Film Score Monthly
Screen Archives Entertainment 250 Golden and Silver Age Classics on CD from 1996-2013! Exclusive distribution by SCREEN ARCHIVES ENTERTAINMENT.
Wild Bunch, The King Kong: The Deluxe Edition (2CD) Body Heat Friends of Eddie Coyle/Three Days of the Condor, The It's Alive Ben-Hur Nightwatch/Killer by Night Gremlins Space Children/The Colossus of New York, The
FSM HOME MESSAGE BOARD FSM CDs FSM ONLINE RESOURCES FUN STUFF ABOUT US  SEARCH FSM   
LOG IN
Forgot Login?
Register
Search Archives
Film Score Friday
Latest Edition
Previous Edition
Archive Edition
The Aisle Seat
Latest Edition
Previous Edition
Archive Edition
View Mode
Regular | Headlines
All times are PT (Pacific Time), U.S.A.
Site Map
Visits since
February 5, 2001:
14916936
© 2017 Film Score Monthly.
All Rights Reserved.
Return to Articles

The latest release from Intrada is the first-ever commercial release of Bruce Broughton's charming score for writer-producer John Hughes' 1994 comedy BABY'S DAY OUT. In one of the many composer shuffles that were common in the mid-90s, Jerry Goldsmith was originally announced to score the film but had to bow out due to a scheduling conflict, and Broughton (who famously had to back out of Hughes' Home Alone due to a conflict with The Rescuers Down Under) contributed his usual melodic gift and light orchestral touch, even later remarking in an interview on his fondness for the film. A rare, 38-minute promotional CD of Broughton's score was released around the time of the film, but Intrada's Baby's Day Out features more than twice as much Broughton music.


The latest CD from Kritzerland presents the first-ever release of the original score tracks from one of Henry Mancini's loveliest scores of the 1960s, for the time-jumping marital romantic comedy-drama TWO FOR THE ROAD, starring Audrey Hepburn and Albert Finney, directed by the great Stanley Donen, and featuring an Oscar-nominated screenplay by Frederic Raphael (Darling). Mancini's score was shortlisted for an Oscar nomination that year (as was his Wait Until Dark), and as with nearly all Mancini scores from that era, the commercially released soundtrack LP, later released on CD, was a re-recording emphaszing source cues.


Varese Sarabande plans to announce their next batch of limited edition CD Club releases next Monday. 


CDS AVAILABLE THIS WEEK

Baby's Day Out - Bruce Broughton - Intrada Special Collection
Beauty and the Beast - Alan Menken - Disney
Beauty and the Beast: Deluxe Edition - Alan Menken - Disney
Brimstone
 - Tom Holkenborg - Milan
Joe L'implacabile
 - Carlo Savina - Beat
Kong: Skull Island - Henry Jackman - WaterTower [CD-R]
Sword of the Assassin
- Christopher Wong - MovieScore Media


IN THEATERS TODAY

Brimstone  - Tom Holkenborg - Score CD on Milan
Burning Sands - Kevin Lax
Kong: Skull Island - Henry Jackman - Score CD-R on WaterTower
My Scientology Movie - Dan Jones
The Other Half - Tom Cullen, Joey Klein
The Ottoman Lieutenant - Geoff Zanelli
Personal Shopper - no original score
Raw - Jim Williams - Score LP due on Mondo
The Sense of an Ending - Max Richter
This Beautiful Fantastic - Anne Nikitin

