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
Forgot Login?
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:
© 2021 Film Score Monthly.
All Rights Reserved.
Return to Articles

Intrada plans to release one new CD next week. For more information, go to this Message Board thread.

The latest release from Quartet is an expanded edition of Hans Zimmer's score for the 1994 skydiving-thriller DROP ZONE, starring Wesley Snipes, Yancy Butler and Gary Busey, and directed by John Badman (not to be confused with the other 1994 skydiving thriller, Terminal Velocity).

Music Box has announced three new releases -- the fourth volume of their LES B.O. INTROUVABLES series of boxed-sets which compile music from previously unreleased scores, in this case Legitime violence (Jean-Marie Senia), Mesrine (Jean-Pierre Rusconi), Twist again a Moscou (Twist Again in Moscow), Mes meilleurs copains (both by Michel Goglat), Claude Chabrol's Le sang des autres (The Blood of Others), starring Jodie Foster, Michael Ontkean and Sam Neill (Mathieu Chabrol), Le crime d'amour (Jean Weiner) and L'empreinte des géants (The Imprint of Giants) (Karl-Heinz Schafer); two scores by French composer Nicolas Errera, MOUNTAIN CRY and MY OTHER HOME (aka Another Shot); and the latest in their Les Grandes Musiques du Petit Ecran series of TV scores, featuring two composed by Serge Franklin -- DES GRIVES AUX LOUPS [1984] and LE JUGE EST UNE FEMME: LE SECRET DE MARION [1995]. 

Be warned - the Les B.O. Introuvables releases tend to go out of print very quickly -- even I still don't yet have the first volume.


The Bear (re-issue) - Philippe Sarde - Music Box 
Die, Mommie, Die!
 - Dennis McCarthy - Dragon's Domain
Killer Party
 - John Beal - Dragon's Domain
King of the Wind (re-release)
 - John Scott - JOS
The Lee Holdridge Collection, Vol. 2
 - Lee Holdridge - Dragon's Domain


Godzilla vs. Kong - Tom Holkenborg - Score CD-R on WaterTower
The Unholy - Joseph Bishara 

April 23 
Nomadland - Ludovico Einaudi - Decca
Date Unknown
Des grives aux loupes/Le juge est une femme: Le secret de Marion - Serge Franklin - Music Box 
Drop Zone
- Hans Zimmer - Quartet 
50 States of Fright
 - Christopher Young - Notefornote

La Polizia Trilogy
 - Stelvio Cipriani - Cinevox
Les B.O. Introuvables Vol. 4 - Mathieu Chabrol, Michel Goglat, Jean-Pierre Rusconi, Karl-Heinz Schafer, Jean-Marie Senia, Jean Wiener - Music Box
Metti lo diavolo tuo ne lo mio inferno/Leva lo diavolo tu dal...convento/Racconti niente vestiti
 - Stelvio Cipriani - Digitmovies 
Mountain Cry/My Other Home - Nicolas Errera - Music Box
My Name Is Nobody
 - Ennio Morricone - Beat
The Serpent (re-issue) 
- Ennio Morricone - Music Box
Vamos a Matar Companeros
 - Ennio Morricone - Beat


