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Next week Intrada will release Jerry Goldsmith's lively pop-flavored score for the 1968 spy comedy SEBASTIAN, starring Dirk Bogarde, Susannah York and John Gielgud. The CD will include the original 25-minute selection from the Dot LP in stereo, including reworked versions of the Goldsmith cues and one source cue by Tristram Cary (Five Million Years to Earth); the original film version of Goldsmith's 34-minute score in mono; and 18 minutes of unused Tristram Cary material.

The latest release from Kritzerland is a newly remastered CD of Jerry Goldsmith's evocative score for the 1986 sequel POLTERGEIST II: THE OTHER SIDE. This is the fourth release for this score - it was one of the first soundtrack LPs and CDs released by Intrada, in a 30-minute edition. The label later expanded it, followed by a Varese release of essentially the same tracks. The Kritzerland CD is a remastered version of the complete score on on disc plus several alternate tracks on a second disc, and is limited to 1500 units (Kritzerland has already sold out their own copies, but as of this writing it is still available for pre-order at some sites, including Screen Archives).


Jobs - John Debney - La-La Land
Kiss of the Damned - Steven Hufsteter - Soraya
The Matrix Reloaded - Don Davis - La-La Land
Tres 60
- Roque Banos - Saimel
Wyatt Earp - James Newton Howard - La-La Land


Afternoon Delight - Craig Wedren
Closed Circuit - Joby Talbot
Drinking Buddies - Music Supervisor: Chris Swanson
Getaway - Justin Burnett - Score CD due in September from Varese Sarabande
I Declare War - Eric Cadesky, Nick Dyer
The Lifeguard - Fred Avril
One Direction: This Is Us - Simon Franglen
Passion - Pino Donaggio - Score CD on Quartet


September 3
Adore - Christopher Gordon - Varese Sarabande
Gagarin: First in Space
- George Kallis - MovieScore Media
Revolution: Season One
- Christopher Lennertz - Watertower [CD-R]
Sebastian - Jerry Goldsmith - Intrada Special Collection
The Vikings - Trevor Morris - Sony (import)
Visitors - Philip Glass - Orange Mountain
September 10
Hemlock Grove - Nathan Barr - Varese Sarabande
Jimmy P. - Howard Shore - Howe
Justin and the Knights of Valor - Ilan Eshkeri - Sony (import)
Thanks for Sharing - Christopher Lennertz - Milan
The Ultimate Life
- Mark McKenzie - Varese Sarabande
The Ungodly: Music of Carlos Cases
- Carlos Cases - Kronos
- Morton Gould - Sepia
The X-Files, Vol. 2 - Mark Snow - La-La Land
September 17 
Arrow: Season One - Blake Neely - Watertower [CD-R]
- Paul Englishby, songs - Silva
Salinger - Lorne Balfe - Decca
September 24
The Grandmaster - Shigeru Umebayashi, Nathaniel Mechaly - Lakeshore
Killer Crocodile
- Riz Ortolani - Kronos
Rush - Hans Zimmer - Watertower
Standing Up - Brian Tyler - Varese Sarabande
October 1 
All Is Lost - Alexander - Community Music
Paranoia - Junkie XL - Sony (import)
October 8
Captain Phillips - Henry Jackman - Varese Sarabande
Romeo and Juliet - Abel Korzeniowski - Sony
October 22
Ender's Game - Steve Jablonsky - Varese Sarabande
Date Unknown
Doctor Who: Ghost Light
- Mark Ayres - Silva
Doctor Who: Series Seven
- Murray Gold - Silva
Getaway - Justin Burnett - Varese Sarabande
The Hour
- Daniel Giorgetti, Kevin Sargent - Silva
I, the Jury - Bill Conti - La-La Land
Lines of Wellington
- Jorge Arriagada - Disques CineMusique
The Little Girl Who Lives Down the Lane
- Christian Gaubert - Disques CineMusique
Los Mundos Sotiles
- Pascal Gaigne - Quartet
Man, Woman and Child
- Georges Delerue - Quartet
The Miracle Worker
- Laurence Rosenthal - Kritzerland
The Paradise
- Maurizio Malagnini - Silva
Poltergeist II: The Other Side
- Jerry Goldsmith - Kritzerland
Secrets of a Nurse/Island of Crime
- Riz Ortolani - GDM
The Star Maker
- Ennio Morricone – GDM


