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The latest release from Kritzerland brings together scores for three projects directed by Stuart Cooper -- the 1975 World War II drama OVERLORD, scored by Paul Glass (Bunny Lake Is Missing, Lady in a Cage); the 2000 TV movie HUSTLE, also scored by Glass; and the 1977 Donald Sutherland thriller THE DISAPPEARANCE, scored by Robert Farnon (Captain Horatio Hornblower, Bear Island).


Intrada is postponing their previously announced release of Bruce Broughton's score for THE RESCUE to April 29th. The same day, they will release Christophe Beck's score for MUPPETS MOST WANTED, which will also feature cues from Beck's score for the film's Oscar-winning predecessor, THE MUPPETS.


CDS AVAILABLE THIS WEEK

Better Living through Chemistry - Andrew Feltenstein, John Nau - Lakeshore [CD-R]
Captain America: The Winter Soldier - Henry Jackman - Intrada/Disney
Che Fare?
- Luis Bacalov - Quartet
Child's Play/Firstborn - Michael Small - Intrada Special Collection
Divergent - Junkie XL - Interscope
Need for Speed - Nathan Furst - Varese Sarabande
Nel Nome Del Padre
- Nicola Piovani - Quartet
One-Eyed Jacks (re-release)
 - Hugo Friedhofer - Kritzerland
Professione Figlio
 - Ennio Morricone - GDM
Shadowbuilder
- Eckhart Seeber - Keepmoving
Summit
- Mario Nascimbene - Quartet
To the Ends of Time
- Eckhart Seeber - Keepmoving
Transcendence - Mychael Danna - Watertower [CD-R]


IN THEATERS TODAY

Authors Anonymous - Jeff Cardoni
Bears - George Fenton
Dancing in Jaffa - Krishna Levy, Issar Shulman
Fading Gigolo - Abraham Laboriel, Bill Maxwell - Song CD on Milan
Fray - Jacob Lawson
The Galapagos Affair: Satan Came to Eden - Laura Karpmann
Hank and Asha - Lara Meyerratken
Hateship Loveship - Dickon Hinchliffe
A Haunted House 2 - Jesse Voccia
Heaven Is For Real - Nick Glennie-Smith - Song CD on Provident
Kid Cannabis - Irv Johnson
Poseidon Rex - Christopher Cano
Proxy - The Newton Brothers
Small Time - Sean Callery
Tasting Menu - Stephen McKeon
That Demon Within - Leon Ko
13 Sins - Michael Wandmacher
Transcendence - Mychael Danna - Score CD-R on Watertower


