The latest CD from Intrada presents the first ever release of the score for FEAR, the 1996 thriller starring Reese Witherspoon as a teenage girl who discovers her new boyfriend (Mark Walhberg) is more than just a little bit possessive. Directed by James Foley (Glengarry Glen Ross), the film was scored by three-time Oscar nominee Carter Burwell, and orchestrated and conducted by Shirley Walker.
The latest releases from Buysoundtrax and its related labels are THE GOLDEN AGE OF HORROR VOL. 1, featuring cues from three scores by UK composer Elisabeth Lutyens: Dr. Terror's House of Horrors, Paranoiac and The Skull; a CD pairing two sci-fi TV movie scores by Gil Melle (The Andromeda Strain), THE INTRUDER WITHIN and STARCROSSED; the score for the 1982 TV movie thriller I, DESIRE, by Don Peake (The Hills Have Eyes); and a re-release of Paul McCullough's score for the 1990 remake of NIGHT OF THE LIVING DEAD, directed by Tom Savini.
CDS AVAILABLE THIS WEEK
Fear - Carter Burwell - Intrada Special Collection
Godzilla: Minus One: Deluxe Edition - Naoki Sato - Rambling
White Bird - Thomas Newman - Lakeshore
IN THEATERS TODAY
Allswell in New York - Melisa McGregor
Anora - Music Supervisor: Matthew Hearon-Smith
Exhibiting Forgiveness - Jherek Bischoff
Goodrich - Christopher Willis
Gracie and Pedro: Pets to the Rescue - Deon van Heerden
The Keeper - Eden Mulholland
Kensuke's Kingdom - Stuart Hancock
Once Again (For the Very First Time) - Marcus Norris
Rumours - Kristian Eidnes Andersen
Smile 2 - Cristobal Tapia de Veer
COMING SOON
October 25
Leonardo Da Vinci - Caroline Shaw - Nonesuch
November 1
Coraline - Bruno Coulais - Mnrk Music
Twisters - Benjamin Wallfisch - Mutant
November 15
Gladiator II - Harry Gregson-Williams - Verve
The Matrix: 25th Anniversary Edition - Don Davis - Varese Sarabande
November 22
Nosferatu - Robin Carolan - Sacred Bones
January 3
The Boy, the Mole, the Fox and the Horse - Isobel Waller-Bridge - Sony (import)
January 10
The Outrun - John Gurtler, Jan Miserre - Decca (import)
Coming Soon
Beetlejuice Beetlejuice - Danny Elfman - Waxwork
The Browning Version - Mark Isham - Quartet
Buffalo Kids - Fernando Velazquez - Quartet
De Sade - Billy Strange - Quartet
Desire Hope - Szymon Szewczyk - Kronos
Elliot Goldenthal: Music for Film - Elliot Goldenthal - Silva
The Food of the Gods/Frogs - Elliot Kaplan/Les Baxter - Quartet
Geo - Matteo Cremolini - Kronos
The Golden Age of Horror Vol. 1 - Elisabeth Lutyens - Dragon's Domain
I, Desire - Don Peake - Dragon's Domain
I 3 serpenti d'oro - Roberto Pregadio, Walter Rizzati - Beat [CD-R]
In the Land of Saints and Sinners - Diego Baldenweg, Nora Baldenweg, Lionel Baldenweg - Caldera
The Intruder Within/Starcrossed - Gil Melle - Dragon's Domain
Johnny Yuma - Nora Orlandi - Beat
The Moonwalkers - Anne Nikitin - Silva
Night of the Living Dead - Paul McCullough - Dragon's Domain
Zondebokken - Joris Hermy - Kronos
THIS WEEK IN FILM MUSIC HISTORY
October 18 - Frederick Hollander born (1896)
October 18 - Rene Garriguenc born (1908)
October 18 - Allyn Ferguson born (1924)
October 18 - John Morris born (1926)
October 18 - Peter Best born (1943)
October 18 - Howard Shore born (1946)
October 18 - Miklos Rozsa begins recording his score for East Side, West Side (1949)
October 18 - Bernard Herrmann begins recording his score to The Wrong Man (1956)
October 18 - Wynton Marsalis born (1961)
October 18 - Sergio Moure de Oteyza born (1969)
October 18 - Cristobal Tapia de Veer born (1973)
October 18 - Pete Carpenter died (1987)
October 18 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Game” (1991)
October 19 - Fiorenzo Carpi born (1918)
October 19 - George Fenton born (1949)
October 19 - Victor Young begins recording his score to Scaramouche (1951)
October 19 - Johnny Harris records his score for the Buck Rogers in the 25th Century episode “Return of the Fighting 69th” (1979)
October 19 - Jack Nitzsche records the electronic passages for his Jewel of the Nile score (1985)
October 19 - Recording sessions begin on James Newton Howard’s score for Falling Down (1992)
October 19 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “True Q” (1992)
