The latest CD from Intrada is the premiere release of one of James Horner's final scores, for the 2015 National Geographic IMAX documentary LIVING IN THE AGE OF AIRPLANES.
Music Box has announced two new soundtrack CD releases -- an expanded version of David Shire's score for George Romero's underrated thriller MONKEY SHINES; and a disc pairing two scores by Claude Bolling, FLIC STORY and DOUCEMENT LES BASSES.
CDS AVAILABLE THIS WEEK
Chappaquiddick - Garth Stevenson - Varese Sarabande
Howards End [U.S. release] - Nico Muhly - Milan
Living in the Age of Airplanes - James Horner - Intrada Special Collection
The Lord of the Rings: The Fellowship of the Ring - Complete Recording [re-release] - Howard Shore - Rhino
Pacific Rim Uprising - Lorne Balfe - Milan
Paul, Apostle of Christ - Jan A.P. Kaczmarek - Sony
Ready Player One - Alan Silvestri - WaterTower
IN THEATERS TODAY
Big Fish & Begonia - Kiyoshi Yoshida
Blockers - Mateo Messina
Blood Feast - Klaus Pfruendner
Chappaquiddick - Garth Stevenson - Score CD on Varese Sarabande
The Humanity Bureau - Todd Bryanton
Ismael's Ghosts - Gregoire Hetzel
The Last Movie Star - Austin Wintory
Lean on Pete - James Edward Barker
The Miracle Season - Roque Banos
A Quiet Place - Marco Beltrami - Score CD due May 11 on Milan
Rogers Park - Curtis Heath
Spinning Man - Jean-Paul Wall
Summer in the Forest - John Harle
You Were Never Really Here - Jonny Greenwood - Score CD due April 13 on Lakeshore
COMING SOON
April 13
Baby Driver - Steven Price - Columbia
Ghost Stories - Frank Ilfman - Varese Sarabande
The Strangers: Prey at Night - Adrian Johnston - Varese Sarabande
You Were Never Really Here - Jonny Greenwood - Lakeshore
April 20
Into the Badlands - David Shephard - Varese Sarabande
Shetland - John Lunn - Silva (import)
Thriller vol. 2 (re-recording) - Jerry Goldsmith - Tadlow
April 27
Dr. Who: Series 9 - Murray Gold - Silva
Kings - Nick Cave, Warren Ellis - Milan
Mary Magdalene - Hildur Guonadottir, Johann Johannsson - Milan (import)
Submergence - Fernando Velazquez - Varese Sarabande
May 4
Attack of the Clones (re-release) - John Williams - Disney
Bad Samaritan - Joseph LoDuca - Varese Sarabande
The Empire Strikes Back (re-release) - John Williams - Disney
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
Star Wars - John Williams - Disney
Timeless - Robert Duncan - Varese Sarabande
May 11
Alias Grace - Mychael Danna, Jeff Danna - Lakeshore
A Quiet Place - Marco Beltrami - Milan
May 25
Star Trek: Discovery, Chapter 2 - Jeff Russo - Lakeshore
June 8
Hereditary - Colin Stetson - Milan
Date Unknown
The Blue Planet (remastered reissue) - George Fenton - Silva
Edie - Debbie Wiseman - Silva
Errementari - Pascal Gaigne - Quartet
Flic Story/Doucement Les Basses - Claude Bolling - Music Box
Grupo 7 - Julio de la Rosa - Rosetta
Jeepers Creepers 3 - Andrew Morgan Smith - Quartet
La Gran Ola - Pablo Cervantes - Rosetta
Les Aventures de Spirou et Fantasio - Eric Neveux - Quartet
Loi Bao - Christopher Wong - Quartet
Monkey Shines - David Shire - Music Box
Planet Earth (remastered reissue) - George Fenton - Silva
Rage Fuoco Incrociato - Stelvio Cipriani - Digitmovies
Rain Man - Hans Zimmer - Notefornote
Una Ragione Per Vivere E Una Moriere - Riz Ortolani - Digitmovies
Yo Soy Asi, Tita de Buenas Aires - Osvaldo Montes - Rosetta
THIS WEEK IN FILM MUSIC HISTORY
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 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “The Storyteller” (1993)
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 - Laurence Rosenthal begins recording his score for the Logan's Run pilot (1977)
April 7 - Nathan Lanier born (1978)
April 7 - Kenyon Hopkins died (1983)
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 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 - Eric Rogers died (1981)
April 8 - Keegan DeWitt born (1982)
April 8 - James Horner begins recording his score for The Pagemaster (1994)
April 9 - Miklos Rozsa begins recording his score to Diane (1955)
April 9 - Toshiyuki Honda born (1957)
April 9 - Miklos Rozsa begins recording his score to The Seventh Sin (1957)
April 9 - Arthur Benjamin died (1960)
April 9 - Recording sessions begin for Krzystof Komeda’s score for Rosemary’s Baby (1968)