April 2 - Serge Gainsbourg born (1928)
April 2 - Marvin Gaye born (1939)
April 2 - Leonard Rosenman begins recording his score for Battle for the Planet of the Apes (1973)
April 2 - Marvin Hamlisch wins Oscars in all three music categories, for adapting The Sting and for The Way We Were's score and title song, the first and only time this has happened in 92 years of Academy Awards (1974)
April 2 - Jean-Baptiste de Lauber (aka Para One) born (1979)
April 2 - Bill Conti begins recording his score for The Karate Kid (1984)
April 2 - Bill Conti begins recording his score for Gotcha! (1985)
April 2 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Chase” (1993)
April 2 - Jerry Goldsmith begins recording his score for The Sum of All Fears (2002)
April 2 - Mark McKenzie records his score for the Enterprise episode “Horizon” (2003)
April 2 - Clifford "Bud" Shank died (2009)
April 2 - Gato Barbieri died (2016)
April 3 - Mario Castelnuovo-Tedesco born (1895)
April 3 - Edward Ward born (1900)
April 3 - Marvin Hatley born (1905)
April 3 - Francois de Roubaix born (1939)
April 3 - Jungle Book released in U.S. theaters (1942)
April 3 - Richard Bellis born (1946)
April 3 - Philippe Rombi born (1968)
April 3 - Ferde Grofe died (1972)
April 3 - Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “Testimony of a Traitor” (1981)
April 3 - Lionel Bart died (1999)
April 3 - Paul Baillargeon records his score for the Star Trek: Voyager episode “Live Fast and Prosper” (2000)
April 3 - Dusan Radic died (2010)
April 4 - Elmer Bernstein born (1922)
April 4 - Monty Norman born (1928)
April 4 - Miklos Rozsa begins recording his score for Madame Bovary (1949)
April 4 - Michel Camilo born (1954)
April 4 - Miklos Rozsa wins his third and final Oscar, for his Ben-Hur score (1960)
April 4 - Brian May begins recording his score for Cloak & Dagger (1984)
April 4 - Roberto Nicolosi died (1989)
April 5 - Bernhard Kaun born (1899)
April 5 - Michael Galasso born (1949)
April 5 - Leo Erdody died (1949)
April 5 - Bent Aserud born (1950)
April 5 - Elmer Bernstein begins recording his score for The Ten Commandments (1955)
April 5 - Nikolai Kryukov died (1961)
April 5 - Robert B. & Richard M. Sherman win Oscars for Mary Poppins' score and song "Chim Chim Cher-ee" (1965)
April 5 - Nelson Riddle begins recording his score for El Dorado (1966)
April 5 - Dave Grusin begins recording his score for The Friends of Eddie Coyle (1973)
April 5 - Pharrell Williams born (1973)
April 5 - Robert Glasper born (1978)
April 5 - John Morris begins recording his score for Yellowbeard (1983)
April 5 - Ron Jones records his score for the Star Trek: The Next Generation episode "Skin of Evil" (1988)
April 5 - James Horner begins recording his score for Patriot Games (1992)
April 5 - Jerry Goldsmith begins recording his score for First Knight (1995)
April 5 - Jay Chattaway records his score for the Enterprise episode “Detained” (2002)
April 5 - Richard LaSalle died (2015)
April 6 - Gerry Mulligan born (1927)
April 6 - Andre Previn born (1929)
April 6 - Patrick Doyle born (1953)
April 6 - Christopher Franke born (1953)
April 6 - John Green begins recording Leonard Rosenman's score for The Cobweb (1955)
April 6 - Normand Corbeil born (1956)
April 6 - Dimitri Tiomkin wins his fourth and final Oscar, for the Old Man and the Sea score (1959)
April 6 - Johnny Mandel begins recording his score for The Sandpiper (1965) 
April 6 - Born Free opens in Los Angeles (1966)
April 6 - Fred Karlin begins recording his score to Inside the Third Reich (1982)
April 6 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Icarus Factor" (1989)
April 6 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “The Storyteller” (1993)
April 6 - Bruce Broughton begins recording his score for the JAG pilot (1995)
April 6 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “Through the Looking Glass” (1995)
April 7 - Herbert Spencer born (1905)
April 7 - Percy Faith born (1908)
April 7 - Ravi Shankar born (1920)
April 7 - Gino Marinuzzi Jr. born (1920)
April 7 - Ikuma Dan born (1924)
April 7 - Roger Webb born (1934)
April 7 - James Di Pasquale born (1941)
April 7 - Charles Strouse begins recording his unused score for The Molly Maguires (1969)
April 7 - Burt Bacharach wins song and score Oscars for Butch Cassidy and the Sundance Kid (1970)
April 7 - Ned Rorem records his unused score for The Panic in Needle Park (1971)
April 7 - Laurence Rosenthal begins recording his score for the Logan's Run pilot (1977)
April 7 - Ilan Eshkeri born (1977)
April 7 - Nathan Lanier born (1978)
April 7 - Kenyon Hopkins died (1983)
April 7 - Bill Conti begins recording his score for The Karate Kid Part II (1986)
April 7 - Fred Steiner records his score for the Twilight Zone episode “A Day in Beaumont” (1986)
April 7 - Elliot Kaplan records his score for the Twilight Zone episode “The Last Defender of Camelot” (1986)
April 7 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “The Maquis, Part 1” (1994)
April 7 - Michael Kamen begins recording his score for Die Hard with a Vengeance (1995)
April 8 - Victor Schertzinger born (1888)
April 8 - Paul Sawtell and Bert Shefter record their score for The Cosmic Man (1958)
April 8 - Julian Lennon born (1963)
April 8 - Maurice Jarre wins his first Oscar, for his Lawrence of Arabia score (1963)
April 8 - From Russia With Love opens in New York (1964)
April 8 - Jerry Goldsmith begins recording his score for Escape from the Planet of the Apes (1971)
April 8 - Nino Rota and Carmine Coppola win their only Oscars, for The Godfather Part II score. (1975)
April 8 - Eric Rogers died (1981)
April 8 - Keegan DeWitt born (1982)
April 8 - James Horner begins recording his score for Legends of the Fall (1994)