October 19 - Svend Erik Tarp died (1994)
October 20 - Adolph Deutsch born (1897)
October 20 - Frank Churchill born (1901)
October 20 - Tom Petty born (1950)
October 20 - Thomas Newman born (1955)
October 20 - Lucien Moraweck died (1973)
October 20 - Ron Jones records his score for the Star Trek: The Next Generation episode "Booby Trap" (1989)
October 21 - Joseph Mullendore born (1914)
October 21 - Malcolm Arnold born (1921)
October 21 - John W. Morgan born (1946)
October 21 - Brian Banks born (1955)
October 21 - Lyle Workman born (1957)
October 21 - Jerry Goldsmith records his replacement score for Seven Days in May (1963)
October 21 - David Newman begins recording his score for Bill & Ted's Excellent Adventure (1987)
October 21 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Melora” (1993)
October 21 - Gregory Smith records his score for the Star Trek: Deep Space Nine episode “The Assignment” (1996)
October 21 - David Shire begins recording his score for Rear Window (1998)
October 21 - Gianni Ferrio died (2013)
October 22 - Joseph Kosma born (1905)
October 22 - Giorgio Gaslini born (1929)
October 22 - Ed Welch born (1947)
October 22 - Greg Hawkes born (1952)
October 22 - Hans J. Salter begins recording his score for The Far Horizons (1954)
October 22 - Marc Shaiman born (1959)
October 22 - Hugo Friedhofer begins recording his score to Never So Few (1959)
October 22 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "Body in the Barn" (1963)
October 22 - Nuno Malo born (1977)
October 23 - Manos Hadjidakis born (1925)
October 23 - Gary McFarland born (1933)
October 23 - Recording sessions begin for Dimitri Tiomkin’s score for Lost Horizon (1936)
October 23 - Graeme Revell born (1955)
October 23 - Jonathan Wolff born (1958)
October 23 - David Kitay born (1961)
October 23 - Duane Tatro’s score for The Invaders episode “The Prophet” is recorded (1967)
October 23 - Duane Tatro records his only Mission: Impossible score, for the episode “Ultimatum” (1972)
October 23 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “Rejoined” (1995)
October 23 - David Bell records his score for the Star Trek: Deep Space Nine episode “Treachery, Faith and the Great River” (1998)
October 23 - Paul Baillargeon records his score for the Enterprise episode “The Andorian Incident” (2001)
October 23 - Ray Ellis died (2008)
October 24 - Bill Wyman born (1936)
October 24 - Ernest Irving died (1953)
October 24 - John Frizzell born (1966)
October 24 - David Bell records his score for the Star Trek: Deep Space Nine episode “Sacrifice of Angels” (1997)
October 24 - Merl Saunders died (2008)
DID THEY MENTION THE MUSIC?
I'LL BE RIGHT THERE - James Righton
"Working from a screenplay by Jim Beggarly ('A Country Called Home,' 'A Year and Change'), Walsh struggles in the early going to strike the desired tone between dark comedy and something more anodyne -- even with Falco and Berlin at the center of the opening sequence, which revolves around 68-year-old Grace (Berlin) receiving a cancer diagnosis that’s better than the one she expected. The gallows humor feels strained, and the insistent chirpiness of James Righton’s score is too much. Things settle down and find their footing with Tahan’s first scene, which provides a jolt of more complicated humor. Responding to various SOS messages from Grace, Sarah and Mark at all hours, Wanda is always on call; the movie’s title expresses an emotional refrain. At the helm of her blue station wagon, she spends good portions of her days crisscrossing town to provide comfort and rescue. It’s at night that she does her work as a bookkeeper. The scenes of her doing the books at bars and restaurants in the small downtown are alive with something workaday yet unexpected, captured with vibrancy in Aaron Medick’s camerawork, while Righton’s score takes on an angsty and effective undertow. (Elsewhere it hits pitch-perfect comic notes.) There’s family quality time, too, captured in scenes at a local ice cream place, where three generations of women talk about, or around, what’s going on. Or what went on decades earlier."