COMING SOON

April 22 
The Amazing Spider-Man 2 - Hans Zimmer - Sony
The Amazing Spider-Man 2: Deluxe Edition - Hans Zimmer - Sony
Dennis the Menace - Jerry Goldsmith - La-La Land
Draft Day
- John Debney - Lakeshore
Joe - Jeff McIlwain, David Wingo - Milan
Oculus - The Newton Brothers - Varese Sarabande
The Stepford Wives - David Arnold - La-La Land
April 29
Grand Piano - Victor Reyes - MovieScore Media/Kronos
Muppets Most Wanted/The Muppets - Christophe Beck - Intrada
The Raid 2 - Joseph Trapanese, Aria Prayogi, Fajar Yuskemal - Spacelab2
Real Humans
- Rikard Borggard - MovieScore Media/Kronos
The Rescue - Bruce Broughton - Intrada
Tiko and the Shark
- Francesco De Masi - Beat
May 6
The Double - Andrew Hewitt - Milan
The Quiet Ones - Lucas Vidal - Varese Sarabande
May 13
Belle - Rachel Portman - Varese Sarabande
Calvary - Patrick Cassidy - Varese Sarabande
Dan Curtis' Dracula - Robert Cobert - Varese Sarabande
Godzilla - Alexandre Desplat - Watertower
Lone Survivor - Steve Jablonsky, Explosions in the Sky - River Road
The Railway Man - David Hirschfelder - Varese Sarabande
Walking with Dinosaurs - Paul Leonard-Morgan - River Road
May 20
Bates Motel - Chris Bacon - Varese Sarabande
Cold in July - Jeff Grace - Milan
House of Cards: Season Two - Jeff Beal - Varese Sarabande
May 27
A Million Ways to Die in the West - Joel McNeely - Back Lot
July 1
Game of Thrones: Season 4 - Ramin Djawadi - Watertower
Date Unknown
A Dio Piacendo
- Marco Werba - Intermezzo Media
Anne & Alet
- Mark R. Candasamy - MovieScore Media/Kronos
The Best of John Barry: The Definitive Collection (re-recordings)
 - John Barry - Silva
Belle Ma Povere
- Piero Piccioni - Digitmovies
Bianco Rosso E Verdone
- Ennio Morricone - Beat
Ciliegine
- Nicola Piovani - Beat
The Curse of Dracula
- Joe Harnell, Les Baxter - Buysoundtrax
El Lado Oscuro De La Luz
- Gus Reyes - MovieScore Media/Kronos
Maciste L'Uomo Piu Forte Del Mondo
- Armando Trovajoli - Digitmovies
Overlord/The Disappearance/Hustle
- Paul Glass/Robert Farnon - Kritzerland
Paula Nella Citta Del Morti Viventi
- Fabio Frizzi - Beat
Relentless Justice
- Chuck Cirino - Buysoundtrax
Superseven Chiama Cairo
- Angelo Francesco Lavagnino - Beat
Three Days (of Hamlet) 
- Jonathan Beard - Buysoundtrax
Victor Young at Paramount
 - Victor Young - Kritzerland
Viaggio Sola
- Gabriele Roberto - Beat
Walk of Shame - John Debney - Lakeshore
The Wedding Date (The Reception Edition)
- Blake Neely - Buysoundtrax


THIS WEEK IN FILM MUSIC HISTORY

April 18 - Miklos Rozsa born (1907)
April 18 - Mike Vickers born (1941)
April 18 - Kings Row released in theaters (1941)
April 18 - Andrew Powell born (1949)
April 18 - Miklos Rozsa begins recording score to The King's Thief (1955)
April 18 - Maurice Jarre wins his second Oscar, for Doctor Zhivago's score; presumably decides to stick with this David Lean kid (1966)
April 18 - Jerry Goldsmith begins recording his score for Players (1979)
April 19 - William Axt born (1888)
April 19 - Sol Kaplan born (1919)
April 19 - Dudley Moore born (1935)
April 19 - Jonathan Tunick born (1938)
April 19 - Alan Price born (1941)
April 19 - Lord Berners died (1950)
April 19 - Harry Sukman begins recording his score for A Thunder of Drums (1961)
April 19 - Michael Small begins recording his score to Klute (1971)
April 19 - Ron Jones records his score for the Star Trek: The Next Generation episode "We'll Always Have Paris" (1988)
April 20 - Herschel Burke Gilbert born (1918)
April 20 - David Raksin begins recording his score for Kind Lady (1951)
April 20 - Miklos Rozsa records his score to Valley of the Kings (1954)
April 20 - Johnny Douglas died (2003)
April 20 - Bebe Barron died (2008)
April 21 - Mundell Lowe born (1922)
April 21 - Steve Dorff born (1949)
April 21 - Franz Waxman begins recording his score to The Story of Ruth (1960)
April 21 - Jerry Goldsmith begins recording his score to Wild Rovers (1971)
April 21 - Eddie Sauter died (1981)
April 22 - Isao Tomita born (1932)
April 22 - Bride of Frankenstein released (1935)
April 22 - Jack Nitzsche born (1937)
April 22 - Lalo Schifrin begins recording the soundtrack to Kelly's Heroes (1970)
April 23 - Sergei Prokofiev born (1891)
April 23 - Patrick Williams born (1939)
April 23 - Alain Jomy born (1941)
April 23 - Jay Gruska born (1952)
April 23 - Andre Previn begins recording his score for The Fastest Gun Alive (1956)
April 23 - Bernard Herrmann begins recording his North by Northwest score (1959)
April 23 - Christopher Komeda died (1969)
April 23 - Satyajit Ray died (1992)
April 23 - James Horner begins recording his score for House of Cards (1992)
April 24 - Double Indemnity is released in theaters (1944)
April 24 - Hubert Bath died (1945)
April 24 - Barbra Streisand born (1942)
April 24 - Dana Kaproff born (1954)
April 24 - Georges Delerue records his score for the Amazing Stories episode "The Doll" (1986)
April 24 - Tristam Cary died (2008)