August 30 - Conrad Salinger born (1901)
August 30 - Sol Kaplan's score for the Star Trek episode "The Doomsday Machine" is recorded (1967)
August 30 - Emil Newman died (1984)
August 31 - The Sea Hawk is released in theaters (1940)
August 31 - Recording sessions begin for Bronislau Kaper's score for The Swan (1955)
August 31 - Alexander Courage's score for the Star Trek episode "The Naked Time" is recorded (1966)
September 1 - Franz Waxman begins recording his score for Sunset Blvd. (1949)
September 1 - Gil Melle begins recording his score for The Organization (1971)
September 1 - Marc Donahue died (2002)
September 1 - Erich Kunzel died (2009)
September 2 - Armando Trovajoli born (1917)
September 2 - Clifton Parker died (1989)
September 3 - Anthony Collins born (1893)
September 3 - Richard Markowitz born (1926)
September 3 - Bruce Broughton begins recording his score for Glory and Honor (1997)
September 4 - Darius Milhaud born (1892)
September 5 - Don Banks died (1980)


In case anyone has been wondering why this section of the Friday column has recently exploded in length, it's not simply because of films like Only God Forgives and Ain't Them Bodies Saints which have scores that every critic seems to comment on. I used to compile this section by bookmarking a dozen or so top sites (L.A. TImes, N.Y. Times, etc) and checking them every Friday for the latest reviews. Since some of these sites now requite digital subscriptions, I now use Rotten Tomatoes, which allows me access to A LOT MORE reviews -- and also means it takes a lot more time to go through them, which is why some films are now listed in "DId They Mention the Music?" a good two or three weeks after they opened in Los Angeles. As I said, in case anyone was wondering.


"It's a tone poem, really, less concerned with conventional action than with exploring themes of love and commitment through understated performances, sumptuous images (Bradford Young did the cinematography), lovely music (Daniel Hart composed the score) and very few words, intoned elegiacally."

Joe Morgenstern, Wall Street Journal

"Mr. Lowery strums the chords of this ballad with skill and sincerity. (The musical score, by Daniel Hart, is too often busy and insistent when the film needs it to be plaintive and spare.) 'Ain’t Them Bodies Saints' moves fluidly and gracefully through situations that are hauntingly understated, as well as some that test the limits of credibility."

A.O. Scott, New York Times

"Lowery takes his time and lets us linger over everything in the meticulously crafted frame: the thoughtful camerawork, the impeccable costume and production design. His film is at once gorgeous and gritty; it earned an award at the Sundance Film Festival for the robust and dreamlike visuals from up-and-coming cinematographer Bradford Young, who also shot the recent indie favorites 'Pariah' and 'Middle of Nowhere.' And the highly inventive score from Daniel Hart, a mixture of strings and claps, enhances the rapturous experience."

Christy Lemire,

"Such an of-a-piece series of visual monuments in one year means that 'Ain't Them Bodies Saints' has a pretty strong chance of striking some viewers as cliched or affected. Its golden-hour cinematography and persistent awe-and-wonder score sit precariously between stirring and obtrusive, inspiring and derivative."

Thomas Hachard, NPR

"The soundtrack aches with love and pain, an ethereal blend of bluesy folk-rock. Lowery cites 'McCabe,' seasoned by Leonard Cohen's minor chords, as inspiration."

Betsy Sharkey, Los Angeles Times

"Having put his Malick fetish to much better use as an editor on  'Upstream Color' -- to which he applied the time-and-space-traversing ellipticism of 'The Tree of Life' -- Lowery leans heavily here on his collaborators, especially 'Pariah' cinematographer Bradford Young and composer Daniel Hart (whose banjo-and-strings score is a blatant Nick Cave imitation)."

A.A. Dowd, The Onion

"There is a palpable undercurrent of quiet desperation that runs through the picture, whose somber tone and slow pacing (made all the more moving by the ebb and flow of a sublime score by Daniel Hart and some stylistic nods to Terrence Malick) have a gritty, American ring to it. 'Ain’t Them Bodies Saints' doesn’t register very deeply as a love story, but there is no doubting that it is an act of love."