Sheri Linden, The Hollywood Reporter
JOKER: FOLIE A DEUX - Hildur Guðnadóttir
"Like the sequel’s French subtitle (once a clinical term for a rare shared psychosis), this nod at a pompous auteur seems like a sly, self-reflexive, almost self-mocking gesture from Phillips, though it can also be read as defensive, as if he were steeling himself for criticism. Like the first 'Joker,' the sequel showily bristles with ambition, from Phoenix’s Method-y madness -- he’s slimmed down so much that his bones look like they might pierce his skin -- to the ominous tones of Hildur Gudnadottir’s score. Yet while Phillips and Phoenix seemed equally committed to engaging the audience in the first movie, in 'Folie à Deux' they largely seem more invested in denying it a modicum of pleasure, a triumph that they share in equally."
Manohla Dargis, The New York Times
"Speaking of the music, it’s an unmitigated mess. The lush extradiegetic orchestral score by Hildur Guðnadóttir, an Oscar winner for the original 'Joker,' constantly clashes with the ditties the characters perform. Perhaps this is deliberate, but the resulting dissonance mostly makes the singers sound like they’re off-key. While the score itself is occasionally stirring, none of the songs serve their purpose -- unless the purpose is to substitute the lyrics for actual dialogue. The songs, ranging from standards like 'I’ve Got the World on a String,' to show tunes like 'That’s Entertainment!,' to adult contemporary staples such as 'What the World Needs Now Is Love,' seem to have been selected arbitrarily, without period and genre specificities to contextualize the characters’ backgrounds and tastes."
Martin Tsai, Collider
"'Folie à Deux' simply tap dances in place for the majority of its listless runtime, stringing together a series of underwhelming musical numbers that are either too on the nose to communicate anything that Arthur couldn’t express without them -- Shirley Bassey’s 'The Joker' is a major 'are we really doing this?' moment -- or too vaguely related to its characters to express anything at all (the note-perfect Billy Joel song cued during the movie’s climax is the exception that proves the rule). In between, Phillips struggles to find a shape for his story without having a Scorsese classic to use as a template, and while a certain degree of narrative torpor might serve 'Folie à Deux' on a conceptual level, its turgid symphony of unexpected cameos, mournful cello solos, and implied sexual violence is too dissonant to appreciate even on its own terms."
David Ehrlich, IndieWire
"On a technical level, it’s a big, muscular production. Cinematographer Lawrence Sher again delivers the grimy ‘70s-inspired textures of the economically depressed city along with the hard institutional look of Arkham, but gets to sweep away the gloom in the musical sequences with more of the gaudy kitsch that in the first movie was confined to the set of late night network show 'Live! With Murray Franklin.' And Gudnadóttir whips up another portentous score loaded with Sturm und Drang."
David Rooney, The Hollywood Reporter
LEE - Alexandre Desplat
"The war scenes speak loudly on their own, with no need to add dramatic emphasis. Alexandre Desplat's score matches that style, with a subtle, piercing beauty. If the first half of 'Lee' had been as dazzlingly effective as the second, it might have been a great film instead of a very good one."
Caryn James, BBC.com
"The film’s soundtrack, however, is less successful. The score, by Alexandre Desplat, is a bustling, busy orchestral mulch, so generic that it might as well have been pulled out of a drawer marked 'prestige period pieces.' When so much elsewhere in the picture makes such an effort to tap into the distinctive and highly unusual character of Lee Miller, the music choices feel throwaway and thoughtless in comparison."
Wendy Ide, The Observer
"But it leaps to life once Miller finds her wartime photographic passion, snapping Blitz firefighters for Vogue then haring across newly liberated France and Germany with the US Army, doggedly recording the horrors she finds while Alexandre Desplat’s lush score hints at her despair."
Kate Stables, Total Film
"The gifted Winslet, who is also among the producers, is required to perform such feats of narrative whiplash that she feels less like a character (or an actor) than a traffic cop. She, of course, gets her Oscar clips: a dramatic breakdown when she discovers that her work has been suppressed, followed immediately by a heartfelt confession of childhood abuse, a double feature of the kind of Big Acting that Oscar just loves. She generates some heat with Alexander Skarsgård as her main squeeze, even in the face of some mighty turgid dialogue, and Andrea Riseborough is as reliable as ever as her supportive editor. But Marion Cotillard is egregiously underused, and Andy Samberg is direly miscast as fellow photojournalist David Scherman, sporting a New England accent with all the consistency of a 12:45 'SNL' sketch and a contemporary sensibility that keeps him aloof in most of his scenes. And, disappointingly, Alexandre Desplat’s score is a sappy, twinkly, push-button affair."