DID THEY MENTION THE MUSIC?

BREATHE IN - Dustin O’Halloran

"'Breathe In' has its strengths -- gorgeous pebble-hued cinematography, a fine soundtrack and some neatly judged performances. Director Drake Doremus and co-scripter Ben York Jones also have a nice line in underplaying potentially melodramatic movements. But on the whole the film’s sourness feels sophomoric -- the attempt of a young director overly affected by 'American Beauty' and 'The Ice Storm' to seem worldly-wise -- and its events have tendency to feel more like Things That Happen In A Film than consequences of the organic actions of deeply-realised characters."

Hannah McGill, The List

"It has atmospheric cinematography and the sober aura that any movie featuring classical musicians apparently requires. And maybe because the rights to actual classical music got too expensive, it has a score by Dustin O'Halloran, who fuses conservatory-style piano instrumentalism and hipster indie rock into bland soundtrack sap. All told, the romantic disruption is minor, even if trumped up into melodrama by a climactic montage full of clichés. It does everything it should, except take your breath away."

Jonathan Kiefer, SF Weekly

"There’s low-key, and then there’s limp. 'Breathe In' -- a pasty indie drama about an English exchange student’s disruptive effect on her American host family -- aims for the former, but ends up achieving the latter. The dialogue is improvised, the editing is heavy on jump cuts, and the handheld camerawork makes extensive use of spy-like telephoto lenses. It feels 'naturalistic,' but never natural, because director Drake Doremus is neither committed enough to improvisation to allow it to guide the drama, nor confident enough at directing to push his performers toward subtlety. The result puts a handful of good actors on autopilot, maneuvering around Intro To Screenwriting character beats, occasionally accompanied by sappy piano music. The sequence that establishes Keith and Sophie’s mutual attraction intercuts close-ups of the two during one of his performances; she’s in the audience, he’s in the orchestra. A non-diegetic piano twinkles incessantly on the soundtrack, pushing what could be merely heavy-handed into indie kitsch."

Ignatiy Vishnevetsky, The Onion AV Club

"But Doremus doesn’t seem particularly interested in the melodramatic aspects of his story, skipping over the arguments and fallout almost entirely, although Ryan gives Jones a look at one point that says more than any screaming catfight ever could (and besides, her cookie-jar collection is just begging to be smashed). The film focuses more on states of mind, using Dustin O’Halloran’s rich piano score to amplify the collective agitation, while capturing from each character’s perspective how one can occasionally feel like an outsider even while clearly part of something."

Peter Debruge, Variety

"Dustin O'Halloran's original compositions merge with works by Chopin and others to form a wonderfully rich soundtrack. Doremus' regular cinematographer John Guleserian achieves exquisite luminosity in both exteriors and interiors with what looks to be mostly natural light."

Todd McCarthy, Hollywood Reporter

CAPTAIN AMERICA: THE WINTER SOLDIER – Henry Jackman

"All that said, there is a lot to like here. It looks great, it sounds great (Henry Jackman's score is a keeper), is performed strongly across the board, has some heart and soul behind, isn't afraid to be a little weird sometimes (another character from the first movie makes a very odd, very enjoyable return at the mid-point), and certainly more so than 'Iron Man 3' or 'Thor: The Dark World,' feels like its own beast rather than the latest $200 million episode of the Marvel TV series. And maybe it's because it gets so much right, that what it gets wrong feels all the more frustrating."

