Along with their previously announced CD of iZLER's music from the TV series REVENGE, this week Intrada released a CD featuring two previously unreleased scores -- David Newman's music for the 1991 drama PARADISE (a remake of the French film Le Grand Chemin), starring Elijah Wood, Thora Birch, Melanie Grifith and Don Johnson; and Robert Folk's score for the hit teen comedy CAN'T BUY ME LOVE, starring Patrick Dempsey and Amanda Peterson.
La-La Land has announced two greatly expanded soundtrack releases due next week, along with their previously announced CD of John Debney's score for JOBS -- a two-disc set of Don Davis's music for the second film in the Matrix trilogy, THE MATRIX RELOADED, and a three-disc set of James Newton Howard's epic score for the all-star Western biopic WYATT EARP.
Varese Sarabande has just announced two upcoming score releases for high profile films -- on October 8 they will release Henry Jackman's score for the Somali piracy docudrama CAPTAIN PHILLIPS, starring Tom Hanks and directed by Paul Greengrass, and on October 22 they will release the score to the film version of the science-fiction classic ENDER'S GAME, starring Asa Butterfield, Hailee Steinfeld, Abigail Breslin, Ben Kingsley and Harrison Ford, with music by Steve Jablonsky (replacing James Horner).
The label also plans to release the soundtrack to GETAWAY, the upcoming action thriller starring Ethan Hawke and Selena Gomez, first as a download and then as a 1000-unit limited CD release in September. The score was composed by Justin Burnett (Dungeons and Dragons).
CD AVAILABLE THIS WEEK
Dexter: Season 7 - Daniel Licht - Milan
The Mortal Instruments: City of Bones - Atli Orvarsson - Milan
One Track Heart: The Story of Krishna Das - J. Mascis, Devadas - Varese Sarabande
Paradise/Can't Buy Me Love - David Newman/Robert Folk - Intrada Special Collection
Preminger at Fox - Cyril Mockridge, Alfred Newman, David Raksin - Kritzerland
Revenge - iZLER - Intrada
Short Term 12 - Joel P. West - Milan
IN THEATERS TODAY
Dark Tourist - Austin Wintory
The Frozen Ground - Lorne Balfe
The Grandmaster - Shigeru Umebeyashi, Nathaniel Mechaly - Score CD due Sept. 24 on Lakeshore
Inch'Allah - Levon Minassian
The Mortal Instruments: City of Bones - Atli Orvarsson - Score CD on Milan
Scenic Route - Michael Einziger
Short Term 12 - Joel P. West - Score CD on Milan
The World’s End - Steven Price - Song CD on Abkco
You’re Next - Jasper Justin Lee, Kyle McKinnon, Mads Heidtberg
COMING SOON
August 27
Jobs - John Debney - La-La Land
The Matrix Reloaded - Don Davis - La-La Land
Tres 60 - Roque Banos - Saimel
Wyatt Earp - James Newton Howard - La-La Land
September 3
Adore - Christopher Gordon - Varese Sarabande
Gagarin: First in Space - George Kallis - MovieScore Media
Revolution: Season One - Christopher Lennertz - Watertower [CD-R]
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)
Kiss of the Damned - Steven Hufsteter - Soraya
Thanks for Sharing - Christopher Lennertz - Milan
The Ultimate Life - Mark McKenzie - Varese Sarabande
The Ungodly: Music of Carlos Cases - Carlos Cases - Kronos
Windjammer - Morton Gould - Sepia
The X-Files, Vol. 2 - Mark Snow - La-La Land
September 17
Arrow: Season One - Blake Neely - Watertower [CD-R]
Luther - 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
Secrets of a Nurse/Island of Crime - Riz Ortolani - GDM
The Star Maker - Ennio Morricone - GDM
THIS WEEK IN FILM MUSIC HISTORY
August 23 - Willy Russell born (1947)
August 23 - Alexandre Desplat born (1961)
August 23 - Marvin Hatley died (1986)
August 23 - David Rose died (1990)
August 24 - Jean-Michel Jarre born (1948)
August 25 - Leonard Bernstein born (1918)
August 25 - John Williams begins recording his score for Bachelor Flat (1961)
August 25 - Jack Nitzsche died (2000)
August 26 - Humphrey Searle born (1915)
August 26 - Mark Snow born (1946)
August 26 - Ralph Vaughan Williams died (1958)
August 26 - Branford Marsalis born (1960)
August 26 - Fred Steiner's score for the Star Trek episode "Spock's Brain" is recorded (1968)
August 26 - John Frizzell begins recording his score for Alien Resurrection (1997)