Jason Bailey, The Playlist
"As a result, it’s surprising to discover that 'Lee' adheres to a conventional aesthetic template, full of warm light coming through living room windows, dusty haze filling the war-torn air, and plaintive piano and poignant orchestral compositions embellishing the stately action. All things considered, it's a handsome film, but only in the blandest way; there’s no trace of uniqueness or daring, this despite the fact that its protagonist was defined by those very traits."
Nick Schager, The Daily Beast
"Based on Antony Penrose’s book 'The Lives of Lee Miller,' Kuras’ film uses an interview with a young writer (Josh O’Connor) as its conspicuous framing device. 'What do I get in return?' asks an elderly Lee of the man interrogating her chaotically remarkable existence. As she begrudgingly retells her misadventures across Europe, stumbling into one history-defining instance after another with her camera, the interviewer turns visibly moved. Alexandre Desplat’s score does its part in helping build an atmosphere both poignant and propulsive (particularly on the battlefield) to hold as much of who Lee was as possible."
Carlos Aguilar, Variety
NEVER LET GO - ROB
"Jenkins and Daggs are formidable stars in their own right, and the film tends to focus on their characters’ development above all else. 'Never Let Go''s production design is also perfectly tailored to their worldview, with scrappy childlike decorations adorning the home with the little creative resources afforded to the children. Production designer Jeremy Stanbridge fabricates a world that melds elements of 'Peter Pan' with 'The Evil Dead,' bringing both whimsy and malice into the film’s woodland setting. Equally entrancing is ROB’s synth-heavy score, which was, remarkably, alleged to have been completed in just a matter of days. With a slew of genre and Francophone gems under his belt (having also collaborated with Rebecca Zlotowski and Coralie Fargeat), the composer is perfectly attuned to the creepy, yet never crowding, demands of his musical stylings."
Natalia Keogan, AV Club
"Aja’s prologue, chapter cards, twinkly score, and references to 'Little Thumb' and 'Hansel and Gretel' all position 'Never Let Go' as a fairy tale, and that atmosphere goes some way toward compensating for a decided lack of terror."
Nick Schager, The Daily Beast
"The best parts of 'Never Let Go' come from Aja’s direction and his hired team to pull it off. He makes wonderful use of background movement, drawing our eye to something threatening in the woods or through a window before our protagonists see it. He’s developed a visual language with cinematographer Maxime Alexandre on films like 'Crawl' and 'Oxygen' that works again here. It’s a visually striking film with a tone enhanced by an effective score from Robin Coudert."
Brian Tallerico, RogerEbert.com
"Aja and screenwriters KC Coughlin and Ryan Grassby deliver lean, mean and cleanly constructed scenarios for their problem-plagued protagonists, ratcheting up both suspense and empathy. We genuinely care about their conundrums and simmering conflicts, anticipating the dismal day their resources run out -- shown through a time-lapse montage, as their pantry and greenhouse are ravaged by time. Editor Elliot Greenberg’s cuts, composer Rob’s discordant synth-heavy score and DP Maxime Alexandre’s cool-hued lighting prime us for calamity."
Courtney Howard, Variety
"On a craft level, 'Never Let Go' is polished. Aja’s longtime cinematographer Maxime Alexandre uses wide framing to position the characters in a brooding natural setting heaving with mystery and menace. The forest location (shooting took place outside Vancouver, standing in for rural Tennessee) is dense and atmospheric. Its elemental noises and the sound of mostly unseen animals are effectively blended with a robustly eerie score by French indie pop artist Robin Coudert, who records and composes for film as ROB."
David Rooney, The Hollywood Reporter
NOTICE TO QUIT - Giosuè Greco
"Andy’s first instinct is to heave Anna over his head and fireman’s-lift her onto the streets, but the kid is wise beyond her years, and soon proves to be less of a nuisance than she is a useful ally in helping her dad make the most of his situation. Things go from slightly puckish to full-blown 'Paper Moon' in a hurry, as Anna finds herself causing useful distractions at Andy’s office, faking a scene at a diner to score a free veggie burger, and even doing some Spanish-to-English translation for her dad when he’s thrown into the back of a van by some of the people he needs to pay. It’s the kind of dynamic that could be insufferably precocious in a film so thin that Giosuè Greco’s squelchy and excellent Philip Glass-inspired score often threatens to become its most developed character (aside from New York City itself, of course!), but Suarez plays the reality of each scene with the naturalness of a serious talent in the making."