Oliver Lyttleton, The Playlist

"Anthony and Joe Russo’s 'Captain America: The Winter Solider' (either the ninth Avengers film, the second Captain America film, or the third 'Marvel Phase Two' film, depending on where you’re standing) sets out with a very promising tone. This is Captain America by way of Tom Clancy. The film, replete with a bold patriotic score, steely muted photography, and a plot involving a government conspiracy, feels less like what you would find in the airport comic book section, and more like what you would find in the novels a few racks up. This was a wise choice. Captain America’s reaction to the twisted world of the Patriot Act (the central theme of the film) is the kind of story that skews more sociopolitical than pow-sock-wham boyhood fantasy."

Witney Siebold, Nerdist

"Yes, 'Captain America: The Winter Soldier' is a great action movie -- an immensely enjoyable spy-thriller-flavored film with Bond-worthy flair (and orchestral flourishes). But first and foremost, it’s also a great Captain America film. As long as Disney/Marvel’s approach to their films keeps such priorities in mind, the box office action that comes along with it will continue to be out of this world."

Michael Burgin, Paste Magazine

"Though 'The Winter Soldier' lacks the special period luster of 'The First Avenger,' craft contributions are generally topnotch, especially the sharp D.C. location shooting of d.p. Trent Opaloch ('District 9,' 'Elysium') and Henry Jackman’s rousing, propulsive score (incorporating bits of Alan Silvestri’s 'First Avenger' fanfare)."

Scott Foundas, Variety

THE GRAND BUDAPEST HOTEL - Alexandre Desplat

"Set just as World War II (or a tall-tale version of it) is starting, 'The Grand Budapest Hotel' turns into an avaricious wartime chase thriller, with stops for an episode at a criminal internment camp (where Gustave participates in a great escape) and also for a toboggan race that out-jaw-drops anything you saw in the recent Olympics. It's all nudged along by a wonderful timpani-driven score by Alexandre Desplat that does for this movie what his music in 'Fantastic Mr. Fox' did for that one: makes it hum with intricate momentum. 'The Grand Budapest Hotel' is still every inch a Wes Anderson film, but a new breed of one, since Anderson, for the first time, is out to enchant us without ''saying' anything. For me that lets him say more."

Owen Gleiberman, Entertainment Weekly

"It’s quite possible that fans of Anderson, the corduroy visionary, will love it. But 'The Grand Budapest Hotel' brought out my inner Hunca Munca, of 'Two Bad Mice' fame: This meticulously appointed dollhouse of a movie just went on and on, making me want to smash many miniature plates of plaster food in frustration. I would apologize afterward, of course, because I’m that kind of mouse. But not even the jaunty, percussive score by Alexandre Desplat left a mark: Too much of it sounds recycled from the truly great score Desplat wrote for 'Fantastic Mr. Fox.' Once again, Anderson has left me unmoved."

Stephanie Zacharek, Village Voice

"As the film spins on its axis like a Marx Brothers farce, a peak of hilarity is hit when Gustave and Zero escape prison with the help of a tattooed Harvey Keitel. Characters tumble out with frenzied unpredictability, including Bill Murray, Owen Wilson and Jason Schwartzman as a trio of wacky concierges. Abetted by Robert Yeoman's luscious camerawork and a bouncy score by Alexandre Desplat, the film has a careless ease that's irresistible."

Peter Travers, Rolling Stone

"With each beat exquisitely tied to Anderson's techniques, his zippy historical fairy tale (replete with hand-scrawled chapter headings) has a thoroughly immersive quality. The usual vibrant reds and blues (elegantly captured by cinematographer Robert Yeoman) mesh nicely with Alexandre Desplat's jangly soundtrack. At once absurd and beautiful, Anderson's world has never been so spectacularly realized."

