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Caldera is releasing the soundtrack to the 2010 true crime-inspired drama ALL GOOD THINGS, which starred Ryan Gosling, Kirsten Dunst and Frank Langella. The score was composed by Rob Simonsen, who's been making a name for himself with indies and smaller features like Seeking a Friend for the End of the World, The Way Way Back, The Spectacular Now and the just-released Wish I Was Here, and has his most high-profile project coming out later this year, the already critically acclaimed Foxcatcher.

Oscar winner Ken Thorne died on July 9 in West Hills, California, at the age of 90. We will feature an obituary for him in next Friday's column.


I Origins - Will Bates, Phil Mossman - Milan
- Paul Hertzog - Perseverance
The Naked Gun Trilogy - Ira Newborn - La-La Land
Planes: Fire and Rescue - Mark Mancina - Disney


Alive Inside - Itaal Shur
Among Ravens - Fall on Your Sword
I Origins - Will Bates, Phil Mossman - Score CD on Milan
Mood Indigo - Etienne Charry - Score CD due Aug. 5 on Milan
Planes: Fire and Rescue
  - Mark Mancina - Score CD on Disney
The Purge: Anarchy - Nathan Whitehead
Sex Tape - Michael Andrews
Wish I Was Here - Rob Simonsen - Song CD on Columbia


July 22
Broken City - Atticus Ross, Claudia Sarne, Leopold Ross - BFD
The Congress - Max Richter - Milan
The Host - Antonio Pinto - BFD
Snowpiercer - Marco Beltrami - Varese Sarabande
2 Guns - Clinton Shorter - BFD
July 29
Dexter: Season 8 - Daniel Licht - Milan
Guardians of the Galaxy: Deluxe - Tyler Bates - Hollywood
The Liberator - Gustavo Dudamel - Deutsche Grammophon
August 5
Hercules - Fernando Velazquez - Sony
Into the Storm - Brian Tyler - Varese Sarabande
Mood Indigo - Etienne Charry - Milan
Step Up: All In - Jeff Cardoni - Milan
August 12
Dawn of the Planet of the Apes 
- Michael Giacchino - Sony
Music for Alfred Hitchcock - various - Naxos
August 19
Penny Dreadful - Abel Korzeniowski - Varese Sarabande
August 26
Bates Motel - Chris Bacon - Varese Sarabande
Mary Poppins - Richard M. Sherman, Robert B. Sherman - Disney
Date Unknown
A Dio Piacendo
 - Marco Werba - Intermezzo
All Good Things
- Rob Simonsen - Caldera
Aux Yeux Des Vivants
- Raphael Gesqua - MovieScore Media/ScreamWorks/Kronos
5 Branded Women
- Angelo Francesco Lavagnino - Cometa
- Ennio Morricone - Digitmovies
- Mokadelic - GDM
The Hills Have Eyes
- Don Peake - Perseverance
I Basilischi/Before the Revolution
- Ennio Morricone - GDM
Isabella: Duchessa Dei Diavoli
 - Sante Maria Romitelli - Kronos
Knight Rider Vol. 3 - The Best of Don Peake
- Don Peake - Perseverance
La Cieca Di Sorrento
 - Carlo Savina - Kronos
Le Temoin
- Piero Piccioni - Music Box
- Paul Leonard-Morgan - MovieScore Media/ScreamWorks/Kronos
Les Passagers
- Claude Bolling, Eric Demarsan - Music Box
The Music of Hans Zimmer: The Definitive Collection
- Hans Zimmer - Silva
New York Chiama Superdrago
 - Benedetto Ghiglia - Digitmovies
Open Windows
- Jorge Magaz - Quartet
Poveri Milionari
- Armando Trovajoli - Digitmovies
Vulcano Figlio Di Giove
 - Marcello Giombini - Kronos
Warriors of Virtue
- Don Davis - Buysoundtrax
- Riz Ortolani - GDM