April 9 - Elmer Bernstein begins recording his score to The Gypsy Moths (1969)
April 9 - Giorgio Moroder wins his first Oscar, for his Midnight Express score (1979)
April 9 - Herbert Don Woods records his score for the Buck Rogers in the 25th Century episode “The Dorian Secret” (1981)
April 9 - Bill Conti wins his first Oscar, for The Right Stuff score; Michel Legrand wins his third Oscar, for Yentl's song score (1984)
April 9 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Perfect Mate” (1992)
April 10 - Dusan Radic born (1929)
April 10 - Claude Bolling born (1930)
April 10 - Denny Zeitlin born (1938)
April 10 - Shirley Walker born (1945)
April 10 - Peter Bernstein born (1951)
April 10 - Mark Oliver Everett born (1965)
April 10 - John Barry wins his first two Oscars, for the score and song Born Free (1967)
April 10 - Elmer Bernstein wins his only Oscar for, of all things, Thoroughly Modern Millie's score; Alfred Newman wins his final Oscar for Camelot's music adaptation (1968)
April 10 - Michel Legrand wins his second Oscar, for the Summer of '42 score; John Williams wins his first Oscar, for Fiddler on the Roof's music adaptation; Isaac Hayes wins his only Oscar for the song "Theme From ' Shaft'" (1972)
April 10 - Nino Rota died (1979)
April 10 - John Morris begins recording his score for The In-Laws (1979)
April 10 - Toshiro Mayuzumi died (1997)
April 10 - Recording sessions begin for John Ottman’s score to Superman Returns (2006)
April 10 - Gianni Marchetti died (2012)
April 11 - Koichi Sugiyama born (1931)
April 11 - Herbert Stothart begins recording his score to Dragon Seed (1944)
April 11 - Caleb Sampson born (1953)
April 11 - Edwin Wendler born (1975)
April 11 - John Williams wins his fourth Oscar, for E.T. The Extra-Terrestrial's score; Jack Nitzsche wins his only Oscar, for An Officer and a Gentleman's song "Up Where We Belong"; Henry Mancini wins his fourth and final Oscar, for Victor/Victoria's song score (1983)
April 11 - Ryuichi Sakamoto, David Byrne, Cong Su win Oscars for their Last Emperor score (1988)
April 12 - Russell Garcia born (1916)
April 12 - Edwin Astley born (1922)
April 12 - Ronald Stein born (1930)
April 12 - Herbie Hancock born (1940)
April 12 - David Raksin begins recording his score for Right Cross (1950)
April 12 - Herbert Gronemeyer born (1956)
April 12 - Andy Garcia born (1956)
April 12 - Miklos Rozsa begins recording his score to Lust For Life (1956)
April 12 - Lisa Gerrard born (1961)
April 12 - Elmer Bernstein begins recording his score for Rampage (1963)
April 12 - Georg Haentzschel died (1992)
April 12 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Shattered Mirror” (1996)
April 12 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “The Changing Face of Evil” (1999)
April 12 - Richard Shores died (2001)
April 12 - Bruce Broughton begins recording his score to Eloise at the Plaza (2003)
DID THEY MENTION THE MUSIC?
THE EYES OF MY MOTHER - Ariel Loh
"In addition, Ariel Loh provides an eerie electric score that feels unsettlingly disconnected from the action, and there are also songs by the great Portuguese fado singer Amália Rodrigues. And there’s an utterly unnerving performance at the center of it all: Kika Magalhaes embodies both distracted menace and a strange, other-worldly fragility. All in all, this is a compellingly strange film, and definitely the real thing, even if it’s finally not 100 percent my thing. It’s a film that sometimes withholds, sometimes shows us too much, and is definitely more effective in the latter mode. Straight-down-the-line horror fans may wonder, though, quite what the delicacy is for, and whether the use of black and white to spare, or to taunt, our nerves is really about understatement, or more a sort of visual euphemism."
Jonathan Romney, Film Comment
"Bathed in inky black-and-white cinematography by Zach Kuperstein, and propelled by Ariel Loh’s wheezing drones and radiant, twinkling synth tones, 'The Eyes of My Mother' overflows with atmosphere, but its striking aesthetic betrays far loftier thematic goals than its script. The film less examines Francisca’s psychology than manipulates the endless tonal swerves into the vague resemblance of an arc."