Eric Kohn, IndieWIRE

"Anderson shoots all of this with gusto, and as ever, his crew -- particularly the art directors and set designers, cinematographer Robert Yeoman and composer Alexandre Desplat -- are as much the stars of the film as the actors, and they contribute as much wit as Anderson and Hugo Guinness’ screenplay."

Alonso Duralde, The Wrap

"The setting here is the Republic of Zubrowka -- first in the bleakness of that tiny state's postwar communist rule, but then, through flashback, in the fragile grandeur of the early 1930s, when Gustave, a cosmopolitan legend in his own time, reigns supreme in the vast and elegant spa hotel of the title. The production has been conceived in a spirit of joyous artifice; in other words, it's instantly recognizable as a Wes Anderson film. (The production designer was Adam Stockhausen. Robert Yeoman was director of photography. Alexandre Desplat composed the scintillating score.)"

Joe Neumaier, Wall Street Journal

"His visual imagination in overdrive, Anderson stages several inspired chase sequences, a daring prison break, a suspenseful pursuit through an empty museum -- all accompanied by the thrum and jangle of Alexandre Desplat’s lively score. Even more so than usual, the director seems to have drawn inspiration from the morbid illustrations of Edward Gorey: His black-clad villains, played by Adrien Brody and Willem Dafoe, are right out of one of the artist’s macabre collections, as are the sudden flashes of darkly comic mayhem."

A.O. Dowd, The Onion AV Club

"And while it seems to border on tastelessness when the spectre of fascism darkens Anderson’s own bespoke vision of La Belle Époque, Fiennes summons up the humanity to bring an unexpected air of melancholy to the screen. It helps here that Anderson has dropped his trademark use of wayward pop and rock music, working with Alexandre Desplat’s orchestral score -- and the occasional burst of traditional Russian folk -- to add a suitable sense of gravitas."

Damon Wise, Empire Magazine

"As played with a melancholy rakishness by the handsomer-than-ever Fiennes, M. Gustave is one of Anderson’s more memorable creations -- but he’s stranded in a movie that, for all its gorgeous frills and furbelows (including a lush musical score by Alexandre Desplat and a surfeit of charming cameos from Anderson regulars like Jason Schwartzman, Ed Norton, and Bill Murray), never seemed to me to be quite sure what it was about. Youth, age,rivalry, and mentorship? Nostalgia for a lost way of life? The ineluctable slaughterhouse of 20th-century European history?"

Dana Stevens, Slate.com

"Like the ship of 'The Life Aquatic' or the townhouse of 'The Royal Tenenbaums,' 'The Grand Budapest Hotel' comes with its own ready-made theatre and uniformed cast. From here, Anderson breaks out with verve on to trains, ski runs and cobbled streets to spin a wickedly funny tale that celebrates the final glory days of a dying world order. It’s all given a bombastic lift by an Alexandre Desplat score which crescendos in organs and drums. Full of Anderson’s visual signatures -- cameras that swerve, quick zooms, speedy montages -- it’s familiar in style, refreshing in tone and one of Anderson’s very best films.

Dave Calhoun, Time Out

"The film has been compared to Hitchcock and Lubitsch; I kept thinking of Peter Greenaway. It makes the audience feel like giants bending down to admire a superbly detailed little universe: I can't think of any film-maker who brings such overwhelming control to his films. Alexandre Desplat's score keeps the picture moving at an exhilarating canter, and the script, co-written by Anderson and his longtime collaborator Hugo Guinness is an intelligent treat. Watching this is like taking the waters in Zubrowka. A deeply pleasurable immersion."

Peter Bradshaw, The Guardian

"There’s skilled pastiche, too, in Alexandre Desplat’s score, with its perky zithers and doom-laden organ chorales. Yet beneath all the jokiness there’s a sense of loss, a nostalgia for an age that neither the filmmakers nor all but a few of their audience can ever have known."

Philip Kemp, Sight & Sound

"Scored to mostly classical music, crammed full of real European detail, the movie is a very carefully wrought work of art -- and, like all of Anderson's work, sometimes that exactitude can feel a little chilly, a bit overly precise. You may find yourself yearning for a little less formalism, a bit more rough and raw emotion."