COMING SOON

March 17
Fortitude - Ben Frost - Mute (import)
Guy and Madeleine on a Park Bench - Justin Hurwitz - Milan
John Williams & Steven Spielberg: The Ultimate Collection - John Williams - Sony
A Midsummer Night's Dream - Elliot Goldenthal - Zarathustra
Sotto Il Segno Dello Scorpione
 - Vittorio Gelmetti - Quartet
March 24
Legion - Jeff Russo - Lakeshore
Terminator 2: Judgment Day (re-release)
 - Brad Fiedel - UME
We're Going on a Bear Hunt - Stuart Hancock - Sony (import)
March 31
The Boss Baby - Hans Zimmer, Steve Mazzaro - Backlot
Die Hard (re-release) - Michael Kamen - La La Land
Ghost in the Shell - Clint Mansell - Lakeshore
Logan - Marco Beltrami - Lakeshore
April 7 
The Comedian - Terence Blanchard - Blue Note
The Game of Thrones Symphony - Ramin Djawadi - Silva
Power Rangers
- Brian Tyler - Varese Sarabande
Subterranea - Michael Holmes - Giant Electric Pea
April 28
On Golden Pond - Dave Grusin - Varese Sarabande
June 2
Max & Me - Mark McKenzie - Sony (import)
Date Unknown
Adam Resurrected
 - Gabriel Yared - Caldera
Bloudim 
- Emil Viklicky - Kronos
1898 Los Ultimos De Filipinas
- Roque Banos - Saimel [CD-R]
Fast Company
 - Fred Mollin - Dragon's Domain
The 5th Musketeer
 - Riz Ortolani - Quartet
Il Magistrato/Difendo Il Mio Amore - Renzo Rossellini - Saimel
Livide 
- Raphael Gesqua - Kronos
Monster from Green He
ll - Albert Glasser - Kritzerland
Orca - Ennio Morricone - Music Box
Princesse Alexandra
- Serge Franklin - Music Box
Seguimi 
- Marco Werba - Kronos
Timemaster
 - Harry Manfredini - Dragon's Domain
Two for the Road
- Henry Mancini - Kritzerland


THIS WEEK IN FILM MUSIC HISTORY

March 10 - Arthur Honegger born (1892)
March 10 - Angela Morley born as Wally Stott (1924)
March 10 - Charles Previn, head of the Universal Music Department, wins the Score Oscar for One Hundred Men and a Girl, for which no composer is credited (1938)
March 10 - Brad Fiedel born (1951)
March 10 - Marc Donahue born (1953)
March 10 - Uwe Fahrenkrog-Petersen born (1960)
March 10 - Michel Legrand records his score for Summer of ’42 (1971)
March 11 - Gottfried Huppertz born (1887)
March 11 - Astor Piazzolla born (1921)
March 11 - Recording sessions begin for Bronislau Kaper's score to Lili (1952)
March 11 - David Newman born (1954)
March 11 - Rob Simonsen born (1978)
March 11 - Ron Jones records his score for the Star Trek: The Next Generation episode "Heart of Glory" (1988)
March 11 - Paul Dunlap died (2010)
March 11 - Francois-Eudes Chanfrault died (2016)
March 11 - Keith Emerson died (2016)
March 12 - Georges Delerue born (1925)
March 12 - Aldemaro Romero born (1928)
March 12 - Leonard Rosenman begins recording his score for Prophecy (1979)
March 12 - David Shire begins recording his score for Short Circuit (1986)
March 13 - Hugo Friedhofer wins his only Oscar, for The Best Years of Our Lives score (1947)
March 13 - Lionel Newman, Cyril Mockridge and Leigh Harline begin recording their score for River of No Return (1954)
March 13 - Terence Blanchard born (1962)
March 13 - Lalo Schifrin begins recording his score for Joe Kidd (1972)
March 13 - Carl Davis begins recording his score to The French Lieutenant's Woman (1981)
March 13 - Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “Shgoratchx!” (1981)
March 13 - Ustad Vilayat Khan died (2004)
March 14 - Les Baxter born (1922)
March 14 - Quincy Jones born (1933)
March 14 - Roy Budd born (1947)
March 14 - The Godfather premieres in New York (1972)
March 14 - Peter Maxwell Davies died (2016)
March 15 - Jurgen Knieper born (1941)
March 15 - Max Steiner wins the Oscar for Since You Went Away score (1945)
March 15 - Ry Cooder born (1947)
March 15 - Stomu Yamashta born (1947)
March 15 - Jerry Fielding records his score for the TV pilot Shirts/Skins (1974)
March 15 - Jerry Fielding begins recording his score for Beyond the Poseidon Adventure (1979)
March 15 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Starship Mine” (1993)
March 15 - Arnold Schwarzwald died (1997)
March 15 - Jay Chattaway begins recording his score for the Star Trek: Enterprise episode “Bound” (2005)
March 15 - Recording sessions begin for Danny Elfman’s score for Restless (2010)
March 16 - Harry Rabinowitz born (1916)
March 16 - John Addison born (1920)
March 16 - Alesandro Alessandroni born (1925)
March 16 - Recording sessions begin for Hugo Friedhofer’s score to Captain Carey, U.S.A. (1949)
March 16 - Nancy Wilson born (1954)
March 16 - Michiru Oshima born (1961)
March 16 - Henry Mancini begins recording his score for Breakfast at Tiffany’s (1961)
March 16 - Mario Castelnuovo-Tedesco died (1968)
March 16 - Marcus Trumpp born (1974)
March 16 - Recording sessions begin for Leonard Rosenman's score to Cross Creek (1983)
March 16 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Cause and Effect” (1992)