July 18 - Barry Gray born (1908)
July 18 - James William Guercio born (1945)
July 18 - Nathan Van Cleave begins recording his score for The Lonely Man (1956)
July 18 - Abel Korzeniowski born (1972)
July 18 - David Shire records his score for the Amazing Stories episode "Hell Toupee"(1985)
July 19 - Paul Dunlap born (1919)
July 19 - Tim McIntire born (1944)
July 19 - Dominic Muldowney born (1952)
July 19 - Gerald Fried's score for the Star Trek episode "Amok Time" is recorded (1967)
July 19 - Gerald Fried's score for the Star Trek episode "The Paradise Syndrome" is recorded (1968)
July 20 - Since You Went Away released in theaters (1944)
July 20 - Franz Waxman begins recording his score for Elephant Walk (1953)
July 20 - Gail Kubik died (1984)
July 21 - Jerry Goldsmith died (2004)
July 22 - George Dreyfus born (1928)
July 22 - Alan Menken born (1949)
July 22 - Nigel Hess born (1953)
July 22 - Jerry Goldsmith begins recording his score for Warning Shot (1966)
July 22 - John Barry begins recording the orchestral score to King Kong (1976)
July 22 - Alan Silvestri begins recording his score for the Amazing Stories episode "Go to the Head of the Class" (1986)
July 23 - George Greeley born (1917)
July 23 - Bill Lee born (1928)
July 23 - L. Subramaniam born (1947)
July 23 - Recording sessions begin for Hugo Friedhofer’s score to The Blue Angel (1959)
July 23 - Leith Stevens died (1970)
July 23 - Georges Auric died (1983)
July 23 - John Addison records his score for the Amazing Stories episode "The Greible" (1986)
July 23 - Hans J. Salter died (1994)
July 23 - Piero Piccioni died (2004)
July 24 - Robert Farnon born (1917)
July 24 - Wilfred Josephs born (1927)
July 24 - Marcello Giombini born (1928)
July 24 - Les Reed born (1935)
July 24 - High Noon released (1952)
July 24 - Alan Rawsthorne died (1971)
July 24 - Leo Shuken died (1976)
July 24 - Norman Dello Joio died (2008)



"Two other things about this movie make it noteworthy. One is the musical score by composer Michael Giacchino, the best in the business right now. The tension and the atmosphere he evokes with a surprising array of instruments (he's especially creative in the percussion and keyboard realm) enhance every aspect of the viewing experience. It's an old-school sound, recalling elements of Jerry Goldsmith, among others, and it's remarkably free of bombast. The other is the inescapable political element."

Michael Phillips, Chicago Tribune

"And while 'Rise' found room for exuberance in the shadow of catastrophe -- partly because it seemed so justifiably excited by its own ingenuity -- 'Dawn,' its title notwithstanding, paints a darker, scarier picture of the future. It also has a grave, brooding beauty, intensified by Michael Giacchino’s wild and subtle score and by the deep, verdant shadows of Michael Seresin’s cinematography."

A.O. Scott, New York Times

"Caesar is sad that some humans are gone -- he misses James Franco and John Lithgow, who, in 'Rise,' romped with him and taught him chess and tried to protect him from probes being thrust into his fundament. But he’s properly on guard, as an emperor must be. The scene in which Malcolm is led -- accompanied by Michael Giacchino’s grand, scary music, which pays suitable homage to Jerry Goldsmith -- past animal carcasses displayed like talismans to what is Caesar’s treetop throne room is magnificent. 'Dawn' is a triumph of design and animation."

David Edelstein, Vulture

"The movie does suffer from an over-emphatic musical score. So it’s a balm to the ears when the Band’s 'The Weight' ('Take a load off, Fanny') wafts through the redwoods via the sounds system of a revived 76 gas station. Happily, Reeves doesn’t stint on dynamic, ravishing visual harmonies, not even in the middle of pitched battles."

Michael Sragow, Orange County Register

"That said, Reeves’s direction is crisp (he’s best known for 2008’s 'Cloverfield'), the action sequences superb (keep an eye out for the scene in which Koba commandeers a tank), the Michael Giacchino score intense and evocative, and the apes -- well, they’re easily worth the price of admission on their own."