Stephen Whitty, Newark Star-Ledger

"Among the director’s other regular collaborators, costume designer Milena Canonero and hair-makeup-prosthetics designer Frances Hannon make especially eye-popping contributions. In the first Anderson movie to feature no pop songs, Alexandre Desplat has concocted an unusually inventive score that combines a wide range of Central and Eastern European instruments (balalaikas, cimbaloms, Alpine horns), reaching a delirious crescendo toward the end of the closing credits."

Justin Chang, Variety

"To this end, Anderson, who devised the story with Hugo Guinness, is very well-served by his key collaborators, most notably the wildly resourceful production designerAdam Stockhausen, ever-inspired costume designer Milena Canonero, cinematographer Robert Yeoman, hair, makeup and prosthetic designer Frances Hannon, editor Barney Pilling and composer Alexandre Desplat, whose energetic work meshes very effectively with swaths of classical and ethnic music."

Todd McCarthy, Hollywood Reporter

THE UNKNOWN KNOWN - Danny Elfman

"Though Mr. Morris’s filmmaking technique is supple and sophisticated -- 'The Unknown Known' weaves its central interview through archival footage, poetic images of snow globes and seascapes and discreet re-enactments, using Danny Elfman’s spooky score as connective tissue -- he has a fairly straightforward interviewing method. He gives his interlocutors plenty of rope. But rather than hang himself, Mr. Rumsfeld tries to fashion a ladder and escape through the window."

A.O. Scott, New York Times

"Worst of all, Morris's familiar documentary-as-spectacle aesthetic has bloated into mannerism – the empty visual metaphors, barrages of diagrams and bombastic Danny Elfman score all creating a cloud of obfuscation that makes it nigh impossible to think clearly about the matter at hand."

Jonathan Romney, The Observer

"It’s neatly done, cleverly structured (and wittily scored by Danny Elfman), letting Rumsfeld hoist himself by his own petard, his constant contradictions exposed by archive material and clips. Ultimately this is more of a piece with Morris’ 'Tabloid' (about a former beauty queen’s Mormon sex slave tale) than 'The Fog Of War,' delusion featuring large. Unfortunately Rumsfeld deluded quite a few people. This is a gripping cat-and-mouse game in which the Cheshire cat that is Rumsfeld fades to a sinister, terrifying grin."

Angie Errigo, Empire Magazine

"In many ways, this is a typical Morris documentary, with a nicely insistent score (by Danny Elfman) and the director's artful gift for metaphor (Rumsfeld's habit of burying people in white memos is illustrated with a snowglobe; the essential impenetrability of 'the real facts' by a vast, slowly rippling ocean)."

Stephen Whitty, Newark Star-Ledger

"With this in mind, it would be surprising if, at this late stage in the strange story, Rumsfeld buckled under pressure from a mere film-maker. Morris nevertheless gives him the full treatment: face-front interview via the director’s famed Interrotron device; surging chords from Danny Elfman; billowing snowstorms as a visual representation of Rumsfeld’s addiction to memoranda. Yet the carapace remains unbroken throughout."

Donald Clarke, Irish Times

"And the bombastic trappings Morris favours -- a Danny Elfman score, graphics illustrating the blizzard of Rumsfeld’s endless written memos -- serve to emphasise rather than conceal the emptiness at the film’s heart."

Hannah McGill, The List

"Morris' film deploys all his trademark high-end mannerisms -- lush Danny Elfman score, pristine cinematography, selective newsreel footage, dreamy slo-mo views of abstracted land- and seascapes -- and its narrative covers more than just its subject's turns as SecDef. After hearing Rumsfeld's recollections of 9/11 (he was in the Pentagon when it was hit) and the lead-up to the U.S. invasion of Iraq (he learned about it by hearing Dick Cheney inform Saudi Prince Bandar!), Morris turns back to trace his political rise."

