Anthony Hopkins, Aidan Quinn, Julia Ormond and Henry Thomas, and featuring Oscar-winning cinematography from John Toll. The original CD featured 75 minutes of Horner's lush, melodic score, while the Intrada release is a two-disc set (set to begin shipping next week) featuring Horner's full 98-minute score as well as 35 minutes of alternate cues.

Dragon's Domain has announced three new score CD releases -- THE DAVID SPEAR COLLECTION VOL. 1, featuring three documentary scores from the veteran composer-orchestrator: The Courage to Care, Lincoln and the War Within, and The Triumph of Memory; the score for the 1990 Poe adaptation THE HAUNTING OF MORELLA, composed by Frederic Ensign Teetsel and Chuck Cirino; and a re-mixed re-release of Richard Band's score for the 1984 action-adventure GHOST WARRIOR.  

Like nearly everyone else, I suspect, I have had a lot more time for housecleaning in the last month or so, and I recently came upon a list I made in the early 1980s -- probably before I moved to Los Angeles in the fall of 1982 -- of scores that I was particularly hoping would see a release (then, of course, on LP).

While a few of them have only been released fairly recently (Damnation Alley, Pete 'n' Tillie, Mancini's The Prisoner of Zenda), there are others on my list that have still received no commercial release, either in original tracks or re-recordings:

The Adventure of Sherlock Holmes' Smarter Brother - John Morris
Being There - Johnny Mandel
Cape Fear [1963] - Bernard Herrmann
Deadly Blessing - James Horner
Endless Night - Bernard Herrmann
The Fan - Pino Donaggio
Frenzy - Ron Goodwin
The Last of Sheila - Billy Goldenberg
The Mirror Crack'd - John Cameron
Resurrection - Maurice Jarre
Tom Horn - Ernest Gold

Still hoping...

It does make me particularly happy that for a few scores on my old list (Black Sunday, The Postman Always Rings Twice, Wolfen), I was lucky enough to be given the opportunity to write the liner notes myself.


Lo Chiamavano Bulldozer
 - Guido & Maurizio DeAngelis - Beat
Take Her, She's Mine
- Jerry Goldsmith - Intrada Special Collection


May 1
Legends of the Fall
- James Horner - Intrada Special Collection 
June 5
The Roads Not Taken
 - Sally Potter - Milan 
June 12
The Meanest Man in Texas - Steve Dorff - Notefornote
June 19
 - Simon Boswell, songs - Varese Sarabande 
Date Unknown
The David Spear Collection: Volume One
- David Spear - Dragon's Domain
Doctor Who: Series 12
 - Segun Akinola - Silva
Doctor Who: The Sun Makers
 - Dudley Simpson - Silva
Doctor Who: The Visitation
 - Paddy Kingsland - Silva
Franco De Gemini Performs Ennio Morricone
 - Ennio Morricone - Beat
Ghost Warrior
- Richard Band - Dragon's Domain
The Haunting of Morella
- Frederic Ensign Teetsel, Chuck Cirino - Dragon's Domain
The Jack in the Box
 - Christoph Allerstorter - Howlin' Wolf 
Remo Williams: The Adventure Begins
 - Craig Safan - Noteforenote