Christopher Orr, The Atlantic

"The director is Matt Reeves, who did 'Cloverfield' and helped turn the Swedish vampire movie 'Let the Right One In' into the overstyled, overly conceptual 2010 remake. Reeves has a good screenplay by Mark Bomback, Rick Jaffa, and Amanda Silver that allows him to take his time to build the story around the faces of the primates: incarnations of chimps and gorillas and one orangutan with a cast-iron skillet for a face. The movie also has a perfectly used thriller score by Michael Giacchino, and editing that flatters the work that went into orchestrating the blend of live action and animation."

Wesley Morris, Grantland

"This dystopian installment superbly dials up the tension, intensified by Michael Giacchino's evocative musical score."

Claudia Puig, USA Today

"'Dawn' shows Caesar grappling with the irritations and agonies of leadership. During moments of impending and erupting violence, some of which have an almost midnight-movie ugliness, the film's pop-operatic boldness and orange-brown torchlighting fuse with the weirder parts of composer Michael Giacchino's score (like a calliope heralding a circus in hell) to suggest that we are watching the simian cousin of Francis Ford Coppola's mob trilogy. If 'Rise,' about the unlikely savior of an endangered clan, was 'The Apefather,' then this sprawling, messy, often sad sequel is 'The Apefather, Part II,' turning brother against brother (on both the human and ape sides of the dramatic fence) in a war for resources and turf."

Matt Zoller Seitz,

"The viewers’ brain may be moved by Caesar’s statesmanlike sagacity, but their guts want war. This is an adventure film, not a Pacifica radio pledge drive. As one of the humans says of the apes, 'They’re talking animals! With bad-ass spears!' Guns, too. And when Koba takes command and storms the human’s compound, 'Dawn' finally makes good on its promise of merging action with artistry. Watch and wonder at the tracking shot from a tank turret, as apes seize the means of destruction from men. Listen, too, when Michael Giaccino’s [sic] score, which had gone indie-sensitive with pensive solo-piano noodling, revs into full symphonic clamor and roar."

Richard Corliss, TIME Magazine

"If you see the movie, notice how the ending is no ending, and the fact that it even feels like one is entirely a function of Michael Giacchino's musical score. He brings in the horns, then the strings; then the horns come in louder, and the illusion is created that we're experiencing some grand resolution. But back up for a second, and it seems more like the writers have really dug themselves a hole for next time."

Mick LaSalle, San Francisco Chronicle

"If there are issues to be had, they are minor. Michael Giacchino’s score is quite good, but the occasional musical allusions to the original 'Planet Of The Apes' score are noticeable enough to slightly distract (and feel like the film’s only example of fan service). The movie’s tragic arc doesn’t seem like it’s pushed as far as it naturally wants to go, but perhaps a full-blown bummer wouldn’t have worked at the multiplex either."

Rodrigo Perez, The Playlist

"For all the flaws of character and narrative, Reeves has crafted a movie of nearly nonstop forward momentum, and that alone should be enough to ensure its success. It’s visually compelling, never drags and benefits from ace technical contributions from the likes of cinematographer Michael Seresin ('Harry Potter and the Prisoner of Azkaban') and composer Michael Giacchino (an Oscar winner for 'Up' who also collaborated on Reeves’ terrific horror remake 'Let Me In'). Yes, 'Dawn of the Planet of the Apes' is a good film. I wish it was a great one."

Geoff Berkshire, Paste Magazine

"If there’s any weakness in this otherwise impeccable film, it’s the rather ponderous score by Michael Giacchino, which occasionally recalls but doesn’t come close to matching Jerry Goldsmith’s memorable creation for the original 'Planet of the Apes' in ’68."