Godfrey Cheshire, RogerEbert.com

"Advance word on Errol Morris’s Donald Rumsfeld doc 'The Unknown Known' was that Morris failed to nail Rumsfeld, especially on Iraq. After seeing it, I ask, How do you nail Jell-O? The former secretary of Defense styles himself a meticulous thinker and has a blizzard of memos (known as “snowflakes”) to prove it, but in the midst of his dramatic readings of his sundry piddling missives, you might find yourself thinking, There’s no there there. Rumsfeld gives his tricky, shallow answers, flashes Morris a doofus grin (he’s a genial fellow) … and the rest is silence -- or, rather, Danny Elfman’s busy, Philip Glass–like score, which does its best to fill the void. But Rumsfeld has said all he’s going to say."

David Edelstein, Vulture

"Though it doesn’t go very far or deep, Morris has crafted 'The Unknown Known' expertly, using Rumsfeld’s memos (read aloud by the man himself) as a framing device while Danny Elfman’s terrific score brings out the drama inherent in the story of American power pursued and misused."

Jon Frosch, The Atlantic

"For young progressives of the future, the most panic-inviting moments of Morris's film will be those where Rumsfeld's bizarre gibberish actually congeals with today's shared universal knowledg -- which is to say, with history. The former secretary of defense tut-tuts to Morris that many of the Bush administration's most earth-scorching policies (Guantanamo Bay, the PATRIOT Act, indefinite detentions, military commissions) have been kept, and in some cases even embraced, by Barack Obama. Morris registers this observation with a grandiloquent disappointment, editing Rumsfeld's words off of a moss-covered oceanscape that stretches into infinity, Danny Elfman score pounding. In making this comment, Rumsfeld's voice goes officious, suddenly severed from the heave-ho of his discussions with Morris. Like a mad scientist, all he can do at this point is ponder his creation."

Steve Macfarlane, Slant Magazine

"Rumsfeld was notorious for dictating so many memos they were nicknamed 'snowflakes,' and Morris can't resist showing a snow globe as Danny Elfman's music swirls around us."

Jeff Baker, The Oregonian

"Errol Morris goes mano-a-mano with former U.S. Defense Secretary Donald Rumsfeld and emerges with something of a draw in 'The Unknown Known,' a coolly hypnotic conceptual sequel to Morris’ Oscar-winning Robert McNamara study, 'The Fog of War,' by way of 2008’s Abu Ghraib docu 'Standard Operating Procedure.' Ranging over familiar material, but made vivid by Morris’ fecund associations and invigorating stylistic flourishes (including a superb Danny Elfman score), this as-yet undated release from Weinstein Co. 'boutique' label Radius will face audience Iraq fatigue at the theatrical box office (where 'Fog' grossed an impressive $4 million domestically), but should attract plenty of curiosity seekers on VOD and during its eventual broadcast premiere via co-producer the History Channel."

Scott Foundas, Variety

"Instantly recognizable as a Morris documentary by virtue of the fancy visuals and the pulsating musical accompaniment provided by Danny Elfman, in 'The Unknown Known' all this is merely window dressing to distract the viewer from the fact that we will probably never know what goes on inside Rumsfeld's head, so unwilling or unable is he to acknowledge complexities and analyze deeply."

Todd McCarthy, Hollywood Reporter


THE NEXT TEN DAYS IN L.A.