April 24 - Barbra Streisand born (1942)
April 24 - Double Indemnity is released in theaters (1944)
April 24 - Hubert Bath died (1945)
April 24 - Dana Kaproff born (1954)
April 24 - Lennie Hayton died (1971)
April 24 - Georges Delerue records his score for the Amazing Stories episode "The Doll" (1986)
April 24 - Tristam Cary died (2008)
April 25 - Heinz Roemheld's score for Union Station is recorded (1950)
April 25 - Franz Waxman records his score for Stalag 17 (1952)
April 25 - David A. Hughes born (1960)
April 25 - John Williams begins recording his score for How to Steal a Million (1966)
April 25 - Georges Delerue records his score for L’Homme Qui Revient De Loin (1972)
April 25 - Alec Puro born (1975)
April 25 - Gary Hughes died (1978)
April 25 - Brian May died (1997)
April 26 - Francis Lai born (1932)
April 26 - Giorgio Moroder born (1940)
April 26 - Miklos Rozsa begins recording his score for Green Fire (1954)
April 26 - Reinhardt Wagner born (1956)
April 26 - Paul Sawtell and Bert Shefter record their score for Kronos (1957)
April 26 - John M. Keane born (1965)
April 26 - Jerry Fielding begins recording his score for Gray Lady Down (1977)
April 26 - Bruce Broughton begins recording his score The Blue and the Gray (1982)
April 26 - Bronislau Kaper died (1983)
April 26 - Alan Parker begins recording his score for Jaws 3D (1983)
April 26 - Barry Gray died (1984)
April 26 - Maurice Jarre begins recording his score for Distant Thunder (1988)
April 26 - Carmine Coppola died (1991)
April 26 - Dave Grusin begins recording his score for The Firm (1993)
April 26 - David Bell records his score for the Star Trek: Deep Space Nine episode “Tracking Into the Wind” (1999)
April 27 - Christopher Komeda born (1937)
April 27 - Miklos Rozsa begins recording his score for The Lost Weekend (1945)
April 27 - Christopher Young born (1954)
April 27 - Federico Jusid born (1973)
April 27 - Scott Bradley died (1977)
April 27 - Ron Jones records his score for the Star Trek: The Next Generation episode "Q Who" (1989)
April 27 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Explorers” (1995)
April 27 - Henry Brant died (2008)
April 28 - Lyn Murray records his score for the Alfred Hitchcock Hour episode “Who Needs an Enemy?” (1964)
April 28 - Blake Neely born (1969)
April 28 - Billy Goldenberg records his score for High Risk (1976)
April 28 - Christopher Young records orchestral passages for his Invaders from Mars score (1986)
April 28 - Alan Silvestri begins recording his score for Judge Dredd (1995)
April 28 - Paul Baillargeon records his score for the Star Trek: Deep Space Nine episode “Children of Time” (1997)
April 29 - Duke Ellington born (1889)
April 29 - Toots Thielemans born (1922)
April 29 - Waldemar Kazanecki born (1929)
April 29 - Rod McKuen born (1933)
April 29 - Herbert Stothart begins recording his score to Random Harvest (1942)
April 29 - Jan A.P. Kaczmarek born (1953)
April 29 - Chris Boardman born (1954)
April 29 - Lawrence Shragge born (1954)
April 29 - Craig Armstrong born (1959)
April 29 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Conspiracy” (1988)
April 29 - James Horner begins recording his score for The Rocketeer (1991)
April 29 - Dennis McCarthy and Kevin Kiner record their score for the final Star Trek: Enterprise episode, “These Are the Voyages…” (2005)
April 29 - Joel Goldsmith died (2012)
April 30 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Host” (1991)
April 30 - Velton Ray Bunch records his score for the Enterprise episode “Desert Crossing” (2002)


BIRDS OF PASSAGE - Leonardo Heiblum
"Gallego and Guerra also humanize their characters via their efforts to portray their culture accurately. The actors who play Rapayet, Ursula and Zaida, professionals who do excellent work, are surrounded by faces that clearly belong to this place; the filmmakers also made their crew 30 percent Wayúu to help assure the authenticity of the film’s details. And the sense that the portrayal of this community is exacting as well as flavorful comes not only from the documentary-like visual approach and Leonardo Heiblum’s evocative score, but also in the story’s elements of magical realism, which of course reflects the influence of Gabriel García Márquez, whose maternal family was Wayúu and whose 'One Hundred Years of Solitude' includes numerous Wayúu influences."
Godfrey Cheshire, 
"The Coppola parallels are writ large, but the early portion also owes a great deal to the Scorsese of 'Mean Streets' in its depiction of the bonds of brotherhood among low-level hoodlums on the make, while the film is also saturated with imagery from genre westerns -- John Ford doorway silhouettes and Sergio Leone widescreen vistas that echo with sussurating crickets and the screeching of unseen animals, as well as with the exotic instrumentation and pounding tribal percussion of Leonardo Heiblum‘s uncanny score. But in the ethnographic strangeness that lurks in the corner of every frame, there is also something of Nicolas Roeg‘s 'Walkabout,' and not since Zhang Yimou‘s 'House of the Flying Daggers' has there been a film more sensuously dedicated to the texture and colors of richly dyed fabrics and traditional textiles."
Jessica Kiang, The Playlist 
BOY ERASED - Danny Bensi, Saunder Jurriaans