DID THEY MENTION THE MUSIC?

ANESTHESIA - Jeff Danna
 
"Craft elements across the board are more proficient than they are elegant. While Christina Voros’s grainy digital lensing affords the actors plenty of breathing space, the same can’t always be said for Jeff Danna’s instructive orchestral score."
 
Guy Lodge, Variety
 
BROOKLYN - Michael Brook
 
"In some ways 'Brooklyn' feels like a movie that’s not just about, but also from, a more innocent age. Though the country to which Eilis emigrates is the America of the Korean War and the Red Scare, we get no hint of those national traumas, and potential racial tensions are defused in the comedy of irrepressible little brother Frankie’s announcement, when Eilis arrives at the family apartment, that “the Italians hate the Irish”. But this sidelining of harsher elements is perhaps only to be expected in a film that takes a conventional romantic set-up and, abetted by Michael Brook’s hauntingly melodic score, elevates it to a more intelligent dramatic level. Immigrant dramas traditionally tend to be male-led; but Brooklyn, despite Cohen’s break-out performance and the excellence of Gleeson, is female-led and all the stronger for it. In this, as in most other ways, it’s faithful to its source material."
 
Philip Kemp, Sight and Sound

"It’s hard to convey just how gorgeously rendered and impeccably crafted 'Brooklyn' is, especially given the source material, which can sound rather weepy and ho-hum. 'Brooklyn' could be described as Nicholas Sparks-ian with its woozy romanticism, intoxicating charms, and tear jerking heartache. But make no mistake, every single element of the movie, camera, craft, performance, music, and more crescendos in symphonic harmony to portray these particular emotions with a poignant and aching truthfulness. There are no forced or false emotions, and the terrifically hewed intimacy of it all is deeply impressive.The stunning, picturesque cinematography by Yves Bélanger ('Dallas Buyers Club') features some eye-catching imagery, and the wistful score by Michael Brook is magnificent and heartrending. Plus the art direction and costumes are painstakingly recreated with a homespun and lived-in faithfulness."
 
Rodrigo Perez, IndieWire

"With its melodramatic score and sumptuously photographed imagery of a snow-covered ‘50s New York City, I fought against John Crowley’s 'Brooklyn' for about twenty minutes. Words like sentimental and maudlin crossed my mind and made it to my notebook. I'm not sure where it turned me. It could have been a look in Saoirse Ronan's eyes or a musical cue or just the right image, but I was helpless. It worked its magic. And, yes, this movie is magical. Filmed with lyrical beauty by the great Yves Bélanger ('Wild,' 'Gerry '[sic]), 'Brooklyn' often plays like a dream, with its soft colors and lyrical framing. Bélanger and Crowley beautifully contrast the relatively cramped spaces of NYC with the open fields of Ireland; so much so that seeing one of the latter on Long Island has thematic importance -- it looks a bit like home. Michael Brook’s ('Into the Wild,' 'Heat') old-fashioned score swoops and spins like the romantic movies of the era. And Hornby's script dares you to go with it in terms of its brazen romance. This is a film where people look lovingly at each other and we believe the emotion of the moment despite knowing our heartstrings are being pulled."
 