David Ehrlich, IndieWire
PIECE BY PIECE - Michael Andrews (score); Pharrell Williams (songs)
"In the world of 'Piece by Piece,' that person is Pharrell Williams, whose nontraditional beat-making skills set the Virginia Beach-born prodigy apart -- and whose positivity proves infectious. Underscored by fresh, neatly reworked versions of Williams’ signature hits (plus several introspective new songs), the movie makes it feel like everyone can enjoy similar success, no matter their background, so long as they apply themselves. In that sense, it would make useful viewing in many an American classroom, where its inspirational potential outweighs the shortage of obstacles in his story."
Peter Debruge, Variety
"Another strength of 'Piece By Piece' is how the LEGO animation enhances our understanding of Williams’ process. It can be challenging to represent creation in a documentary, but here Neville, with the help of editors Jason Zeldes, Aaron Wickenden and Oscar Vazquez, offers dynamic sequences that offer glimpses of how Williams’ mind works. The way Williams talks about matching beats to specific artists or finding just the right sound to round out a record affirms his genius. Beats become objects with lives of their own, meticulously catalogued and cared for by the artist. Inspiration for songs can come from anywhere, including the sound of a spray paint can. (It’s worth noting that Williams has five original songs in the doc, which complement Michael Andrews’ fanciful score.)"
Lovia Gyarkye, The Hollywood Reporter
REBEL RIDGE - Brook Blair, Will Blair
"Our pulses are elevated by the score, a relentless tattoo of drones and drums, plus the truly sensational camera work of David Gallego which, like our leading man, moves with measured intelligence and makes tactical use of every mirror in sight. Sticking within the bounds of reality does make for a heck of a good slow-speed car chase. Those craving flashier, bullet-spraying butt-kickery will have to hope for a more gonzo sequel."
Amy Nicholson, The New York Times
"The dramatic actioner may not be as meaningful as one hoped, but its streamlined, aggressive nature works in this lean and mean context. Saulnier’s filmmaking arsenal is proficient, and he’s an expert in crafting seething suspense and tightly coiled ever-increasing tension and stakes, both on the page and on the screen. A finely tuned effort, 'Ridge' is already engrossing its slow-boiling hostilities but becomes nervously electric when it explodes into a dangerous game of reckoning with both sides taking severe casualties. Saulnier’s overall mise en scene is impressive. Everything from precision camera work, rigorous composition, framing and blocking, nimble, tight editing, and stress-inducing music, 'Rebel Ridge' kicks ass in the best possible sense, entertaining, thrilling, and always captivating."
Rodrigo Perez, The Playlist
SATURDAY NIGHT - Jon Batiste
"To be fair, nobody gets all that much screen time; so much is crammed into such a tight timeframe, the feeling of barely-checked hysteria engines the film. That starts with Jon Baptiste’s percussive-forward score; the way it moves in concert with DP Eric Steelberg’s roaming camera, unbroken shots careening from Studio 8H’s main stage to the dressing room to writer conclaves, recalled for me the theatrical frenzy of 'Birdman.' But the script is straight-aping Aaron Sorkinese, where everybody speaks in either a quip or a dazzling monologue -- oh, and everybody’s running around like a horny theatre kid on drugs."
Kimberley Jones, The Austin Chronicle
"It’s a palpable air of pre-game, will-it-work-or-not insanity, even if there’s an overreliance on the percussive score of Jon Batiste (also playing guest performer Billy Preston) to juice the ticking-clock scenario, and a regrettably Sorkin-esque glibness to the whiplash-timed exchanges. But most naggingly, as fashioned by Reitman and screenwriter Gil Kenan, this tribute is all too prescient about its countdown to history: Much of the dialogue is of the 'You’re going down as one of the greats' variety. That leaves this frenzied backstage glimpse not nearly as absorbing, as if everyone were a hypertext link to their future Wiki page instead of talented people in a tense moment, ready to gamble on something new."
Robert Abele, Los Angeles Times
"Meet Garrett Morris (a note-perfect Lamorne Morris), a Juilliard-trained actor who’s pissed about the stereotypical parts he’s been assigned as the only Black member of the cast. Whip pan, accented with the anxious thunk thunk thunk of Jon Batiste’s percussive score. That’s Gilda Radner alright (Ella Hunt). She isn’t doing much at the moment, but surely this movie about some of the most influential women in American comedy won’t reduce all of its actresses to over-sexualized caricatures (in fairness, some of them don’t get enough screen time for that). Elsewhere, Nicholas Braun is playing both Andy Kaufman and Jim Henson, but he does both of them so well that it’s hard to be mad."