FINDING 'OHANA - Joseph Trapanese
"Most of all it is enormous fun, with an entertaining mix of adventure, comedy, heartwarming family moments, and even a little (teen) romance, all to an excellent score by Joseph Trapanese. There are also some energetic and cleverly chosen pop songs on the soundtrack, to keep things from getting too tense, including 'Pump It' by the Black Eyed Peas (based on themes from Dick Dale's 'Misirlou'). The scenery is gorgeous and the stunts are well staged. The young cast is excellent, including Lindsay Watson as a sweet-voiced islander strongly connected to native traditions, but happy to sing along with Meghan Trainor, and Owen Vaccaro ('The House With a Clock in Its Walls') as Casper, a happily weird kid along for the ride. His commentary on 'Lost' as they roam around one of its shooting locations is a hoot."
Nell Minow,
"Cattaneo sets a generally congenial tone by employing a peppy score and serving up plenty of upbeat songs for the wives to sing. Just as the singing group was a harmless diversion for the women who joined it, so is the film for its audience. Long before the closing credits sequence, of the cast singing Sister Sledge’s 'We Are Family' atop footage of real-life military wives choirs, it’s clear that Cattaneo and company are more than happy enough to have you tapping your toes to the music and forgetting about everything that inspired the film in the first place."
Derek Smith, Slant Magazine


"This is the first of several canny survival strategies that Foster narrates in order to sell us on the octopus’ remarkable humanoid intelligence and occasional sense of play. We also observe her crafty sneak-attacks on her own prey, her seemingly whimsical taunting of passing shoals of fish, and further outwitting of those sharks, whose villainous edit here (complete with tense, zithery music cues) may be rather unfair in the grand circle-of-life scheme of things, but fits the film’s tidy, family-friendly storytelling. After all, the sharks aren’t the ones apparently bonding with Foster himself, while his gradual buildup of trust with his octopus subject, culminating in tender scenes of hand-to-sucker contact, leaves us duly misty-eyed."
Guy Lodge, Variety 
"Unlike the cinematically daring 'Gunda,' which removes the human voice from its narrative, to profound effect, 'Teacher 'is very much about interaction between humans and other species, and its positive potential. There's a touch of Spielbergian human-alien connection in the story it tells, a sense of wonder and mystery enhanced by Kevin Smuts' score. It's never saccharine or simplistic, though, and it is endlessly surprising. We're along for the ride as Foster watches his cephalopod friend hunting crabs and lobster, being hunted by sharks, and indulging in a comic gambol with a school of fish. Her talent for camouflage and survival are impressive, her intelligence astounding, her trust in Foster deeply moving."
Sheri Linden, The Hollywood Reporter