August 27 - Miles Goodman born (1949)
August 27 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "Nothing Ever Happens in Linvale" (1963)
August 27 - Dimitri Tiomkin begins recording his score to 36 Hours (1964)
August 27 - Johnny Mandel records his score for the Amazing Stories episode "One for the Road"(1985)
August 27 - Craig Safan begins recording his score for Remo Williams: the Adventure Begins (1985)
August 29 - Anthony Adverse released in theaters (1936)
August 29 - Miklos Rozsa begins recording his score for The Miniver Story (1950)
August 29 - Victor Young begins recording his score to The Tall Men (1955)
August 29 - Fred Steiner's score for the Star Trek episode "Charlie X" is recorded (1966)
August 29 - Recording sessions begin for Richard Rodney Bennett's score for Sherlock Holmes in New York (1976)
DID THEY MENTION THE MUSIC?
JOBS - John Debney
"Neither Stern (2008’s 'Swing Vote') nor first-time screenwriter Matt Whitely tackle the globally transformative financial and social implications of Jobs’s accomplishments, nor do they delve into the technical specifics that might convey the magic of bytes and binary codes.It’s just as well. The two can barely manage simple character drama without cliche pronouncements ('Steve, you are your own worst enemy') and overwrought musical cues.
Greg Evans, Bloomberg News
“And still, the movie tries to eulogize the icon all the same, aiming to curry audience favor in the most rudimentary ways. On the heels of scenes that see Jobs axe programmers and dick over his closest friends, the film will shuffle him to one pandering, applause-laden spiel after another, each of them accompanied by John Debney's boisterous score, and, whether depicting a product reveal or simply a plan of the day's duties, regarding Jobs as if he's just made the water coolers dispense wine.”
R. Kurt Osenlund, Slant Magazine
“Director Joshua Michael Stern (‘Swing Vote’) working from a Matt Whitely script, is most at home underlining -- complete with soaring violins on the soundtrack -- the red letter moments in Apple’s history, especially early ones.”
Roger Moore, McClatchy-Tribune News Service
"What we’re left is a bunch of standard biopic highlights, accompanied by music cues that are either on-the-nose hit songs of the recent past or John Debney’s underscoring, which tends to turn the proceedings into Disneyland’s Great Moments with Mr. Lincoln."
Alonso Duralde, The Wrap
"The greater blame rests on the filmmakers, who never find a way to navigate the 'passions, perfectionism, demons, desires, artistry, devilry and obsession for control' that Walter Isaacson enumerated in 'Steve Jobs,' his 2011 authorized biography. Mr. Stern and Mr. Whiteley pile up Jobs’s multitudes: he screams and smirks, the score rises triumphantly only to ease and darken."
Manohla Dargis, New York Times
“Still, the essence of Jobs the creator, the insanely driven cultural game-changer, is intact, in line with his public and professional persona. A gushing score (from John Debney) accompanies various rounds of corporate applause that greet his successes (punctuated with a knowing, told-you-so smile from Kutcher). Stern's direction is solid, occasionally dynamic, while rarely straying from the Apple brief.”
Ed Gibbs, The Guardian
"The disproportion between the impressiveness of Jobs’ presentation and the enthusiasm of the audience’s response in that first scene is so marked you can’t help but wonder whether what seems to be going on really is. (Not that factual accuracy is everything, but it’s worth noting that the iPod’s actual reception at the time was far less rapturous.) Are we witnessing the triumphant unveiling of a world-changing product by a visionary inventor (a literal reading that the swelling music on the soundtrack would seem to ratify)? Or is this a deliberately exaggerated satire of sycophantic corporate culture, or maybe of our culture’s blind worship of tech entrepreneurship? Or wait -- is Jobs only imagining that the crowd is cheering him so loudly? Is this some kind of dream sequence he’s about to wake up from so that the real movie can begin?"