Brian Tallerico, RogerEbert.com

"In a sense, a project like this calls back to what it imagines as a cornier, less cynical era, which is does simply by ignoring the rampant cynicism of the time -- it’s set during the tail end of America’s second Red Scare, smack-dab in the middle of the Korean War, and bears no trace of either. Buoyed along by a beautiful Michael Brook score, 'Brooklyn' is just the sort of escapist entertainment its own characters might have chosen had they paid their 65 cents for a night at the cinema way back in 1952, the year the film opens, when the infectiously nostalgic 'Singin’ in the Rain' (which Ronan’s protagonist goes to see at one point) and the garishly square 'The Greatest Show on Earth' vied for Oscars."
 
Peter Debruge, Variety
 
"Shot very briefly in New York for some exteriors but otherwise filmed in Ireland and Montreal, this British-Canadian-Irish coproduction is splendidly decked out in every department, notably including Yves Belanger’s cinematography, Francois Seguin’s spot-on period production design, Odile Dicks-Mireaux’s lively costume design and Michael Brook’s evocative scoring."
 
Todd McCarthy, Hollywood Reporter

BY THE SEA - Gabriel Yared

"On a technical level, 'By the Sea' makes no major missteps; the widescreen cinematography of Christian Berger (best known for his work with Michael Haneke) captures the ocean as something both beautiful and dangerous, never opting for postcard prettiness, and Gabriel Yared’s score -- aided by some Serge Gainsbourg songs -- evokes the film’s early 1970s setting."
 
Alonso Duralde, The Wrap
 
"More broadly, the film's barbed tone lacks any distinct target, dodging any trenchant observations about the uncanny sensation of simultaneously living in intimacy and celebrity. (A shrugged 'Everyone has many opinions' is the closest it gets.) Gabriel Yared's lovely string score is overused, giving a false sense of momentum to scenes signifying emptiness and alienation. The final, sobbing reveal not only psychologizes the film's examination of marital entropy, but attempts to explain it away. But if 'By the Sea' stumbles when it seeks our sympathy, it thrives when it's exploiting our fascination with the surface of things, and all that’s unknowable underneath."
 
Christopher Gray, Slant Magazine

"Doing work that could hardly be more different from his Oscar-nominated black-and-white lensing on 'The White Ribbon,' d.p. Christian Berger captures Malta’s sun-drenched exteriors and the beige-and-ivory interiors of Jon Hutman’s production design using mostly natural light, with often exquisite results. The unmemorably tasteful accompaniment of Gabriel Yared’s string-based score is accentuated by a handful of choice pop selections including Jane Birkin and Serge Gainsbourg’s 'Jane B,' which is answered in the final stretch by a blast of Chopin. 'By the Sea' always offers something to tickle the eye and ear, even as it leaves the heart and mind coolly unstirred."
 
Justin Chang, Variety
 
"With such flat-lining and repetitive scenes dominating, two hours is far too long to make an audience wait for a payoff that is hardly about to save the film from its own stasis and dramatic flatness. There is a pastel pleasure to the visual conjured by cinematographer Christian Berger, best known for his striking black-and-white work on Michael Haneke's 'The White Ribbon,' who used natural light enhanced by a series of reflectors. Add to this some strong musical passages courtesy of Gabriel Yared and you have some suggestions of mood and emotional activity."
 
Todd McCarthy, Hollywood Reporter
 
DIABLO - Timothy Williams

"Clint Eastwood’s career is full of performances where he was unafraid to deal with the darker natures of his characters, and with their weaknesses. 'Diablo' wants to cover similar ground, but gives Scott Eastwood very little of substance to play. As a result, he’s merely an enigma who sheds or gains characteristics where convenient. The movie impresses on his empty canvas whatever is necessary at the moment, while horror movie music hints at a doom that turns out to be deeply unsatisfying and almost nonsensical."
 