Michael Snydel, Paste Magazine
"When Francisca listens to music and dances on her own, she moves as though she’d never seen anyone dance before, and had to create the idea of dance from scratch. Her mixture of physical awkwardness and confidence, her haunting inhumanity and the film’s stillness around her, all strongly recall Ana Lily Amirpour’s 2014 debut 'A Girl Walks Home Alone at Night.' So does the film’s eerie, echoing score, and its stylish black-and-white cinematography. Pesce and cinematographer Zach Kuperstein underline the film’s uncanniness by putting cameras in odd places: mounted on a body, on a tarp as a body is being dragged away, on a drone overlooking a house or a highway. And they shoot in such high contrast that their compositions suggest Ingmar Berman making arty splatter films. 'Eyes of My Mother' is a problematic film that lurches from one ugly image to the next without making enough sense of the connections. And Pesce doesn’t vary the mood enough to create a sense of rising action, or to give the audience any catharsis through the violence. But he also creates some extreme beauty out of ugliness, and he builds amazing tension out of quiet moments and simple movement. This is a film about a young girl exposed to unimaginable tragedy, and dealing with it in unimaginable ways. She’s isolated from the moment Pesce introduces her to the audience, and his promising debut is more than capable of isolating everyone in the audience, by dragging them, willing or not, into her unsettling world."
Tasha Robinson, The Verge
"Working toward the same goal are Sam Hensen’s rustic, cleverly era-fudging production design and a soundtrack built on radical sonic reversals: The buzzing synths and rattling winds of Ariel Loh’s alien-electro score segue most disarmingly into a selection of lush Portuguese fado ballads, steering viewers in and out of our anti-heroine’s warped perspective on the horror before her."
Guy Lodge, Variety
"There are some frisson-inducing moments of poetry as well, often set to the heartfelt, slow-burning wails of Portuguese fado superstar Amalia Rodrigues. These quieter moments help make sense of what Francisca must be thinking and feeling. They include a masterful overhead shot in which the protagonist tries to get into the tub with the corpse of her father while she laments her loneliness after his death. It is twinned with a moment of maternal embrace, later in the film, that’s feels like it could have come straight out of Edgar Allen Poe. Ariel Loh’s minimalist, quietly sinister score helps to further suggest the right tone in several key scenes, though Pesce isn't afraid of pregnant silences in the least."
Boyd van Hoeij, Hollywood Reporter
"But Bateman’s visible attempts to elevate the story -- elegant camerawork, Carter Burwell’s captivating score -- give 'The Family Fang' a compelling atmosphere that makes it difficult to categorize the events in play. Is this a movie designed to mess with your head or about the ethical gray zone of doing just that? Ambiguity is its best weapon, even if it’s wielded a tad too bluntly to succeed all the way. At one point, Kidman’s character expresses a frustration over 'the stupid things an actor does when they’re too afraid to act,' and it would be easy to read into that statement as Bateman speaking through his own material."
Eric Kohn, IndieWire
"Based on the 2011 novel by Kevin Wilson, 'The Family Fang' sings with great ideas about the ways all families lie to their children, and what it means to live with people you can never take seriously (being constantly addressed with the performative monikers 'Child A' and 'Child B' has to take its toll eventually). But the film suffers from a similar fate to many movies about artists: in order to make sure the audience gets what these people are about, everyone talks too much about the themes at the heart of their work instead of letting the work speak for itself. The overly chatty script by David Lindsay-Abaire (a Pulitzer Prize winner for his play 'Rabbit Hole') has difficulty carrying its most promising themes to a satisfying payoff, and a third-act reveal is riddled with plot holes. Carter Burwell's gripping, ominous score suggests an untapped mystery and darkness to the material."
Andrew Lapin, NPR
"When Mom and Dad suddenly go missing under troubling circumstances, Annie is convinced that it’s merely the latest manipulative ruse devised by two people well versed in the art of deception. But Baxter isn’t so sure, and so brother and sister begin an investigation into the mystery of not just where their parents may have gone, but also who they are, how much they really care about their children, and whether the present state of their career -- which declined after Annie and Baxter opted to withdraw permanently -- might have driven them into hiding. All this is conveyed not merely through plot and dialogue, but through a highly cinematic weave of sound and image: Set to a delicate score by Carter Burwell (already having quite a year with 'Carol' and 'Anomalisa'), the film’s time-shuffling structure comes to mirror the very act of scanning one’s family history, searching for memories that will present our loved ones in the best or even worst possible light."