"If it sounds like Jared himself is easily lost in all of this, that’s because he is; the character is stunted by the film’s unwillingness to follow chronological order, leaving Danny Bensi and Saunder Jurriaans’ sad and gorgeously febrile score to pull him along. Hedges is a fantastic actor, as communicative when he’s swallowing his feelings as he is when he’s shouting them at us, but he’s playing a young man who’s just trying to get out of this experience with his soul intact. A lot of the movie is spent watching the character steel himself against erasure, and build toward the confidence he needs to slip from Sykes’ grasp. But it’s thanks to the well-modulated control of Hedges’ performance that Sykes is prevented from becoming another Nurse Ratched type. Even he, for all of his twisted ethics, genuinely believes that he’s doing his best to help kids like Jared get by in a world that won’t accept them."
David Ehrlich, IndieWire
"In other ways, Edgerton more skillfully avoids the genre’s emerging clichés. Unlike, say, this year’s 'Miseducation of Cameron Post,' which can’t resist turning its facility into a gay-conversion 'Breakfast Club,' 'Boy Erased''s patients are sketched only in heartbreaking flashes: a pale, petrified teenage girl; a former football player who looks permanently on the verge of tears; a boy who appears daily with new, unexplained bruises. We experience them as Jared does, as fellow residents with suspicious eyes who drift in and out of the sterile clinic every day. (Tellingly, at the end of the movie, we don’t know what happens to most of them.) 'Boy Erased' is also less squeamish about depicting the physical horrors of the facility and even seems to escalate one particularly disturbing scene from Conley’s book, a faux 'funeral' that here includes children beating other children with Bibles. This impulse is preferable to soft-pedaling, if also, in this scene at least, a little grotesque: The movie’s puzzling score, by Danny Bensi and Saunder Jurriaans, pounds away at us with each new blow, as if this must turn into a literal horror movie for us to feel the weight of what we’re seeing. It needn’t."
Jeffrey Bloomer,
"Edgerton constructs his film around some very familiar tropes and beats more often associated with the horror genre, right down to Danny Bensi and Saunder Jurriaans’ uneasy-listening score and cinematographer Eduard Grau’s anxiously oppressive camerawork. The creeping sense of menace created by Edgerton and his cast escalates deliberately, bit by bit, until it’s all you can do not to white-knuckle your armrest. Yes, 'Boy Erased' is a horror movie, but it bears pointing out that the emotion is by definition intertwined with both empathy and a certain sense of compassion. Terror elicits a shriek. Horror hits you in the heart, and the next thing you know you’re sobbing. Bring some tissues."
Marc Savlov, The Austin Chronicle
"Clearly, Edgerton’s intentions are in the right place, but the Aussie filmmaker appears to have been the wrong choice for this material. And, frankly, that’s something of a surprise after that talent he displayed with his excellent debut effort, 'The Gift.' The scenes at the conversion center need to have a realistic and grounded tone to convey what many of the patients are experiencing. Instead, like most of the film, it all feels too commercially slick. Or, perhaps 'prestige' slick is the term we should use. One particular moment finds Cameron the victim of an intervention that features both physical and emotional abuse. Bizarrely, Edgerton captures this scene in slow motion and lays over a dramatic score in a manner that emotionally disconnects you from the proceedings.  What’s strange is there are other times when Edgerton understands the film needs more brazen realism."
Gregory Ellwood, The Playlist

ESCAPE ROOM - Brian Tyler, John Carey
"Think of it this way: If 'American Vandal' is smart-dumb, bringing a palpable intelligence to ridiculous content, then 'Escape Room' is dumb-smart, putting a boneheaded veneer on imaginative ideas. At a certain point in each of the escape-room scenes, Robitel flips a switch, and gleeful roller-coaster tension floods the remainder of the sequence. Then an especially clunky bit of dialogue or goofy chunk of Brian Tyler and John Carey’s bizarre techno-pop score breaks the spell, and it’s like those slick, breathless moments never happened. Once the January dumping ground blossoms into summer-movie season, the same will probably be said for this movie."
Katie Rife, The Onion AV Club