Odie Henderson, RogerEbert.com
 
"As for [Scott] Eastwood, upstaged though he may be by both [Walton] Goggins and [Danny] Glover, there’s something bold about his willingness to so directly invoke his father, especially considering how uncannily alike the two look; even if his primary strengths as an actor lie elsewhere, the flimsiness of his character here is more down to the writing than the performance. Technical credits are strong, and despite a somewhat portentous score, the film looks excellent for its budget."
 
Andrew Barker, Variety

LAMB - Daniel Belardinelli
 
"The film is clearly the product of intelligent people who believe in the story they're telling, so it might not be fair to say this, but: during long stretches of 'Lamb' I did not quite believe in what I was seeing. There's something off, or perhaps curiously evasive, about this story. The photography, sound (by James Weidner and Kelsey Wood) and score (by Daniel Belardinelli) edge towards the dreamlike while staying rooted in the real. And yet the two main characters, perhaps by their very nature, don't feel entirely of this world. And despite the lead actors' superb performances, they remain a bit abstract -- too much like constructs from the kind of minimalist, meaning-charged American short stories that tend to get written in graduate writers' workshops than any people you might actually meet. So 'Lamb' is empathetic and untrustworthy, haunting but often unpersuasive. In the end it's hard to say what the film's point is. But it lingers in the mind."
 
Matt Zoller Seitz, RogerEbert.com

"Eager to escape her humdrum existence and see something of the outside world, Tommie says yes with little hesitation, initiating a roughly week-long retreat into the wilderness (scenically lensed in Wyoming). The open road ends at a remote, Edenic destination where David and Tommie wile away a few days resting on the banks of a river, cooking fish over a fire, and watching horses roaming an open field. But the unspoiled glory of their new surroundings -- reinforced by d.p. Nathan M. Miller’s crystalline images and Daniel Belardinelli’s gently piercing score -- never quite dispels the sense that we’re seeing a beautiful lie, and a fleeting one. Even before David’s girlfriend (Jess Weixler) stops by for a surprise visit, forcing an abrupt change of plans, we sense that the characters can outrun themselves and their past wounds for only so long."
 
Justin Chang, Variety

THE PEANUTS MOVIE - Christophe Beck

"'The Peanuts Movie' is not perfect, but it remains almost completely true to its original values. It’s a snowflake slowly falling to the melancholy notes of Vince Guaraldi. About the worst thing you can say about its integrity is that the ending is maybe 50 percent too happy for a 'Peanuts' purist’s tastes. After the screenwriters and Woodstock, the MVP of the film is composer Christophe Beck. The movie and TV veteran manages to weave in several Guaraldi beats along with a few modern songs in the musical score -- and makes it all sound like classic Charlie Brown."
 
Peter Hartlaub, San Francisco Chronicle

"As ever, he’s fallen for the Little Red-Haired Girl, marshaled into a love object that barely justifies a three-panel comic strip, never mind a feature. But as the film’s wispy narrative (largely conceived by Schulz’s son and grandson) makes stops along the way of a big dance, a terrifying 1,000-word book report and Snoopy’s perpetual warfare against the Red Baron, the movie begins to feel as cozily old-fashioned as Vince Guaraldi’s jazz music."
 
Joshua Rothkopf, Time Out New York

"Director Steve Martino ('Horton Hears A Who!') and the team at Fox's Blue Sky Animation Studios lifted much of the dialogue and character poses verbatim from the strip. (The image of Charlie Brown on his pitcher's mound getting the wind knocked out of him by a fastball will always endear.) Trombone Shorty's got the wah-wah of the adults covered, and Pig-Pen still gets to glide on a cloud of dust. The peppy score from Christophe Beck tips its hat to the iconic Vince Guaraldi tunes of yesteryear. The movie even goes one step further and resurrects Bill Melendez, director and producer of pretty much every previous animated 'Peanuts' escapade, by repurposing archival audio of his comforting Snoopy and Woodstock noises. Boundless fantasy optimism is Snoopy's domain, after all, and maybe it's no surprise that the beagle's moments in 'The Peanuts Movie' are the most charming. It's giddy watching Snoopy conjure his Red Baron battles in widescreen, piloting his doghouse through a European countryside like something out of a Howard Hughes film, backed by an all-Woodstock pit crew, a rousing orchestral score, and those Melendez cackles. This peculiar sense of childlike (or doglike) playfulness has been slumbering for decades inside that red doghouse -- and for whatever doesn't work in this new incarnation, abandoning Snoopy in the purgatory of MetLife commercials would have been a far greater crime. The Flying Ace flies on, and all's right with the world."
 