Justn Chang, Variety
"What happens soon after leaves Baxter and Annie with even more unanswered questions as the film glides almost imperceptibly into melancholy contemplation, echoed in Carter Burwell's exquisite score. A key childhood recap of a 'Romeo and Juliet' production from their school years shows the decisive moment in which the children began to take issue with their parents' use of them as art projects, with little thought as to how the public exposure of those pranks made them feel. As specifically quirky as the Fang family unit is, there's universality in the exploration of both the good and bad ways that children are shaped by their parents, and the struggle to retain what's useful as they forge their individual identities."
David Rooney, Hollywood Reporter
HIGH-RISE - Clint Mansell
"In pure technical terms, Wheatley hasn’t missed a step. His longtime cinematographer Laurie Rose does great, subtle work in marking the visual differences between the classes in the early stages, and has a lot of fun with primary colors in the building’s supermarket. When everything starts to fall apart, Rose’s camera observes rather than becoming as aggressive as the action on screen, and it’s smart play. The one moment he gets flashy, he breaks out the kaledeiscope lens from 'A Field In England,' but it’s for a well-chosen and memorable scene. Meanwhile, Clint Mansell provides a solid score suggesting classical music, and Portishead contributes a terrific, haunting cover of Abba’s 'S.O.S.'"
Kevin Jagernauth, IndieWire
"Wheatley and Jump would rather set the trend than follow it, as evidenced by their almost allergic resistance to conventional exposition -- which is one of the qualities that made their earlier collaboration, 'Kill List,' such a slippery and unsettling thing to watch, as they were constantly undermining the film’s own genre foundations. Leaning on Clint Mansell’s lofty pseudo-classical score, the creative couple barrels forward without codifying the 'rules' or how audiences will distinguish where they are in the social hierarchy at any given time. Instead, they go almost immediately abstract with the editing, plunging Laing into a series of decadent parties being held on various floors: The upper set wear wigs and cold-shoulder one another to an all-strings version of Abba’s 'SOS,' while everyone else snorts coke and picks fights in their riotously tacky lower apartments."
Peter Debruge, Variety
"'High-Rise' contains some brilliant visual flourishes, including hallucinatory scenes of Hiddleston dancing in dreamlike slow motion, a dramatic suicide leap from an upper-floor balcony, and a macabre recurring close-up of skin being peeled from a human skull. As with all of Wheatley's films, music also has a strong and purposeful presence. Clint Mansell's lustrous retro-classical score bursts with ironic good cheer, and sits comfortably alongside several period-friendly songs, including an emotionally raw remake of the vintage Abba hit 'SOS' by Portishead."
Stephen Dalton, Hollywood Reporter
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.
April 6
THE HARD WAY (Heinz Roemheld), HARD, FAST AND BEAUTIFUL (Roy Webb) [UCLA]
SMILE, DRIVE, HE SAID (David Shire) [Cinematheque: Aero]
SOLARIS (Edward Artemyev) [Cinematheque: Egyptian]
THE 36TH CHAMBER OF SHAOLIN (Yung-Yu Chen) [Nuart]
April 7
ESCAPE FROM NEW YORK (John Carpenter, Alan Howarth), THE WARRIORS (Barry De Vorzon) [Cinematheque: Aero]
1990: THE BRONX WARRIORS (Walter Rizzati) [Cinemathqeue: Aero]
OUTRAGE (Paul Sawtell), THE BIGAMIST (Leith Stevens) [UCLA]
STALKER (Edward Artemyev) [Cinematheque: Egyptian]
April 8
THE BAD NEWS BEARS (Jerry Fielding), THE BANK DICK (Charles Previn) [Cinematheque: Aero]
THE SACRIFICE [Cinematheque: Egyptian]
April 9
GROUNDHOG DAY (George Fenton) [AMPAS]
April 10
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner) [LACMA]
April 11
SULLIVAN'S TRAVELS (Leo Shuken, Charles Bradshaw) [Cinematheque: Egyptian]
April 12
WEIRD SCIENCE (Ira Newborn) [Laemmle NoHo]
April 13
THE BLUE DAHLIA (Victor Young), I LOVE TROUBLE [Cinematheque: Egyptian]
FRIDAY THE 13TH PART 2 (Harry Manfredini) [Nuart]
ROSEMARY'S BABY (Christopher Komeda) [Laemmle Ahyra Fine Arts]
April 14
L.A. CONFIDENTIAL (Jerry Goldsmith) [Cinematheque: Egyptian]
April 15
KISS ME DEADLY (Frank DeVol), CITY OF FEAR (Jerry Goldsmith) [Cinematheque: Egyptian]
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