NO MAN'S LAND - Will Blaire, Brooke Blair, Andrea Gonzalez Caballero
"Cinematographer Juan Pablo Ramirez (who also shot the recent gay romance 'I Carry You With Me') makes an important contribution in capturing the contrasting desolation and warmth of the varied Mexican locations. The haunting score by Will Blair, Brooke Blair and Andrea Gonzalez Caballero adds to the film’s impact. The movie probably runs on a little too long considering the lack of complexity in the script, but it achieves moments of pathos that speak eloquently to our present mood of discord, tempered with a tentative hope of reconciliation."
Stephen Farber, The Hollywood Reporter 

NO. 7 CHERRY LANE - Yonfan, Yu Yat-yiu, Chapavich Temnitikul, Phasura Chanvititkul
"The unhurried, Wong Kar-wai-reminiscent love triangle that ensues is merely a jumping-off point for multiple musings on cinema, social change and the capricious, elastic nature of human desire -- as articulated through one digressive, beautiful, often elaborately baffling setpiece after another. Yonfan’s witty, visually meticulous recreations of whole sequences from 'Room at the Top,' 'Casque d’Or' and 'Ship of Fools' may be the film’s most purely delightful formal coup; a protester march executed in the monochrome aesthetic of propaganda leaflets, breaking from the swooning, whipped-cream orchestral score into a sudden frenzy of Chinese hip-hop, is its most jarring."
Guy Lodge, Variety 

ON-GAKU: OUR SOUND - Tomohiko Banse, Wataru Sawabe
"Not surprisingly, the score by Tomohiko Banse and Wataru Sawabe, produced by Kemmochi Manato, is the soul of 'On-Gaku.' Kobujitsu’s sound recalls an eerie hybrid of Krautrock, drone rock and garage rock, especially the songs of Faust and drumming of Moe Tucker, all made to sound deliberately unschooled in their delivery."
Maggie Lee, Variety

"Much of 'Operation Varsity Blues' plays out as a minimalist thriller, with Singer played by Modine with a psychopathic stare, as he paces his palatial Los Angeles home on the phone with countless anxious parents and pinpoints their anxieties. The operatic nature of the proceedings unfolds like a watered-down version of the Hugh Jackman embezzlement drama 'Bad Education,' with the tragic-comic anti-hero so devoted to his process that he practically believes he’s a saint. With the frantic score (co-written by Atticus Ross) pulsating through each scene, Smith zings from these hyper-faithful reenactments to cheesy visuals of a silent FBI agent listening to every word, which sometimes has the effect of oversimplifying the events at hand."
Eric Kohn, IndieWire

THE QUEEN OF BLACK MAGIC - Yudhi Arafni, Fajar Yuskemal
"It almost has the underpinnings of a drawing room drama: Hanif and his wife, Nadya (Al Rashid), have the family that Hanif lacked as a child, but tensions riddle all relationships, especially as the wives are forced to contend with each other, while Hanif and Nadya's kids try to find some common ground with the handful of orphans still at the rambling mansion in the remote countryside. But the uneasy score by Yudhi Arfani and Fajar Yuskemal, always rumbling in the background, and the sickly, febrile cinematography of Patrick Tashadian elicit a sense of impending dread that 'The Queen of Black Magic' pays off with interest, insects, ichor, and bile."
Richard Whittaker, The Austin Chronicle 

SPOOR - Antoni Komasa-Lazarkiewicz
"The other characters, by contrast, are alarmingly sketchy and ill-developed. Dyzio (Jakub Gierszal) is an eager-beaver young techie who works for the police but whose loyalty belongs to Duszejko. A pretty girl (Patricia Volny) struggling with the after-effects of an abusive family is thrown in, and at the eleventh hour a craggy entomologist (Miroslav Krobot) turns up in the forest after another corpse is discovered. They all seem like secondary TV characters mismatched with serious issues, majestic settings and Antoni Komasa-Lazarkiewicz’s thrilling, threatening score."
Deborah Young, The Hollywood Reporter