David Ehrlich, IndieWire
"This generally hurried pace is heightened by Jon Batiste’s Jon Brion-aping score and the growing sense of urgency as one disaster follows another as the 11:30 p.m. airtime approaches. But for all the anxiety-inducing elements of Reitman’s film, one never gets the sense that very much is at stake, both because the outcome is never in any doubt and because this re-creation never moves beyond mimicry. The performances are simply never given the space to breathe -- that is, to move past imitation and get at something approaching real, emotional truth, even though 'Saturday Night' certainly tries to flailingly gesture toward it at times."
Derek Smith, Slant Magazine
"When the characters’ hokier moments land, it’s thanks primarily to the actors playing them. LaBelle, Hoffman, and Smith -- along with the more veteran performers -- create people; most of the others offer awkward caricatures. Also essential are those who’ve so deftly constructed the scaffolding for Reitman’s counting-clock conceit. Nimble editing and camerawork -- propelled by Jon Batiste’s syncopated score -- are kinetic enough to push us past any nascent complaints."
Elizabeth Weitzman, Time Out
"Looking for the right music to match that feeling, Reitman settled on Jon Batiste, who also plays musical guest Billy Preston. Batiste supplies a jumpy jazz score -- full of clangs, bangs, rattles and drums -- that’s both innovative (recorded live, like the show) and effective. By design, it sucks up every last molecule of air at times, going so far as to drown out important dialogue in the film’s Dolby Atmos sound mix. The instant Michaels steps into the control room (where Robert Wuhl mans the deck), the music stops and audiences can catch their breath … but not for long."
Peter Debruge, Variety
SEPARATED - Paul Leonard-Morgan
"At times, the artfully-shot footage of actors playing mother and child refugees on their journey from Central America to the United States is an effective way to stir the emotions and push an audience out of our comfortable roles as earnestly concerned documentary viewers. But at other times, and increasingly as the film goes on, it feels as if the filmmaker is trying to pump up the drama in a story that doesn’t need to be dramatized or pumped up. The subject matter is already horrifying; we hardly need to see its fictional illustration staged for maximum impact and set to insistent and foreboding music."
Steve Pond, The Wrap
"Beneath these scenes reverberate the ominous undulations of composer Paul Leonard-Morgan’s deliberately Philip Glass-sounding score. Over more than four decades, Morris has developed and refined his style to such a slick degree that 'Separated' can sometimes feel too polished for its own good. As a filmmaker, he’s never been neutral -- and makes no claims toward objectivity. 'There is such a thing as truth, but we often have a vested interest in ignoring it or outright denying it,' Morris told NPR’s 'All Things Considered' back in 2005, and here, he uses editing tricks to reveal a lie or trigger an ironic laugh."
Peter Debruge, Variety
SUPER/MAN: THE CHRISTOPHER REEVE STORY - Ilan Eshkeri
"The movie feels a bit rushed or compacted -- sometimes, you want it to live inside of a moment for longer than it does. Ilan Eskheri’s score, which seems to be aiming for effects comparable to John Williams’ 'Superman' score, is too ever-present, intrusive, and loud at times; it often seems to be trying to tell us how to feel, unnecessary with a story so inherently inspiring."
Matt Zoller Seitz, RogerEbert.com
"One of the aspects that makes 'Super/Man' so satisfying is that for a biographical film in which tragedy and loss play such a central part, it’s rich in evidence of hope and kindness, gratitude and the resilience of the human spirit. Editor Otto Burnham shifts fluidly back and forth between pre- and post-accident life chapters, with Ilan Eshkeri’s elegant score complementing rather than having to coax out the poignancy."