Dana Stevens, Slate.com
“Production designer Freddy Waff and composer John Debney conspire to lend authenticity with suitable period details and music, well-modulated to each new period of Jobs’ career.”
Justin Lowe, Hollywood Reporter
KICK-ASS 2 - Henry Jackman, Matthew Margeson
"Complete with a taut score by Matthew Margeson and Henry Jackman and gritty cinematography by Tim Maurice-Jones ('Lock, Stock...'), this is 'Kick-Ass 2' by name -- and Kick-Ass too by nature."
Graham Young, Birmingham Mail
The film luxuriates in its edginess, and yet Henry Jackman and Matthew Morgeson's soaring, pedestrian score often takes the sting out of otherwise brutal sequences.
Chris Cabin, Slant Magazine
LEE DANIELS' THE BUTLER - Rodrigo Leão
"'The Butler' is often so good and so powerful (Rodrigo Leão's aching score helps) that the pat moments feel even more disappointing. It's another eyewitness-to-history movie that wraps America's messy past in a too-tidy package."
Rafer Guzman, Newsday
"At times, the rousing music and slow, 'Forrest Gump'-like narration give the film a bit of a Steven Spielberg-lite feeling. But overall, the ensemble cast and important story, as well as the beautiful costumes, make 'The Butler' a worthwhile experience."
Nina Garin, San Diego Union Tribune
"Authentic emotion competes with manufactured sentiment for the heart of 'Lee Daniels' The Butler.' The reality-based film is both deeply affecting and blatant Oscar bait. It's inspiring and filled with fine performances, but the insistently swelling musical score and melodramatic moments seem calculated and undercut a powerful story."
Claudia Puig, USA Today
"In his reconstructed history lesson, Daniels never misses an opportunity to drive home every emotional beat, pumping up Rodrigo Leão’s swelling score as cinematographer Andrew Dunn’s camera captures Cecil’s ramrod nobility. The historical moments are staged not only to underline their importance, but to clarify the movie’s self-importance in restaging or referring to them."
Sean P. Means, The Salt Lake Tribune
"Where the movie falls apart is in its desire to deliver Oscar-clip money shots; I counted three or four occasions where the score by Rodrigo Leão wells up for what’s supposed to be a 'cry now' moment, but the intended sweep just isn’t there."
Alonso Duralde, The Wrap
"The re-creations of early Civil Rights battles -- a lunch-counter sit-in besieged by angry whites, a Klan attack on a Freedom Riders bus -- are hair-raisingly scary. Yet as the music swells in patriotic triumph, emotions conjured by events that ought to make us proud are likely to be soured with resentment at the cloddish manipulation that is the abiding curse of the Hollywood prestige picture."
Craig Seligman, Bloomberg News
"The unusual choice of Portuguese composer Rodrigo Leao has paid off in a flavorsome, non-cookie cutter score that's abetted by a raft of pop tunes that helps identify the quickly passing time periods."
Todd McCarthy, Hollywood Reporter
PARANOIA - Junkie XL
"Set in New York (and shot mostly in Philly - see below), Paranoia has the requisite components of a cool, modern thriller: a glassy, electronic score; quick, jarring cutaways; sleek, modern interiors; a 'hipster' hero with a posse of nerdy, cute coworkers. What it lacks is even an iota of originality."
Stephen Rea, Philadelphia Inquirer
"For his part, Luketic tries to mask the narrative shortcomings with a lazily flashy visual style and a staggeringly irritating score that uses cell phone sounds as a recurring motif. Sadly, the rest of the film is so draggy that I kept wanting to pick up and see if there was something more interesting on the other end."
Peter Sobcynzski, RogerEbert.com
"Director Robert Luketic once turned a very different tale of corporate ambition into a masterpiece with 'Legally Blonde.' This is obviously nothing like that; he’s since made more ostensibly serious films like '21.' But Luketic’s work always has a confident gloss, and Paranoialooks and sounds great, with cinematography by David Tattersall, who shot the 'Star Wars' prequels, and music by Dutch producer Junkie XL. It all adds up to a bit of a missed opportunity."