Andrew Lapin, NPR
 
"The new feature is mostly a series of curated (by a team including Schulz’s son and grandson) greatest-hits moments from the famous and increasingly cheerful TV specials that ran from 1965 to 2006, with Vince Guaraldi’s iconic musical theme popping up repeatedly."
 
Lou Lumenick, New York Post

"The score occasionally features snippets of Vince Guaraldi’s musical compositions from the seminal 1965 television special, now a holiday tradition. But the movie is more than simply a 'best of' rehash of old gags and past schticks. Think of it as a family reunion that reacquaints adults with and introduces youngsters to celebrated characters with a timeless quality, though the get-together may last a little longer than usual. As Miss Othmar might say in that distinctive voice, 'Wah wah WAH wah WAH WAH wah WAH.'"
 
Steve Davis, The Austin Chronicle

"Schroeder doesn’t play Beethoven in Garage Band, no one has a cellphone, Snoopy still composes his purple prose on a manual typewriter, and the children still fill their days with ice skating and baseball. (Sure, Meghan Trainor and Flo Rida are on the soundtrack, but so is Vince Guaraldi.)"
 
Alonso Duralde, The Wrap

"That same respect for the past can be found in the script, credited to Schulz’ son, Craig, and grandson, Bryan, along with the younger Schulz’s writing partner Cornelius Uliano, which still favors rotary telephones and manual typewriters, although introducing blue recycling boxes into the mix. Also wisely retained are Vince Guaraldi’s jazzy themes, performed here by David Benoit, which mesh nicely with Christophe Beck’s original score. Only Meghan Trainor’s bouncy dance-pop contribution 'Better When I’m Dancin'' feels a bit out of place in an otherwise caringly organic, affectionately composed love letter to Charles Schulz."
 
Michael Rechtshaffen, Hollywood Reporter

YOUTH - David Lang
 
"Add to that a haunting score by David Lang, several ethereal tracks from former Red House Painter Mark Kozelek, and a string of peripheral characters who are memorable in their own right, and Sorrentino’s film becomes much more than a meditation on the loss or folly of its title. Regrets, they’ve had a few, but at the end, simple songs turn out to be the most important songs of all."
 
Marc Savlov, The Austin Chronicle

"But the low points cut deeper. At one point, Fred pontificates that the great thing about music is 'You don’t need words to understand it. It just is.' Sadly, despite frequent references to the inadequacy of language, the film is surprisingly wordy, and a lot of it is written in that awkward English-as-a-second-language argot, with idioms so carefully placed they feel unnatural, and characters often beginning their answers by repeating the question. It is not Sorrentino’s first time working in English (that was 'This Must Be The Place' which might have sent a cautionary thrill of fear down the spine of any lover of the tongue), but the script is unmistakably not the work of a native speaker, which is especially odd when the words come out of the mouths of actors who are. The film is overtly about music, too, but some of the soundtrack choices fall far short of the kind of swell of emotion you’d hope for when a song strikes up loud over a lovely image, while Fred’s composition 'Simple Songs,' when we finally hear it, is oddly deflating. Perhaps that’s because the very thing his composition and the film lacks is simplicity, which is ironic as its thinking is so simplistic. Everything is ramped-up, hyper, effortful and constructed. Very rarely are things just allowed to be, a silence allowed to reign, or a real human moment allowed to bloom. It’s a film so arch it’s nearly triumphal, but so hollow it crumbles to dust at the slightest tap. 'We are all just extras' says Keitel’s Boyle at one point, and it’s truer than Sorrentino could have known when he wrote the line: nothing here is essential."
 