Peter Howell, Toronto Star

"Regardless of whose side audiences might take, however, the fallout is inarguably spectacular. Reeves stages the ensuing crossfire in the human colony with much the same sense of kinetic panic he brought to the flipped monster-movie mechanics of 'Cloverfield,' albeit with far more technical dazzle this time. With most of the below-the-line talent new to the franchise, 'Dawn' has an aesthetic entirely distinct from that of 'Rise,' with Michael Seresin’s antsy camerawork painting from a strikingly dank palette, and Michael Giacchino’s chorally embellished score occasionally evoking the grandeur of Howard Shore’s work on the 'Lord of the Rings' trilogy. The editing by William Hoy and Stan Salfas rotates multiple points of drama before hurtling into a too-busy finale that sells Oldman’s arc particularly short: Still, while nearly half an hour longer than its predecessor, the film certainly doesn’t feel it."

Guy Lodge, Variety

"The film is lustrously beautiful, shot by Michael Seresin in masterfully controlled tones that are at once muted and vibrant. The no-doubt extensive CGI effects overseen by master visual effects supervisor Joe Letteri, mesh nearly seamlessly with the real backgrounds, and the sense of place contributed by James Chinlund’s production design is strong both in the country and city. Michael Giacchino’s vigorous score is another big plus."

Todd McCarthy, Hollywood Reporter

RAGE - Laurent Eyquem

"Goaded at first by his wife (Rachel Nichols), he clumsily throws himself into a series of brutal brawls and knifings with the help of two cronies, soon stirring up old trouble. Mindlessly shaky, circling camerawork, guitar licks and ill-timed flashbacks all insist that this catalog of revenge’s futility is pulse-pounding, but the ramp-ups tend to sap scenes of their energy."

Nicolas Rapold, New York Times

"Neither tragic or particularly unintentionally funny, 'Rage' slogs forward with blood-spurting pathos to an ultimately disingenuous twist conclusion, offering little more than a revenge relic pretending that the ethical treatise of 'A History of Violence' never happened. It's as if director Paco Cabezas relishes the shotgun-pumping climax of 'Rolling Thunder'not as an end, but a methodology, since the film takes every opportunity to be as gruesome as possible. Perhaps even this is giving Cabezas too much credit, since his sophomoric, gut-check theatrics are more tailored to direct-to-video aesthetics, replete with atrocious dialogue like 'I need some help. Can you meet me by the construction site?' and perpetual bursts of violence, ultimately amounting to an unsightly cinematic mélange of bloodshed and mayhem, accompanied by grating heavy metal on the soundtrack. Wrangling up a pair of old bros to join in on his gun-toting rampage, Paul sets out to answer one act of violence with over a dozen more. Cabezas takes Agnew and Keller's primary concept of a man reformed to societal standards, yet still possessing an unquenchable thirst for violence, and opts for abject, pseudo-tragic solemnity and hardened, guitar-thrashing scenes of monochromatic gunplay over stringent, genre-reflexivity."

Clayton Dillard, Slant Magazine

"It’s in groping for the full weight of tragedy that 'Rage' turns risible. Cabezas ('Neon Flesh') has a weakness for treating cliches like epiphanies: The moment of Caitlin’s disappearance is signaled by the ominous plop of a raindrop, and Laurent Eyquem’s dramatic score tends to surge excessively whenever the characters raise their voices, which is fairly often."

Justin Chang, Variety

"Visually, too, 'Rage' is a potpourri of cliches: Cabezas positively embraces slow motion and D.P. Andrzej Sekula always seeks out the unusual angle across a range of deja-vu locations which include an underground car park and a warehouse. One early shot from street level, of a skirted Caitlin crossing the street, is likely to raise feminist eyebrows within the first couple of minutes in a movie which, despite its awkward attempts at raindrop tenderness, is really all about testosterone -- right down to Laurent Eyquem’s overused chunky, rock-based score."