David Rooney, The Hollywood Reporter
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
October 18
AUDITION (Koji Endo) [BrainDead Studios]
CASPER (James Horner) [Alamo Drafthouse]
CAT PEOPLE (Roy Webb) [Alamo Drafthouse]
CHILD'S PLAY 2 (Graeme Revell) [Alalmo Drafthouse]
DONNIE DARKO (Michael Andrews) [Vidiots]
THE EXORCIST [Vidiots]
THE FALL (Krishna Levy) [Vidiots]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
THE LAST STOP IN YUMA COUNTY (Matthew Compton) [Los Feliz 3]
MARTYRS (Alex Cortes, Willie Cortes) [BrainDead Studios]
THE MUMMY (Jerry Goldsmith) [Egyptian]
THE NIGHT OF THE HUNTER (Walter Schumann) [Aero]
REVENGE (ROB) [Vidiots]
THE OTHERS (Alejandro Amenabar) [New Beverly]
THE SHINING (Wendy Carlos, Rachel Elkind) [Alamo Drafthouse]
THE SHINING (Wendy Carlos, Rachel Elkind) [Vista]
THE STICKY FINGERS OF TIME (Miki Navazio) [UCLA/Hammer]
SUSPICION (Franz Waxman) [Nuart]
THE TOXIC AVENGER [Nuart]
October 19
ALIEN (Jerry Goldsmith), ALIEN: ROMULUS (Benjamin Wallfisch) [aERO]
ARSENIC AND OLD LACE (Max Steiner) [Vista]
AT MIDNIGHT I'LL TAKE YOUR SOUL (Salatiel Coelho, Herminio Gimenez) [Los Feliz 3]
THE BIRDS (Remi Gassmann, Oskar Sala, Bernard Herrmann) [BrainDead Studios]
BUFFY THE VAMPIRE SLAYER (Carter Burwell) [Vidiots]
CASPER (James Horner) [Alamo Drafthouse]
CAT PEOPLE (Roy Webb) [Alamo Drafthouse]
THE CRUISE (Marty Beller) [Los Feliz 3]
THE FALL (Krishna Levy) [Alamo Drafthouse]
FRIGHT NIGHT (Brad Fiedel) [Vidiots]
HOUSE ON HAUNTED HILL (Von Dexter) [Vidiots]
KING KONG (Max Steiner) [Egyptian]
NEPTUNE FROST (Saul Williams) [UCLA/Hammer]
A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS (Angelo Badalementi) [Alamo Drafthouse]
NOPE (Michael Abels) [BrainDead Studios]
NORTH BY NORTHWEST (Bernard Herrmann) [Nuart]
THE PHANTOM OF THE OPERA (Andrew Lloyd Webber) [Egyptian]
PRIMATE [Los Feliz 3]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE SHINING (Wendy Carlos, Rachel Elkind) [Vista]
SUGAR HILL (Nick Zesses, Dino Fekaris) [Vidiots]
October 20
ARSENIC AND OLD LACE (Max Steiner) [Vista]
THE BIG HEAT [Egyptian]
THE BIRDS (Remi Gassmann, Oskar Sala, Bernard Herrmann) [New Beverly]
CANDYMAN (Philip Glass) [BrainDead Studios]
CASPER (James Horner) [Alamo Drafthouse]
THE FALL (Krishna Levy) [Alamo Drafthouse]
FAR FROM HEAVEN (Elmer Bernstein) [Aero]
FOXCATCHER (Rob Simonsen, West Dylan Thordson) [Egyptian]
FUNNY GAMES [BrainDead Studios]
GASLIGHT (Bronislau Kaper) [Egyptian]
GHOSTBUSTERS (Elmer Bernstein) [Alamo Drafthouse]
HOUSE ON HAUNTED HILL (Von Dexter) [Vidiots]
THE LAST MOVIE [Los Feliz 3]
MAMMA ROMA (Carlo Rustichelli) [Los Feliz 3]
SEMI-TOUGH (Jerry Fielding) [Los Feliz 3]
STRANGERS ON A TRAIN (Dimitri Tiomkin) [Nuart]
WALLACE & GROMIT: THE CURSE OF THE WERE-RABBIT (Julian Nott) [New Beverly]
WEST SIDE STORY (Leonard Bernstein, Saul Chaplin, Johnny Green, Sid Ramin, Irwin Kostal) [Fine Arts]
October 21
AUDITION (Koji Endo) [Vidiots]
THE BROOD (Howard Shore) [Alamo Drafthouse]
CASPER (James Horner) [Alamo Drafthouse]
CONVOY [Los Feliz 3]
DEMONESS FROM THOUSAND YEARS, THOU SHALT NOT SWEAR [New Beverly]
THE SHINING (Wendy Carlos, Rachel Elkind) [Alamo Drafthouse]
2001: A SPACE ODYSSEY [Culver]
THE VELVET VAMPIRE [Los Feliz 3]
October 22
DIAL M FOR MURDER (Dimitri Tiomkin) [Nuart]
LONGLEGS (Zilgi), THE FIRST OMEN (Mark Korven) [New Beverly]
A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS (Angelo Badalementi) [Alamo Drafthouse]