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

April 18
THE DECLINE OF WESTERN CIVILIZATION, THE DECLINE OF WESTERN CIVILIZATION PART III [LACMA/AMPAS]
DERSU UZALA (Isaak Swartz) THE SEVENTH SEAL (Erik Nordgren) [Cinematheque: Egyptian]
DONNIE DARKO (Michael Andrews), THE EVIL DEAD (Joseph LoDuca) [Cinematheque: Aero]
LAST YEAR AT MARIENBAD (Francis Seyrig), WILD GRASS (Mark Snow) [New Beverly]
ROBOCOP (Basil Poledouris) [Nuart]
SCOTT PILGRIM VS. THE WORLD (Nigel Godrich) [New Beverly]
WILD AT HEART (Angelo Badalamenti) [Silent Movie Theater]

April 19
CITIZEN KANE (Bernard Herrmann), STAGECOACH (Richard Hageman, Frank Harling, John Liepold, Leo Shuken) [Cinematheque: Egyptian]
COUNTDOWN (Leonard Rosenman) [UCLA]
LAST YEAR AT MARIENBAD (Francis Seyrig), WILD GRASS (Mark Snow) [New Beverly]
THE MAN WHO KNEW TOO MUCH (Bernard Herrmann), UNDER CAPRICORN (Richard Addinsell) [Cinematheque: Aero]
SORCERER (Tangerine Dream) [Silent Movie Theater]

April 20
KING KONG (Max Steiner) [Cinematheque: Aero]
THE PASSION OF JOAN OF ARC [Cinematheque: Egyptian]
SINGIN' IN THE RAIN (Lennie Hayton) [Arclight Sherman Oaks]
SORCERER (Tangerine Dream) [Silent Movie Theater]
STRIPES (Elmer Bernstein), GROUNDHOG DAY (George Fenton) [New Beverly]

April 21
BIG TROUBLE IN LITTLE CHINA (John Carpenter, Alan Howarth) [Arclight Hollywood]
THE GODFATHER (Nino Rota) [Arclight Hollywood]
SORCERER (Tangerine Dream) [Silent Movie Theater]
STRIPES (Elmer Bernstein), GROUNDHOG DAY (George Fenton) [New Beverly]

April 22
CHINATOWN (Jerry Goldsmith) [Arclight Hollywood]
IMITATION OF LIFE (Frank Skinner) [Arclight Hollywood]
MOROCCO [LACMA]

April 23
THE CONVERSATION (David Shire), ENEMY OF THE STATE (Trevor Rabin, Harry Gregson-Williams) [Cinematheque: Egyptian]
IN GOD WE TRUST (John Morris), SAVED (Christophe Beck) [New Beverly]
SORCERER (Tangerine Dream) [Silent Movie Theater]

April 24
IN GOD WE TRUST (John Morris), SAVED (Christophe Beck) [New Beverly]
SORCERER (Tangerine Dream) [Silent Movie Theater]

April 25
CRITTERS 2 (Nicholas Pike) [Silent Movie Theater]
NEVER SAY NEVER AGAIN (Michel Legrand), THE ROCK (Hans Zimmer, Nick Glennie-Smith) [Cinematheque: Egyptian]
TO CATCH A THIEF (Lyn Murray), TORN CURTAIN (John Addison) [Cinematheque: Aero]

April 26
DEATH PROMISE (Bill Daniels, Mike Felder) [Silent Movie Theater]
GOODFELLAS, MY BLUE HEAVEN (Ira Newborn) [Cinematheque: Egyptian]
JURASSIC PARK (John Williams), THE LOST WORLD: JURASSIC PARK (John Williams), JURASSIC PARK III (Don Davis) [Cinematheque: Aero]
M*A*S*H (Johnny Mandel) [UCLA]
THE NARROW MARGIN [Cinematheque: Egyptian]

April 27
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner), MUNSTER GO HOME (Jack Marshall) [New Beverly]
ALL THAT JAZZ (Ralph Burns) [Silent Movie Theater]
MARY, THE SKIN GAME [Cinematheque: Aero]
MARY POPPINS (Richard M. Sherman, Robert B. Sherman) [Cinematheque: Aero]
THE MATRIX (Don Davis) [Arclight Sherman Oaks]

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Today in Film Score History:
October 20
Adolph Deutsch born (1897)
Frank Churchill born (1901)
Lucien Moraweck died (1973)
Ron Jones records his score for the Star Trek: The Next Generation episode "Booby Trap" (1989)
Thomas Newman born (1955)
Tom Petty born (1950)
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