"Let's take a moment and talk about the look of the movie, because it's key to what makes the project feel unified. 'Zack Snyder's Justice League' is framed in the squarish, roughly 4x3 'academy' ratio, rather than the narrow-and-wide format preferred by most epics. The result has the subtle psychological effect of making this new-ish work feel somehow 'old.' When Junkie XL's score is blasting and the members of the Justice League are doing heroic things and not blabbing amongst themselves, suddenly we're watching the superhero version of a symphonic silent epic in the vein of 'Intolerance,' 'Sunrise,' or 'Metropolis' -- just scene after scene of impeccably composed panoramas, like those mammoth oil paintings that depict tiny figures in the foreground dwarfed by mountains and sky. Except in this case, it's  the heroes and villains who are dwarfed by landscapes and/or the cosmos, or mortals looking up in awe at superheroes looming overhead (silhouetted against sunlight, clouds, fire, or atmospheric haze)."
Matt Zoller Seitz,

"Also new is the film’s score. Thomas 'Junkie XL' Holkenborg’s new soundtrack is turgid, overly somber stuff that ditches the phoned-in but occasionally inspiring heroics of Danny Elfman’s theatrical-cut score. Mostly, it works as a backing track for Snyder’s visual excess, but it’s still forgettable -- except for maybe the inexplicable and hilarious decision to preface nearly every Wonder Woman appearance with an embarrassing “one-woman wail” cue. The needle drops are also all different, with music cues like the White Stripes’ 'Icky Thump' Aquaman hype reel dropped, which is really a shame. 'There Is a Kingdom,' the Nick Cave and the Bad Seeds song that takes its place, isn’t really better -- it mostly suggests a desire to erase every trace of the original movie. If that’s the case, it’s a petty gesture I can’t help but respect."
Joshua Rivera, Polygon

"Snyder doesn’t seem to have an evocative or nuanced bone in his body. Why should he give us a mere glimpse of Nordic townsfolk mournfully singing as Aquaman (Jason Momoa) returns to the sea, when he can give us the whole song? Why simply show us the 'arrow of Artemis' that Queen Hippolyta (Connie Nielsen) shoots to warn her daughter Wonder Woman (Gal Gadot) about impending danger, when he can depict every minute step of the elaborate ritual the Themysciran warriors enact to unveil the arrow, light its flame, and so on? Why give us people fighting in real time when he can give it to us in slo mo (and then, at random moments, speed-ramp down so the slo mo becomes even slower mo)? Is he having a laugh? He might well be. The wailing that suddenly pops up on the soundtrack whenever we see Wonder Woman certainly reaches self-parodic moments."
Bilge Ebiri, New York  

"Add to that visual cacophony an insistent score by Junkie XL, which frequently sounds like Metallica’s tour bus running into the London Philharmonic, and the results are undeniably Snyder-ian, from the name in the title on down. And if you didn’t like Bruce Wayne’s prophetic dreams in earlier installments of this saga, too bad -- 'Zack Snyder’s Justice League' doubles down, dropping all sorts of hints about DC Comics characters and plotlines waiting in the wings for upcoming sequels."
Alonso Duralde, The Wrap
"There’s no forgetting 'Zack Snyder’s Justice League,' at least not anytime soon. It’s been hours since the credits rolled, and I’m having a hard time thinking about anything else. It’s gorgeous, massive in scope, well-written, and superbly acted. It goes beyond being a Michael Bay-explosion fest and definitively transcends action and destruction porn. This is a real movie. Every issue I had with the original release is fixed -- the pacing, cinematography, acting, characterization, and even the score. All the Apokolips and New Gods stuff look straight out of a Jack Kirby page. If you hated the theatrical cut, don’t be trepidatious about giving this version a try, it’s an entirely different experience with very few holdovers."
Anthony Ray Bench, Film Threat