NOSFERATU THE VAMPYRE (Popol Vuh) [Vidiots]
THE SHINING (Wendy Carlos, Rachel Elkind) [Alamo Drafthouse]
THIS NIGHT I'LL POSSESS YOUR CORPSE (Herminio Gimenez) [Los Feliz 3]
WHIP IT (The Section Quartet) [Los Feliz 3]
October 23
CAT PEOPLE (Roy Webb) [Alamo Drafthouse]
CHILD'S PLAY 2 (Graeme Revell) [Alalmo Drafthouse]
LONGLEGS (Zilgi), THE FIRST OMEN (Mark Korven) [New Beverly]
MUTE WITNESS (Wilbert Hirsch) [Los Feliz 3]
NIGHTBREED (Danny Elfman) [BrainDead Studios]
October 24
FANTASIA [Academy Museum]
LONGLEGS (Zilgi), THE FIRST OMEN (Mark Korven) [New Beverly]
THE LOVE WITCH (Anna Biller) [Los Feliz 3]
REVENGE OF THE DEAD [Los Feliz 3]
October 25
BASKET CASE 2 (Joe Renzetti) [Alamo Drafthouse]
EVIL DEAD 2 (Joseph LoDuca) [Vista]
FREDDY VS. JASON (Graeme Revell) [New Beverly]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
HIGH ART (Shudder to Think) [UCLA/Hammer]
POLTERGEIST (Jerry Goldsmith) [Vidiots]
THE RED SHOES (Brian Easdale) [Academy Museum]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Alamo Drafthouse]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
TALES FROM THE HOOD (Christopher Young) [Vidiots]
THE TEXAS CHAINSAW MASSACRE (Tobe Hooper, Wayne Bell) [New Beverly]
US (Michael Abels) [BrainDead Studios]
October 26
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner) [Academy Museum]
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner) [Vista]
ATTACK THE BLOCK (Steven Price) [Vidiots]
AWAKENING OF THE BEAST [Los Feliz 3]
BRIDE OF FRANKENSTEIN (Franz Waxman) [New Beverly]
CREATURE FROM THE BLACK LAGOON [Academy Museum]
DRACULA [Academy Museum]
EVIL DEAD 2 (Joseph LoDuca) [Vista]
THE FACULTY (Marco Beltrami) [Vidiots]
THE HAUNTING (Humphrey Searle) [Vidiots]
HOCUS POCUS (John Debney) [Vidiots]
HOUSE (Asei Kobayashi, Mikki Yoshino) [New Beverly]
IT FOLLOWS (Disasterpeace) [BrainDead Studios]
MEAT [Los Feliz 3]
MURDERING THE DEVIL (Angelo Michajlov) [Los Feliz 3]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE TEXAS CHAINSAW MASSACRE (Tobe Hooper, Wayne Bell) [New Beverly]
October 27
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner) [Vista]
THE BABADOOK (Jed Kurzel) [BrainDead Studios]
BRIDE OF FRANKENSTEIN (Franz Waxman) [New Beverly]
CASPER (James Horner) [Vidiots]
GUEROS (Tomas Barreiro) [Los Feliz 3]
HEAVEN'S GATE (David Mansfield) [Academy Museum]
LET THE RIGHT ONE IN (Johan Soderqvist) [BrainDead Studios]
NIGHT OF THE LIVING DEAD [Egyptian]
THE NIGHTMARE BEFORE CHRISTMAS (Danny Elfman) [Vidiots]
PSYCHO (Bernard Herrmann) [Vidiots]
THE SACRIFICE [Egyptian]
THE TEXAS CHAINSAW MASSACRE (Tobe Hooper, Wayne Bell) [New Beverly]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Moog (various); The Secret of Immortal Code (Kansiri); The Unsinkable Molly Brown (Willson); Forbidden Planet (Barron/Barron); Bandits of Rome (Morricone/Nicolai); The Colossus of New York (Van Cleave)
Read: The Man Who Died Laughing, by David Handler; A Very Expensive Poison, by Lucy Prebble
Seen: The 4:30 Movie; The Cat and the Canary [1937]; The Trip [1967]; Saturday Night; "Don't Go Into the Vault: An Academy Film Archive Trailer Show in 35mm;" Piece by Piece; The Outrun; The Wild Bunch; The House That Screamed; The House That Vanished; The Beast with Five Fingers; The Face Behind the Mask
Watched: The Americans ("Open House"); Bob's Burgers ("Full Bars")
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