Matthew Kassel, New York Observer

"Buoyed by the rustic drone of Daniel Hart’s score -- itself highly redolent of Nick Cave and Warren Ellis’s recent work -- 'Saints' drifts along like a raft on a river until its final movement, more violent and visceral than anything in Malick’s canon."

Sam Adams, Time Out New York

"Make no mistake, this is a finely postured, technically proficient marvel, one that delicately collates and balances the excellent work of its collaborators (including Young, composer Daniel Hart, its suitably solemn cast), but for all its earnest dialogue and lens flare-filled diorama of Texan landscapes, 'Ain't Them Bodies Saints' is damned by its overly laminated rigorousness."

Nick McCarthy, Slant Magazine

"Aided by a deft score from Daniel Hart and some breathtaking photography by Bradford Young, Lowery paints a striking picture of young love in exile, fuelled by the opposition of the outside world."

Eddie Harrison, The List

"There are so many things right with 'Ain’t Them Bodies Saints' that it feels churlish to pick on the few things that are wrong. But unfortunately, a few miscalculations can go a long way with a story this simple and elemental. For all its heavenly cinematography -- from the sun-dappled exteriors to the moody, painterly interiors -- and for all the lilting, ethereal drive of its music, the film’s insistent undercutting of its narrative does its characters a disservice. There should be a cumulative power to these story lines: Bob has been waiting a long time to get back to Ruth, and Ruth has been waiting for him and fending for herself for too long. Imagine a more patient, absorbing narrative that could have given these experiences (and these talented actors) some room to breathe, allowing us to feel the weight of her decision when she effectively rejects him."

Bilge Ebiri, Vulture

"Clearly, Lowery watched his Malick, but also 'McCabe and Mrs. Miller' and 'Bonnie and Clyde.' He has made a loping and lovely romance, steeped in tragedy, with a Texas twang. (The music, full of pulsing strings, pedal steel, and emphatic percussion, adds a whole other dimension to the film.)"

Stephen Rea, Philadelphia Inquirer

"Perhaps it is not such a dramatic thing to say after all -- that 'Ain’t Them Bodies Saints' is not a movie. Here we have a work that highlights the difference between a movie and a film. These two entities are, obviously, not binary opposites, but one could argue that the feeling of a film -- brought about with careful attention to cinematography, score, and character development (all handled here with unique style and aplomb) -- sits with the viewer long after the credits roll. Even with omissions in the narrative that inspire in the viewer a longing for more, 'Ain’t Them Bodies Saints' is a true film. And that longing may in fact be the very foundation of Lowery’s work -- the reason it is more feeling than movie, more cinematic emotion unfolding on screen than anything else."

Shannon M. Houston, Paste Magazine

"The limited action and percolating intrigue that rises from the ashes of the early shootout is propelled by a fantastic soundtrack from Daniel Hart. The score, which blends plucked guitars, bowed fiddles and hand claps, is more folk music than country. Which brings us to that title. 'Ain’t Them Bodies Saints' is a bit of a mouthful. But once you see the movie, it makes perfect sense."

Matthew Odam, Austin American-Statesman

"While spiritually indebted to Terrence Malick -- and yes, it possesses its fair share of the filmmaker's sun-kissed photography and the like -- it would be far too simple and reductive to just pass this film off as nothing more. While perhaps a distant cousin, with deviating concerns and personal preoccupations, it's ultimately a very different, darker beast (there's just as much Cormac McCarthy tenor in there, if not more). Hickory smoked and sunstroked, Bradford Young's tremendous eye makes for some breathtaking and dusty gorgeous visuals, feeling tactile and lived-in. And just as sublime, and another MVP of the picture's below-the-line talent, is probably Daniel Hart's haunting and moody score. Cripple-creek fiddles pluck away anxiously, cellos drone, banjos twang out with ghostly notes and violins cry into the night sky, creating a sonorous musical backdrop for this brooding picture to lay its ten gallon hat on."

Rodrigo Perez, The Playlist

"Daniel Hart’s haunting musical score, a blend of symphonic minimalism and bluegrass, is a major contributor to mood and atmosphere in a movie that has the dreadful fatalism of a folk song and the spiritual undertow of Tolstoy or Tarkovsky."