"With 'The Girl in the Spider’s Web,' a soft reboot of the American-produced Millennium series and indirect sequel to 'The Girl with the Dragon Tattoo,' Álvarez betrays his own talents and delivers a listless imitation of David Fincher’s signature style. The claustrophobia and deft craftsmanship of 'Evil Dead' and 'Don’t Breathe' is replaced by a slick but lifeless aesthetic that’s accompanied by a thudding score that could have been culled from any 1990s thriller made in the wake of Fincher’s 'Se7en.' 'The Girl with the Dragon Tattoo' possesses a daring and an empathy rarely found in studio thrillers, and Álvarez, hampered by an inane screenplay and denied the kind of cast that made Fincher’s characters so compelling, can’t conjure up anything even close to his predecessor’s caustic sense of mystery and dread."
Greg Cwik, Slant Magazine
"Alvarez soups it all up with action sequences that occasionally give a rise, accompanied by a nearly omnipresent music soundtrack as predictable as it is unnecessary. In keeping with a particular vision of Scandi noir, Sweden is seen as a country of black and gray -- even Fincher leavened it with sharp blues, playing on contrasts of light and dark that’s totally absent here. Presumably this is the way the remaining films of the franchise will play out, with Salander just another superhero with a stuck-on psychological profile rather than a three-dimensional young woman dealing with severe trauma, trying to seek justice in a world stacked against her. How sadly ironic that in the midst of the #MeToo moment, one of recent fiction’s most iconic characters in the fight against sexual abuse gets turned into just another male fantasy action figure."
Jay Weissberg, Variety

ROBIN HOOD - Joseph Trapanese

"'This isn’t a bedtime story,' a narrator insists early in 'Robin Hood.' It certainly feels like one, in terms of snores -- hopefully your seat doesn't recline. Several dueling shades of dull, this umpteenth retooling of the outlaw legend is desperate to convince viewers that Christopher Nolan had something to do with it (he didn’t). It’s drenched in one of those pounding 'Dunkirk'-like scores (this one’s by Joseph Trapanese, doing his best Hans Zimmer), and the script stresses the 'Dark Knight'-ish dual nature of its hero: Sometimes Robin of Loxley is a Crusades-era version of billionaire jerk Bruce Wayne; elsewhere he’s the 'Hood,' a mysterious archer causing panic among the ruling class. Both personas are embodied by the charisma-free Taron Egerton, who’s got much work to do, chops-wise, before he portrays Elton John in next year’s 'Rocketman.'"
Joshua Rothkopf, Time Out New York  
"Endless opening voice-over labors hard to convince us that this isn’t the same-old take on the character. But the deviations are more cosmetic than anything else. As is often the case, Robin Of Loxley (Taron Egerton, from those dreadful 'Kingsman' movies) has been conceived as a nobleman drafted into the Crusades. During an early standoff in an Arabian battle zone straight out of an Iraq War movie -- there’s even the primitive equivalent of a machine-gun turret -- Robin trades blows with the future Little John (Jamie Foxx), a vengeful Moorish soldier who will become his mentor. Back in Nottingham, the sheriff (Ben Mendelsohn) is conspiring with the church to seize power from the crown, using the Trumpian tactic of scapegoating the Arab world. But to pull off his plan, this scoundrel will need funds—and so Robin dons the garb of an outlaw and begins knocking off the royal collectors, all while playing the part of the sheriff’s new aristocratic confidante. He’s a 14th-century Batman ('The Hood,' the public comes to call him), and Robin Hood underlines that impression with the persistent whine and boom of its imitation Hans Zimmer score. (All the king’s gold says this film was temp-edited to the 'Dark Knight' soundtrack.)"
A.A. Dowd, The Onion AV Club

"Shouldn’t Robin Hood be larger than life, ideally? Why are all the Merry Men so miserable? This film, with its endless copying of 'Assassin’s Creed' camera angles and state-of-the-art bullseyes, is an ugly machine, tiring to the eye, monotonously scored, and also weirdly regressive on quite a few levels -- Dornan’s character, who does a Two-Face switcheroo just when he gets disfigured, is an ideological shambles."
Tim Robey, The Telegraph 
WIDOWS - Hans Zimmer