Jessica Kiang, The Playlist
 
"Mr. Keitel and Mr. Caine are pleasant company, even if it too often sounds as if they were speaking lines translated into English. Mr. Sorrentino’s pictorial sense remains exquisite, as it was in 'The Great Beauty' and, before that, in 'This Must Be the Place' and 'The Consequences of Love.' As befits a movie about a composer, the music (by David Lang) makes its presence felt in more than a merely decorative manner. It carries the intimation of something deeper and grander into this minor fable of waning potency."
 
A.O. Scott, New York Times

"Co-writer/director Paolo Sorrentino ('The Great Beauty,' 'This Must Be the Place') leaves viewers with the certainty that they not only know as much as the characters played by Michael Caine, Harvey Keitel, Paul Dano, and Rachel Weisz play, but probably more. There's great comfort in reaching that conclusion: 'Youth' climaxes with a beautiful, heart-breaking operatic medley entitled 'Simple Songs.' The piece's orchestration, like its lyrics -- 'I've got a feeling. I live near. I live for you now.' -- is not remarkable unto itself. But the wealth of emotions that soprano singer Sumi Jo conveys through her heart-breaking performance confirms the deceptive power of 'Youth,' a big film about small sentiments."
 
Simon Abrams, RogerEbert.com

"Since the movie is a series of themes and variations, it's only natural that many ingredients are musical. The film opens with a cover band's rendition of Florence + the Machine's 'You've Got the Love,' and American troubadour Mark Kozelek (once of Red House Painters) hangs around the spa, strumming and singing. The score is by Bang on a Can co-founder David Lang, who also composed Fred's 'Simple Songs,' a lovely minimalist piece that doesn't sound like Elizabeth II's cup of tea."
 
Mark Jenkins, NPR

"'Youth' is superior cinema, ardent and artful. Sorrentino, an Oscar winner for 'The Great Beauty,' fills every frame with ravishing images that evoke his idol, Fellini. Gloriously shot by Luca Bigazzi and scored by David Lang, the movie engulfs you like a dream."
 
Peter Travers, Rolling Stone

"Bigazzi’s evocative lensing is once again a marvel to behold, compositionally striking yet never emptily so, deeply cognizant of Old and Modern Master references (and not just the appropriate Susannah and the Elders scene). Fellini’s influence is felt more than once, especially when Mick imagines all his female characters spread out over an idyllic Swiss pasture, but the parallels are less deliberately exact than in 'The Great Beauty.' Contempo composer David Lang’s gorgeous post-Romantic music offers rich aural rewards (the finale in particular), and as always Sorrentino’s amusing use of indie tunes, such as a cover of Florence + the Machine’s 'You’ve Got the Love,' is ever apt, and always a wonderful surprise."
 
Jay Weissberg, Variety

THE NEXT TEN DAYS IN L.A.

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

March 10
BADLANDS (George Aliceson Tipton), DAYS OF HEAVEN (Ennio Morricone) [Cinematheque: Egyptian]
GASLIGHT (Bronislau Kaper), SUDDEN FEAR (Elmer Bernstein) [Cinematheque: Aero]
PULP FICTION [New Beverly]
RAISE THE TITANIC (John Barry), AIRPORT '77 (John Cacavas) [New Beverly]
THEY LIVE (John Carpetner, Alan Howarth) [Silent Movie Theater]

March 11
RAISE THE TITANIC (John Barry), AIRPORT '77 (John Cacavas)  THE BAT PEOPLE (Artie Kane) [New Beverly]
BATMAN: MASK OF THE PHANTASM (Shirley Walker) [New Beverly]
ROSEMARY'S BABY (Christopher Komeda), DIABOLIQUE (Georges Van Parys) [Cinematheque: Aero]
THE SALVATION HUNTERS [Silent Movie Theater]

March 12
BATMAN: MASK OF THE PHANTASM (Shirley Walker) [New Beverly]
DIAL M FOR MURDER (Dimitri Tiomkin), SHADOW OF A DOUBT (Dimitri Tiomkin) [Cinematheque: Aero]
DIARY OF A MAD HOUSEWIFE, PLAY IT AS IT LAYS [New Beverly]
A STAR IS BORN (Max Steiner) [Cinematheque: Egyptian]
THE TREE OF LIFE (Alexandre Desplat) [Cinematheque: Egyptian]