Andrew O’Hehir,

"David Lowery’s film, starring Casey Affleck and Rooney Mara as entwined, young Texas bandits in the '70s, is an elegiac tone poem, beautifully shot by cinematographer Bradford Young, memorably scored with strings and handclaps by Daniel Hart and enlivened by a distinct rhythm unusual for such a well-trod genre."

Jake Coyle, Associated Press

"There’s nothing new here. Ryan Gosling’s 'The Place Beyond the Pines' recently covered some of the same ground. But it’s all written, spoken, photographed and edited with such care -- the soundtrack features violins, twangy string music and hand-claps -- that 'Ain’t Them Bodies Saints' feels like a fresh and poetic treatment of a prosaic story that should be utterly worn out by now."

Roger Moore, McClatchy-Tribune News Service

"'Ain’t Them Bodies Saints is lovingly rendered thanks to gorgeous photography from cinematographer Bradford Young and lived-in period detail from production designer Jade Healy and art director Jonathan Rudak. (Daniel Hart’s wistful music only heightens the spell.)"

Tim Grierson, Screen International

"Those keen on Coen brothers-style confrontations had better look elsewhere, however.  Though they are clearly an inspiration, Lowery’s impressionistic approach feels looser relying on pretty pictures (courtesy of Bradford Young’s resplendent, honey-toned lensing) and a swelling string score to create a hypnotic effect."

Peter Debruge, Variety

"On top of this is an emphatically original score by Daniel Hart that employs an enormous variety of unusual motifs that impressively coalesce into a memorable whole that doesn’t use typical country or Southern music as a crutch."

Todd McCarthy, Hollywood Reporter

THE CANYONS - Brendan Canning

"Director Paul Schrader’s 'The Canyons'” opens up with images of what appears to be a post-apocalyptic world for cinema. Cameras glide over ghost towns of dilapidated, dying and dead movie theaters, backed by a haunted and menacing electro score. The suggestion implied is that cinema is coming to an end. Blending Schrader with Ellis’ concave sensibilities, with a budget of less than $300K, with the aforementioned leads, 'The Canyons' is more go-for-broke experiment than it is a film, and those disparate elements hardly ever coalesce into something potent (Brendan Canning’s throbbing, Giorgio Moroder-inspired score remains the movie's only consistently consequential element)."

Rogrigo Perez, The Playlist

"Brendan Canning's eerie score and the occasionally nifty camerawork can't bypass the gratingly lo-fi production values and a lifeless atmosphere."

Eric Kohn, indieWIRE

"Gratuitous lighting effects aside, the guerrilla shoot seems to have reinvigorated Schrader, and the result is his most stylish picture in years, probably since 'Auto Focus.' Shot in sleek widescreen HD by John DeFazio, with a pulsing, Giorgio Moroder-esque electronic score (credited to Brendan Canning and the Canadian duo Me and John), the movie’s surfaces gleam as attractively as its toned and tanned bodies, the latter constantly framed small against vast canvases of Oceanside bluffs, Sunset Boulevard traffic and hazy nighttime skies. This, Schrader seems to be saying, is the flame to which the moths are drawn, even if it is ultimately no more than a flickering illusion. The phrase Pauline Kael once used to describe Schrader’s aesthetic springs readily to mind: 'apocalyptic swank.'”

Scott Foundas, Variety

"Shot in a straightforward way that falls leagues short of the sleek elegance of Schrader's first tango with love and money in Southern California, 'American Gigolo,' 33 years ago, the film looks OK considering its micro-budget, although the electronic score sounds tinny.

Todd McCarthy, Hollywood Reporter

CUTIE AND THE BOXER - Yasuaki Shimzu

"The visual pleasures of the film, which the filmmaker shot elegantly, include charming little animations of Noriko's wall-size cartoons. The musical pleasures flow from Yasuaki Shimizu's remarkable score, which includes a Bach cello suite as you've never heard it before."