"To call 'Widows' merely a heist film would be to shortchange it. And yet, when it comes time for the robbery, McQueen, cinematographer Sean Bobbitt and editor Joe Walker deliver an exhilarating one that’s steeped in our knowledge of these characters and their personal stakes. (Hans Zimmer has created a marvelously driving score that’s especially electric near the end.) If thrillers are meant to be escapist, nobody told this cast and crew. Sure, 'Widows' is a dynamite entertainment, but it’s also more mournful, thought-provoking and intelligent than that. Adults often complain there aren’t good mainstream movies for them -- ones that can engage them, entertain them and leave them with something to chew on as they leave the theater. Widows is here waiting for you."
Tim Grierson, Paste Magazine 
"Finally there are the technical elements of 'Widows.' It’s not the kind of flashy exercise of something like 'Baby Driver,' but the editing here by two-time Oscar nominee Joe Walker (nominated for '12 Years a Slave' and 'Arrival') is just as good. A film with this many characters and themes and plot points requires a master editor to keep it moving, and Walker finds the perfect rhythm. Hans Zimmer’s score is his most subtle in a long time, especially the way that McQueen uses it, holding back on score almost entirely for the first 30-45 minutes, allowing it to bubble up as the heist gets closer, enhancing the tension of the overall experience."
Brian Tallerico,

"There’s so much to appreciate about 'Widows' that it’s easy to shrug off some of the sillier moments: Alice talking an older woman into buying her guns, say, or a third-act reveal that savvy viewers saw coming 90 minutes earlier. Some of the blunt one-liners sound like they’ve been lifted from soap operas and arbitrarily chucked into individual scenes. ('We have a lot of work to do. Crying isn’t on the list!') But McQueen’s such an involving filmmaker that these indulgences hardly matter. Working with his usual cinematographer Sean Bobbit, he injects each scene with a jittery naturalism imbued with constant urgency from Hans Zimmer’s score."
Eric Kohn, IndieWire 

"McQueen’s direction of the big actions beats is serviceable -- no better, no worse -- but there’s no denying that when Davis snarls 'Let’s go' as they pull their masks on, and Hans Zimmer’s relentless score kicks in, that we’re there, we’re with them, and we’re ready to go to. 'Widows' is definitely a good film and one that often has greatness in its grasp. But it often feels like, at some point in the process, McQueen needed to decide if he was making wallpaper or art."
Jason Bailey, The Playlist 


Migrations (Bowles), Titanic (Horner), Marnie (Herrmann), Addio Fratello Crudele (Morricone), It Comes at Night (McOmber), DC's Legends of Tomorrow: Season 2 (Neely/Chan), Revolver (Morricone), Popeye (Nilsson/Pierson), Little Women (Desplat), Music for Film (Ridgway), Star Trek: The Next Generation: When the Bough Breaks/Heart of Glory (Jones), E.T. The Extra-Terrestrial (Williams), The Fugitive (Howard), Babes in Arms (various, Edens, Stoll), Grey Gardens (Frankel), Strike Up the Band (Edens), Clarinet Sonatas (Brahms), Vice (Britell), Babes on Broadway (various, Edens, Stoll), The Unknown Woman (Morricone), Girl Crazy (Gershwin, Edens, Stoll), The Flash: Season 4 (Neely/Blume), Okja (Jung), Massacre in Rome (Morricone), Alien: Covenant (Kurzel), Kong: Skull Island (Jackman), The Quinn Martin Collection Volume 2: The Invaders (Frontiere et al), Betting on Zero (Anthony), The Fantastic Plastic Machine (Betts), Star Trek: The Next Generation: Skin of Evil/We'll Always Have Paris/The Neutral Zone (Jones), Marriage Story (Newman), Ethan/George Grosz' Interregnum (Glass), The Full Monty (Yazbek), Monster from Green Hell (Glasser), The Gang's All Here (Warren/Newman), The Henry Brant Collection Vol. 1 (Brant), Rocket to the Moon (Scott), President (Talgorn)

Read: A Guilty Thing Surprised, by Ruth Rendell

Seen: No films in theaters since March 15, but if the entire world weren't living through a more-convincing-than-usual Robin Cook novel, I would have probably seen The Two Mrs. Carrolls, The Bitter Tea of General Yen, Andy Warhol's Dracula, Barking Dogs Never Bite, The Conversation, The Truth, Deerskin, Military Wives, The Ghost of Peter Sellers, and, of course, No Time To Die (sigh), among others.

Watched: Sullivan's Travels, Columbo ("Publish or Perish," "Mind Over Mayhem"), Looking ("Looking for Results"), Archer ("Skorpio"), The Lodger [1927], Columbo ("Swan Song")


Continuing an on-going series looking back at the remarkably verbose movie poster texts from the early 1980s at Columbia and Universal under studio executive Marvin Antonowsky.

His dream team’s got a preacher,
a jailbird, a pool shark, a muscleman.
And the best guy on the team
is a girl. 