Bilge Ebiri, Vulture
"While it’s easy to complain about thrillers that put too much stock in their elaborate twists and double-crosses, 'Paranoia' may be that rare case in which the plot is stunningly straightforward. (Its greatest twist is that it keeps making you think it’s going to zig or zag but never does.) Luketic pays lip service to the idea of a new American Dream in which the rich get richer but the working class can never get ahead, but like just about everything else in 'Paranoia,' it’s only ornamentation -- an attitude to place into the frame that may catch on with the audience, but probably not. (Likewise, Junkie XL’s soundtrack raises the question: how close you can get to directly aping 'Drive'’s propulsive score without drifting into straight plagiarism.)"
Tim Grierson, Paste Magazine
"Based on the novel by Joseph Finder, Paranoia aims to be a 'Wall Street' for the Twitter generation. Instead, it plays more like a '21 Jump Street', full of pretty people and a thumping soundtrack but offering little in the way of something to say."
Scott Bowles, USA Today
"This kind of movie needs zippy, smart pacing and style to get past the plot inconsistencies, but 'Paranoia' moves at a leaden march, using ominous music and needless visual trickery (jump cuts and super slo-mo) to try and convince the audience that what they’re watching is cool and suspenseful. Luketic used the same tricks in his last film '21' (which has essentially the same plot, of a handsome young hero trying to outsmart two character actors), it had a more appealing lead actor in Jim Sturgess, and a more interesting environment in Vegas."
Rob Thomas, Capitol Times
"A mostly electronic score from Junkie XL is occasionally quite irritating, using cell-phone chirrups as recurring motifs and cuing up doom-laden swells to accompany Hemsworth doing nothing more exciting than opening the curtains."
Andrew Barker, Variety
THE NEXT TEN DAYS IN L.A.
Screenings of older films, at the following L.A. movie theaters: AMPAS, American Cinematheque: Aero, American Cinematheque: Egyptian, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.
August 23
CHAMPION (Dmitri Tiomkin), THE MEN (Dmitri Tiomkin) [UCLA]
EASY LIVING, THE GOOD FAIRY, CHRISTMAS IN JULY [Cinematheque: Egyptian]
GREASE (Louis St. Louis) [AMPAS]
MAGIC (Jerry Goldsmith) [Silent Movie Theater]
MONTY PYTHON AND THE HOLY GRAIL (De Wolfe) [Nuart]
WEEKEND (Antoine Duhamel), DAISIES (Jiri Slitr, Jiri Sust) [New Beverly]
August 24
CINEMA PARADISO (Ennio Morricone) [AMPAS]
THE KEEP (Tangerine Dream) [Silent Movie Theater]
THE MASTER (Jonny Greenwood) [Cinematheque: Aero]
WEEKEND (Antoine Duhamel), DAISIES (Jiri Slitr, Jiri Sust) [New Beverly]
August 25
THE CANTERBURY TALES (Ennio Morricone), ARABIAN NIGHTS (Ennio Morricone) [UCLA]
CITIZEN KANE (Bernard Herrmann), THE MAGNIFICENT AMBERSONS (Bernard Herrmann) [Cinematheque: Egyptian]
COWBOY BEBOP (Yoko Kanno) [Cinematheque: Aero]
ENTER THE DRAGON (Lalo Schifrin), THE TATTOO CONNECTION (Anders Nelsson) [New Beverly]
THE KEEP (Tangerine Dream) [Silent Movie Theater]
August 26
ENTER THE DRAGON (Lalo Schifrin), THE TATTOO CONNECTION (Anders Nelsson) [New Beverly]
August 27
ENTER THE DRAGON (Lalo Schifrin), THE TATTOO CONNECTION (Anders Nelsson) [New Beverly]
August 28
SALO, OR THE 120 DAYS OF SODOM (Ennio Morricone) [UCLA]
August 30
LIFEFORCE (Henry Mancini) [Cinematheque: Aero]
August 31
IT'S A MAD, MAD, MAD, MAD WORLD (Ernest Gold) [Cinematheque: Aero]
September 1
THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES (Ron Goodwin) [Cinematheque: Aero]
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