Joe Morgenstern, Wall Street Journal

"At a certain point, though, Heinzerling backs off a little, and the film suffers for it. While evident love and affection continues to sustain this marriage, the film softens conspicuously in the third act, leaving the Shinoharas as more a frisky old married couple than partners dealing with ever-refreshing tensions. Yet the overall impression of artists asserting themselves at home and in their work is rendered with complexity and style, aided by an avant-jazz Yasuaki Shimizu score that knocks the film off a more conventional axis. 'Cutie and the Boxer' chronicles a marriage that’s extraordinary in many ways, and ordinary in one -- it’s a constant work in progress."

Scott Tobias, The Dissolve

"'Cutie and the Boxer,' like all truly noteworthy films, takes you by surprise with its unexpected twists and revelations. It's a documentary about painting, but evocative music moves it along."

Marsha McCreadie,

"The striking score by avant-garde sax man Yasuaki Shimizu is a big plus."

Alissa Simon, Variety

"Appropriately, given the film’s colorful subject matter, Heinzerling visually captures the energy of these people and their art. Ushio’s transformation from a slight and mild-mannered figure to a ferocious shirtless wild man pummeling the canvas is eye popping. On the other hand, the grace of Noriko’s work is communicated with whimsical, black and white animation as her drawings come to life. And Yasuaki Shimizu’s Japanese-tinged, understated score beautifully accents the action. Because Cutie and Boxer resists easy sentimentality, its view of life and love is all the more powerful."

James Greenberg, Hollywood Reporter

THE GRANDMASTER - Shigeru Umebayashi, Nathaniel Mechaly

"The operatically scored film is similarly either in motion or at rest. The fight scenes -- choreographed by Yuen Wo Ping -- have two speeds as well, slow-motion or quicksilver blur, but are equally athletic and balletic."

Duane Dudek, Milwaukee Journal Sentinel

"The story purports to be based on the life of Ip Man, who in his later years became Bruce Lee’s teacher. But no life ever went by so gorgeously, or played out against such a lush string soundtrack, with a little 'Casta Diva' and a little Ennio Morricone thrown in."

Craig Seligman, Bloomberg News

"Here, as in Mr. Wong’s earlier films, his sumptuous excesses -- the lush music, the opulent rooms, the seductive drift, the thundering blows -- both help tell the story and offer something more."

Manohla Dargis, New York Times

"Shigeru Umebayashi’s sweeping classical score sometimes swells above the action and dwarfs its impact, but the use of regionally specific songs as period markers helps counter that effect."

Maggie Lee, Variety


"Atli Orvarsson’s unmemorable score is supplemented with snippets of Bach’s Goldberg Variations, which tie into one of the script’s better gags."

Justin Chang, Variety

SHORT TERM 12 - Joel P. West

'The only misstep -- apart from the unappealing title -- is a denouement that’s way, way too upbeat. But you can forgive Cretton for wanting to end on a harmonious note. The score by Joel P. West is so gentle it’s as if the composer doesn’t want to bruise the characters. It’s the kind of music that sweetens what we see without falsifying it, and it cuts to the movie’s humanistic core. 'Short Term 12' leaves you shaken but not bereft. Short-term love, it suggests, can be everlasting.'

David Edelstein, Vulture

"Instead of manipulating with music, composer Joel P. West supplies just enough score to open up the possibility of deeper identification."

Peter Debruge, Variety

THE WORLD’S END - Steven Price

"The novelty has worn off Wright and Pegg’s shtick a bit, but even the reiterated gags (the characters must traverse garden fences … again) are still funny -- winks to their fans rather than lazy writing. For all their horsing around, the truth is Wright is an accomplished filmmaker who embeds story in the very mechanics of cinema. He uses cinematographer Bill Pope’s imagery and Paul Machliss’ editing as deftly as dialogue to tell jokes and wields Steven Price’s score and a cool, largely ’90s soundtrack to not only convey mood but advance the narrative."

Annlee Ellingson, Paste Magazine

YOU'RE NEXT - Jasper Justin Lee, Kyle McKinnon, Mads Heidtberg, Adam Wingard

"Turns out 'You’re Next' isn’t a slave to horror-movie conventions after all -- rather, it’s having tongue-in-cheek fun with conventions while playing up to them, complete with a killer retro ’80s-horror synth score and a gruesome finale that recalls the excess of Peter Jackson’s 'Dead Alive.'”