[Fast Break, 1979]

In a not-too-distant suburb,
on a very quiet street…
Earl Keese, a man who leads a routine
suburban life, sits calmly waiting for
his dinner. Little does he know – This
may be his last home-cooked meal…
For somewhere in time and space exists
a world, a comic nightmare world,
where anything can happen.  A world
that this reserved, hardworking
homeowner is about to enter.
In the next 24 hours he will experience
things he has never experienced before
and leave behind things he will never
experience again and somehow his life
will never be the same.
For Earl Keese is about to meet…
The Neighbors.

A Comic-Nightmare
[Neighbors, 1981]

When Jackie Gleason told his son
he could have any present he wanted,
he picked the most outrageous gift of all…
Richard Pryor.

[The Toy, 1982]

Once they declare war
on each other, watch out.
You could die laughing.
Donald’s been fired by his boss’ parrot. But he’ll survive.
He’s been robbed with his pants down. But he’ll survive.
He’s been shot at while ordering a cheese danish. But he’ll survive.
And now he’s armed himself and become a self-made soldier.
But he’ll survive. Even if it kills him.
Your basic survival comedy.
[The Survivors, 1983]

America is sometimes a strange place even for Americans.
Let alone for Vladimir Ivanoff, a Russian defector with a black roommate,
a Cuban laywer and an Italian girlfriend.
Who’s learning to live with Big Macs, cable TV, hard rock, softcore,
unemployment and a whole new wonderful word for him.

[Moscow on the Hudson, 1984]

They say that behind every great man there’s a woman.
But in this case it’s ridiculous.
When rich, eccentric Edwina Cutwater died, a crazy guru tried
to transport her soul into the body of a beautiful young woman.
But the guru goofed.  And Edwina’s soul has accidentally taken over the
entire right side of her lawyer, Roger Cobb. He still controls what’s left.
Now, Edwin and Roger are living together in the same body.
He’s losing his job. He’s losing his girlfriend.
And he just can’t seem to get her out of his system.
No matter how hard he tries.
A comedy that proves that one’s a crowd. 

[All of Me, 1984]

You don’t have
to be crazy to
blow 30 million
dollars in 30 days. 
But it helps
An American excess story.

[Brewster's Millions, 1985]

Meet the only guy who changes his identity
more often than his underwear.
Until last week, he
was just another
reporter fighting
for truth, justice 
and a window office.
Now he’s being
threatened, shot at,
accused and arrested.
And that’s by the
people he’s trying
to help.
But there’s still one
thing even more
dangerous than
his work.
His love life.

[Fletch, 1985]

Haven’t you ever done something in your life
you wish you could do over again…
and this time do it right?
After fourteen years, Jack finally has a chance
to replay the worst moment of his life.
But first, he has to convince Reno
that history won’t repeat itself.
A Comedy about life, hope, and getting even.

[The Best of Times, 1986]
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Comments (2):Log in or register to post your own comments
The shorter ones are pretty good. I could be convinced 'Fast Break' or 'The Toy' might be good.

I know the 'Neighbor's' copy was trying to channel Rod Serling, but without the man there to read it, it sounds like you're trying too hard (much like the movie (and Conti's score- lordy)).

The shorter ones are pretty good. I could be convinced 'Fast Break' or 'The Toy' might be good.

As in good movies? They're really not.

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Today in Film Score History:
January 26
Alfred Newman begins recording his score for Take Care of My Little Girl (1951)
Bruce Broughton begins recording his score for Mickey Donald Goofy: The Three Musketeers (2004)
Christopher L. Stone born (1952)
Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Far Beyond the Stars” (1998)
Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Q-Less” (1993)
Elmer Bernstein begins recording his score for The Miracle (1959)
George Bassman records his score for Ride the High Country (1962)
Gustavo Dudamel born (1981)
Hugo Riesenfeld born (1879)
Ken Thorne born (1924)
Marc Fredericks born (1927)
Michel Legrand died (2019)
Miklos Rozsa begins recording his score for All the Brothers Were Valiant (1953)
Recording sessions begin for Jerry Goldsmith’s score for Damnation Alley (1977)
Ron Jones records his score for the Star Trek: The Next Generation episode "A Matter of Honor" (1989)
Stephane Grappelli born (1908)
Victoria Kelly born (1973)
Wendy Melvoin born (1964)
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