"The unsullied vision of Zack Snyder is finally here, all four hours of it, and it’s everything Zack Snyder promised Justice League superfans it would be: meaty with back story, more narratively coherent than Joss Whedon’s messy theatrical cut, newly re-scored (Junkie XL’s bombastic original score replaces Danny Elfman’s jauntier stand-in) and stocked up with fresh needle drops (hello, um, Nick Cave & the Bad Seeds). It also ratchets up supervillainy, with DC’s answer to Thanos, Darkseid, restored and given a chunky role."
Phil De Semlyen, Time Out


The Henry Brant Collection Vol. 4 (Brant), Filth (Mansell), Easy Tempo Vol. 1 (various), Shadow (Zai), Pan's Labyrinth (Navarrete), The Musical Anthology of His Dark Materials (Balfe), Adam (Lennertz), Shin Godzilla (Sagisa), White Dog (Morricone), The Ritual (Lovett), Trembling Before G-d (Zorn), Obsession (Herrmann), Breath (Gregson-Williams), The Adventures of Tintin (Williams), Chopped & Screwed (Levi), No Strings (Rodgers), The Pioneers of Movie Music (various), Symphony No. 4 (Bruckner), And Then...Along Comes The Association (The Association), Renaissance (The Association), Insight Out (The Association), Killer Klowns from Outer Space (Massari), Birthday (The Association), The Association (The Association), Quantum of Solace (Lennertz), Windflowers: The Songs of Jerome Moross (Moross), Extrasensorial (Morricone), The Peter Bernstein Collection Vol. 1 (Bernstein), Taxi Driver (Herrmann), The Wretched (Burrows), The Defenders (Paesano)

Read: The Digger's Game, by George V. Higgins

Seen: Vaccines in California have now opened up to ages 50 to 65 (I'm in the latter half of that bracket, if you were curious), so I'm hoping that in a few weeks this section of the column will be filled with movie titles instead of my whining; the whining will in all likelihood be found elsewhere on the page.

Watched: The Camera Speaks [1934]; Hollywood Newsreel [1934]; Movie Memories #2 [1934]; A Trip through a Hollywood Studio [1935]; King of the Islands; Report to the Commissioner; Mad Men ("Flight 1"); House ("Sports Medicine"); Changing of the Guard [1936]; The Hound of the Baskervilles [1939]; Star Trek: Picard ("Et in Acadia Ego, Part 1"); House of Cards ("Chapter 71"); Echo Mountain [1936]; A Reflection of Fear; Manhattan ("Fatherland"); The Sunday Round-Up [1936]; I Spy ("Night Train to Madrid")
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
Marco Beltrami and the Sweet Sound of Silence
Lionheart Unleashed
Conjuring Bishara
Score Restore: Lionheart, Part 1
Philip Klein: Wish Dragon
Shadow and Joe
Kiner's Bad Batch
Finding Timothy
Gold Rush: David Raksin's Laura
Wong's Turn: Unboxing of the Lost CDs, Part 2
Ear of the Month Contest
Today in Film Score History:
June 21
Arthur B. Rubinstein begins recording his score for Another Stakeout (1993)
Bert Kaempfert died (1980)
Chinatown released in Los Angeles and New York (1974)
Dario Marianelli born (1963)
Elmer Bernstein begins recording his score to 7 Women (1965)
Eumir Deodato born (1942)
Gerald Fried's score for the Star Trek episode "Catspaw" is recorded (1967)
Hilding Rosenberg born (1892)
John Ottman begins recording his score to Cellular (2004)
Kasper Winding born (1956)
Lalo Schifrin born (1932)
Nils Lofgren born (1951)
Paul Dunlap records his score for Hellgate (1952)
Philippe Sarde born (1948)
Piero Umiliani begins recording his score for Big Deal on Madonna Street (1958)
FSMO Featured Video
Video Archive • Audio Archive
© 2021 Film Score Monthly. All Rights Reserved...