Barbara VanDenburgh, Arizona Republic

"'You’re Next' seems purposefully designed to get a rise out of the yell-back-at-the-screen crowd, with its host of not-particularly likable characters, its forays into surreal comic exchanges (at one point, the victims discuss sending someone to run for help and argue over who’s the fastest runner), and its bits of sensationalistic violence (one dude gets a blender to the head). But the constant blasts of music that accompany the jump scares merely serve to smother the shock, drawing attention to how awkwardly directed it all is."

Bilge Ebiri, Vulture

"The gore, while not overwhelming, is likely too heavy for some viewers, but the overarching tone that this is all in fun should induce more smiles than squirms, especially when the '80s horror synth score kicks in right around the third act."

Luke Y. Thompson, Topless Robot

"There's also a few nods to the genre's past, including John Carpenter's synth-driven score to 'Halloween.'"

Kirk Baird, Toledo Blade

"But the real badass of 'You're Next' is the tanned and whippet-tough Erin, played by Vinson, an Australian starlet best known for dancing with a Slurpee in 'Step Up 3D.' (That's no insult -- 'Step Up 3D' is fantastic.) Thanks to a tough Outback upbringing 10,000 miles away from the prep schools that sheltered her cowardly, bearded boyfriend, Erin is the only girl who didn't wear heels to dinner, and the only victim who knows how to fight back. Not that her blue-collar heroics are appreciated by anyone besides the audience: When she bashes a villain's brains on the floor, the aghast family looks at her as though she's used the wrong fork. As Erin battles to stay alive, the minimal, 'Halloween'-esque score slowly starts to sound like an applauding didgeridoo.'

Amy Nicholson, Village Voice

"Assembly is sharp, with the strong original score undermined only by a brief late foray into self-consciously cheesy 1980s synth sounds."

Dennis Harvey, Variety


Screenings of older films, at the following L.A. movie theaters: AMPASAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianLACMANew BeverlyNuartSilent Movie Theater and UCLA.

August 30
FIGHT CLUB (Dust Brothers)
LIFEFORCE (Henry Mancini) [Cinematheque: Aero]
THE SHAWSHANK REDEMPTION (Thomas Newman) [New Beverly]

August 31
IT'S A MAD, MAD, MAD, MAD WORLD (Ernest Gold) [Cinematheque: Aero]
THE SHAWSHANK REDEMPTION (Thomas Newman) [New Beverly]

September 1
THE GREEN MILE (Thomas Newman) [New Beverly]

September 2
THE GREEN MILE (Thomas Newman) [New Beverly]

September 3
FRANCES HA, GREENBERG (James Murphy) [New Beverly]
THE HARDER THEY COME (Jimmy Cliff, Desmond Dekker) [Arclight Hollywood]
NICKELODEON (Richard Hazard) [LACMA]

September 4
FRANCES HA, GREENBERG (James Murphy) [New Beverly]

September 5
FRANCES HA, GREENBERG (James Murphy) [New Beverly]
THE HARDER THEY COME (Jimmy Cliff, Desmond Dekker) [Cinematheque: Aero]

September 6
ACCATONE (Carlo Rustichelli), MAMMA ROMA (Carlo Rustichelli) [Cinematheque: Aero]
CLOSE ENCOUNTERS OF THE THIRD KIND (John WIlliams) [Silent Movie Theater]
CLUELESS (David Kitay) [Nuart]
PATHER PANCHALI (Ravi Shankar), APARAJITO (Ravi Shankar) [AMPAS]
PITCH BLACK (Graeme Revell) [Silent Movie Theater]

September 7
CLOSE ENCOUNTERS OF THE THIRD KIND (John WIlliams) [Silent Movie Theater]
THE DECAMERON (Ennio Morricone), SALO, OR THE 120 DAYS OF SODOM (Ennio Morricone) [Cinematheque: Aero]

September 8
CLOSE ENCOUNTERS OF THE THIRD KIND (John WIlliams) [Silent Movie Theater]
JACKIE BROWN, 52 PICKUP (Gary Chang) [New Beverly]
THE GOSPEL ACCORDING TO ST. MATTHEW (Luis Bacalov) [Cinematheque: Aero]

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