Intrada has announced their latest two limited edition releases.

Their Special Collection release, limited to 1200 units, features music from three war films released in the 1950s by 20th Century Fox - Alfred Newman's music for the 1952 remake of WHAT PRICE GLORY?, Roy Webb's music for 1951's FIXED BAYONETS, and Leigh Harline's music for 1953's THE DESERT RATS (which includes Daniele Amfitheatrof's prologue music for its predecessor, The Desert Fox).

Child's Play - Joe Renzetti - La-La Land
Extreme Close-Up - James Horner - Intrada Signature Edition
Halloween II - Tyler Bates - E1/Amazon [CD-R]
Night of the Creeps - Barry DeVorzon - La-La Land
Pandorum - Michl Britsch - MovieScore Media
The Way We Get By - Zack Martin - Hello My Name Is
What Price Glory/Fixed Bayonets!/The Desert Rats - Alfred Newman, Roy Webb, Leigh Harline - Intrada Special Collection

IN THEATERS TODAY

The Boondock Saints II: All Saints Day - Jeff Danna
Gentlemen Broncos - David Wingo
The House of the Devil - Jeff Grace - Score CD due Nov. 10 from MovieScore Media
Skin - Helene Muddiman

THIS WEEK IN FILM MUSIC HISTORY

DID THEY MENTION THE MUSIC?

"But just in case the point isn't clear enough (She! Must! Fly!), throughout the drama composer Gabriel Yared lays on blasts of musical exclamations that are distracting as sirens. Sometimes that music says, 'It's great to be in the sky and surfing the clouds!' Sometimes it says, 'Look how pretty the landscape looks below -- kind of makes you miss the music in
"Out of Africa," right?' Sometimes the rumble of violins and horns hints, 'Uh-oh, we're getting to the tragic part of the story.' Mostly, the busy orchestra backs up the starry cinematography to remind us, 'This slim, androgynous beauty, with her unusual love life and her driving need to take to the skies, sure was something, huh?!' Whatever the message, there's no navigating around such intrusive messengers."

"If you can get past 'Amelia's maddening devotion to niceness, the movie does boast a few soaring set pieces. Though it takes place in the '20s and '30s, 'Amelia' is full of cinematic tricks from the '80s: mock black-and-white newsreels that morph into full-color scenes and a swooping romantic score by Gabriel Yared that, especially when it accompanies Stuart Dryburgh's camera upward through banks of clouds, recalls the flight scenes in 'Out of Africa.'"

"In an ironic twist, Mira Nair's big-hearted yet by-the-numbers biopic of Amelia Earhart never -- unlike the famous aviatrix -- takes chances. The film, which stars Hilary Swank as the groundbreaking pilot who disappeared while attempting to become the first woman to fly around the world, is doggedly earnest in that vaguely annoying Oscar-hopeful way, with stunning cinematography of the expansive views from the seat of Earhart's Electra and all the soaring strings you can bear. But its portrayal of Earhart's drive and fearlessness never really gets to the heart of this bold, driven individual or explains why she needed so badly to break beyond Earth's boundaries."

"This is one of those movies where the period re-creation -- the props and costumes, the cars and sconces -- feels perfectly crafted and perfectly oppressive. Even Gabriel Yared's score feels left over from some forgotten Richard Attenborough epic."

"Amelia Earhart, the American aviator who disappeared somewhere over the Pacific in 1937 while trying to become the first woman to fly around the globe, didn't wear bodices, as far as I can tell from the new biographical movie starring Hilary Swank.If Earhart had, it's a good bet that Richard Gere, who plays her sensitive, supportive, quietly suffering husband, George Palmer Putnam (G. P.), would have ripped or, rather, politely removed an unmentionable or two amid the civilized yearning and the surging, swelling music. Romance is in the air in 'Amelia' or at least in the score, which works hard to inject some emotional coloring into the proceedings. The music screams (sobs) 1940s big-screen melodramatic excess and beautiful suffering."

"Slathered in banal voiceover narration and Gabriel Yared's hyperactive score, the pic gets a lot of mileage out of Stuart Dryburgh's f/x-enhanced aerial lensing (largely captured over South Africa)."

"Composer Gabriel Yared's orchestral score -- muscular in the aerial scenes, jovial where it needs to be and foreboding in its evocation of Earhart's fate -- ranks with his Academy Award-winning music for 'The English Patient.'"

"As night falls several times and the couple's collective condition deteriorates, Heitor Pereira's music serves, for better or worse, to maintain some audience optimism."

"Its teasingly paradoxical attitude is personified by Adrian Jacobs (Adam Goldberg), a brooding, bearded composer whose cacophonous ensemble pieces for his trio, New Sound Ensemble, involve dropping chains into a bucket and kicking it, shredding paper, popping bubble wrap and smashing wine glasses. These silly pieces, as well as some of the film's more musically substantial ones, were written by the Pulitzer Prize-winning composer David Lang, who clearly has a healthy sense of humor."

"Additional shout-outs go to Pulitzer Prize-winning composer David Lang's eclectic musical contributions, Oscar-winner Richard Beggs' sound design and to costume designer Deirdre Wagner for creating Madeleine's hilariously noisy wardrobe."

"The metallic clang of David Lang's inventive score is a vital component."