Jonathan Holland, Hollywood Reporter


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

July 18
HOOK (John Williams) [Nuart]
MALCOLM X (Terence Blanchard) [LACMA/AMPAS]
MANHATTAN (George Gershwin, Tom Pierson), ANNIE HALL [Cinematheque: Aero]
THE PROFESSIONAL (Eric Serra), LA FEMME NIKITA (Eric Serra) [Cinematheque: Egyptian]
THE YOUNG LIONS (Hugo Friedhofer) [New Beverly]

July 19
BODY CHEMISTRY (Terry Plumeri) [Silent Movie Theater]
THE LORDS OF FLATBUSH (Joe Brooks), NIGHT SHIFT (Burt Bacharach) [Cinematheque: Aero]
ONCE UPON A TIME IN THE WEST (Ennio Morricone) [New Beverly]

July 20
CROCODILE DUNDEE (Peter Best), COMING TO AMERICA (Nile Rodgers) [New Beverly]
CURLY TOP (Ray Henderson) [UCLA]
THE DEVILS (Peter Maxwell Davies) [Cinematheque: Aero]
THE FIFTH ELEMENT (Eric Serra), SUBWAY (Eric Serra) [Cinematheque: Egyptian]
4 LITTLE GIRLS (Terence Blanchard) [AMPAS]

July 21
CROCODILE DUNDEE (Peter Best), COMING TO AMERICA (Nile Rodgers) [New Beverly]
THE TEXAS CHAIN SAW MASSACRE (Wayne Bell, Tobe Hooper) [Silent Movie Theater]
20,000 LEAGUES UNDER THE SEA (Paul Smith) [Arclight Hollywood]

July 22
BATMAN (Danny Elfman) [Arclight Sherman Oaks]
BEVERLY HILLS COP (Harold Faltemeyer) [Arclight Hollywood]
THE KID (Charles Chaplin), THE CIRCUS (Charles Chaplin) [LACMA]
RUNAWAY NIGHTMARE, NIGHTMARE (Jack Eric Williams) [New Beverly]
THE TEXAS CHAIN SAW MASSACRE (Wayne Bell, Tobe Hooper) [Silent Movie Theater]

July 23
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [Arclight Hollywood]
STRAY DOG (Fumio Hayasaka), KLUTE (Michael Small) [New Beverly]
THE TEXAS CHAIN SAW MASSACRE (Wayne Bell, Tobe Hooper) [Silent Movie Theater]

July 24
THE PURPLE ROSE OF CAIRO (Dick Hyman), PENNIES FROM HEAVEN (Marvin Hamlisch, Billy May) [Cinematheque: Aero]
STRAY DOG (Fumio Hayasaka), KLUTE (Michael Small) [New Beverly]

July 25
ALL THE PRESIDENT'S MEN (David Shire), KLUTE (Michael Small) [Cinematheque: Aero]
CHRIST IN CONCRETE (Benjamin Frankel) [UCLA]
ONCE UPON A TIME IN THE WEST (Ennio Morricone) [Cinematheque: Egyptian]
THE WILD LIFE (Edward Van Halen, Donn Landee) [Nuart]

July 26
CAFE FLESH (Mitchell Froom) [Silent Movie Theater]
THE GODFATHER (Nino Rota) [Cinematheque: Aero]
THE GOOD, THE BAD AND THE UGLY (Ennio Morricone) [Cinematheque: Egyptian]
MY OWN PRIVATE IDAHO (Bill Stafford) [Silent Movie Theater]
THE RAID 2 (Joseph Trapanese, Aria Prayogi, Fajar Yuskemal) [New Beverly]
RIFIFI (Georges Auric), NIGHT AND THE CITY (Franz Waxman) [UCLA]

July 27
ENCHANTED ISLAND (Raul Lavista) [Cinematheque: Egyptian]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [Cinematheque: Aero]
IRACEMA (Jorge Bodanzky, Achim Tappen) [UCLA]
NIGHTDREAMS (Mitchell Froom) [Silent Movie Theater]

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Such an under-appreciated composer was Ken Thorne. I am relieved that the Academy recognized his talent on at least one occasion, and that the wonderful director, Richard Lester (another under-appreciated talent), used him on frequent occasions. I hope to discover more of his film and TV work that is available for viewing. A brilliant, and witty composer.

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June 18
Ali Akbar Khan died (2009)
Basil Kirchin died (2005)
Bernard Herrmann begins recording his score to Blue Denim (1959)
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