March 13
BRAZIL (Michael Kamen) [Arclight Santa Monica]
DIARY OF A MAD HOUSEWIFE, PLAY IT AS IT LAYS [New Beverly]
VIDEODROME (Howard Shore) [Arclight Hollywood]

March 14
THE FRENCH LIEUTENANT'S WOMAN (Carl Davis) [LACMA]
SLAUGHTERHOUSE (Joseph Garrison), PIGS (Charles Bernstein) [New Beverly]

March 15
NAVAJO JOE (Ennio Morricone), CHATO'S LAND (Jerry Fielding) [New Beverly]

March 16
CITY OF LOST CHILDREN (Angelo Badalamenti) [Cinematheque: Egyptian]
INHERENT VICE (Jonny Greenwood) [Cinematheque: Aero]
NAVAJO JOE (Ennio Morricone), CHATO'S LAND (Jerry Fielding) [New Beverly]

March 17
THE HATEFUL EIGHT (Ennio Morricone) [Cinematheque: Aero]
HOWL'S MOVING CASTLE (Joe Hisaishi) [Nuart]
KURONEKO (Hikaru Hayashi), ONIBABA (Hikaru Hayashi) [New Beverly]
POINT BREAK (Mark Isham), ROAD HOUSE (Michael Kamen) [Cinematheque: Egyptian]
PULP FICTION [New Beverly]
STARSHIP TROOPERS (Basil Poledouris) [Silent Movie Theater]
WITCHTRAP (Randy Miller) [Cinematheque: Egyptian]

March 18
KILLER KLOWNS FROM OUTER SPACE (John Massari), THE FUNHOUSE (John Beal), BLOOD HARVEST (George Daugherty) [Cinematheque: Egyptian]
KURONEKO (Hikaru Hayashi), ONIBABA (Hikaru Hayashi) [New Beverly]
MAMBA (James C. Bradford), CHEER UP AND SMILE [UCLA]
THE MASTER (Jonny Greenwood) [Cinematheque: Aero]
THE MONSTER SQUAD (Bruce Broughton) [New Beverly]
NIGHTWING (Henry Mancini) [New Beverly]
NOISE [Silent Movie Theater]
ORPHEUS (Georges Auric) [Silent Movie Theater]

March 19
BLOW OUT (Pino Donaggio) [Silent Movie Theater]
DOC (Jimmy Webb), RANCHO DELUXE (Jimmy Buffett) [New Beverly]
GOD'S STEP CHILDREN, SHE DEVIL [UCLA]
INTERSTELLAR (Hans Zimmer) [Cinematheque: Aero]
THE MEMORY OF JUSTICE [AMPAS]
THE MONSTER SQUAD (Bruce Broughton) [New Beverly]
THE PASSENGER [Silent Movie Theater]
PLANET OF THE APES (Jerry Goldsmith), THE OMEGA MAN (Ron Grainer) [Cinematheque: Egyptian]

Return to Articles Author Profile
Comments (0):Log in or register to post your own comments
There are no comments yet. Log in or register to post your own comments
Film Score Monthly Online
In the Deep End With Desplat
The Patrick Doyle Express
Alias Bread
A Tale of Wonder
The Magnificent Seven: Directors Who Yield Great Scores, Part 2
Just Breathe
Wong's Turn: 2017 Holiday Gift Guide
Ear of the Month Contest: John Carpenter
The Post-Rozsa Memoirs: A Changed State of Affairs
ARK: A Sound of Thunder
Concert Review: Fantastic Music and Where to Find It
Today in Film Score History:
December 14
Alfred Newman begins recording his score for Hell and High Water (1953)
Fred Karlin begins recording his score for Ravagers (1978)
John Du Prez born (1946)
John Lurie born (1952)
Ron Jones records his score for the Star Trek: The Next Generation episode "The Defector" (1989)
FSMO Featured Video
Video Archive • Audio Archive
Podcasts
© 2017 Film Score Monthly. All Rights Reserved.