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Intrada has announced next week's two new soundtrack releases -- the first-ever release of Oscar winner Harry Sukman's Emmy-nominated score for director Tobe Hooper's 1979 miniseries version of Stephen King's classic SALEM'S LOT, a true Holy Grail for genre music fans, and a collection of music from the first season of TV's BUCK ROGERS IN THE 25TH CENTURY.


Buysoundtrax has announced two new releases -- the first-ever release of Carl Davis' symphonic score for the 1990 sci-fi horror film ROGER CORMAN'S FRANKENSTEIN UNBOUND, starring John Hurt, Raul Julia, Bridget Fonda, Jason Patric and Michael Hutchence, and an expanded release of Alan Howarth's score for HALLOWEEN 5: THE REVENGE OF MICHAEL MYERS.


CDS AVAILABLE THIS WEEK

Black Beauty - Danny Elfman - La-La Land
Colette
- Atli Orvarsson - MovieScore Media/Kronos
Day of the Dead - John Harrison - La-La Land
Halloween 5: The Revenge of Michael Myers
- Alan Howarth - Buysoundra
In a World... - Ryan Miller - RM [CD-R]
Jesse & Lester Due Fratelli In Un Posto Chiamato Trinita
- Carlo Savina - GDM
The Last Days of Pompeii
- Angelo Francesco Lavagnino - Digitmovies
Roger Corman's Frankenstein Unbound
- Carl Davis - Buysoundtrax
Romeo and Juliet - Abel Korzeniowski - Sony
The Tall Man
- Christopher Young, Joel Drouek, Todd Bryanton - MovieScore Media/Kronos
Valhalla Rising - Peter Peter, Peter Kyed - Milan (import)


IN THEATERS TODAY

All the Boys Love Mandy Lane - Mark Shulz
Captain Phillips
 - Henry Jackman - Score CD due Oct. 15 on Varese Sarabande
CBGB - Song CD on Omnivore
Escape from Tomorrow - Abel Korzeiowski
Forgetting the Girl - Robert Miller
I Will Follow You Into the Dark - Jesse Voccia
The Inevitable Defeat of Mister and Pete - Alicia Keys, Mark Isham
Machete Kills - Carl Thiel, Robert Rodriguez - Score CD due Nov. 5 on Morada
Muscle Shoals - Song CD on Universal Republic
A River Changes Course - David Mendez
Romeo and Juliet - Abel Korzeniowski - Score CD on Sony
Shepard & Dark - Graham Reynolds
Sweetwater - Martin Davich


COMING SOON

October 15
Buck Rogers in the 25th Century: Season One - various - Intrada Special Collection
Captain Phillips
 - Henry Jackman - Varese Sarabande
The Fifth Estate - Carter Burwell - Lakeshore
Salem's Lot - Harry Sukman - Intrada Special Collection
October 22
Ender's Game - Steve Jablonsky - Varese Sarabande
Fruitvale Station - Ludwig Goransson - Lakeshore
Grimm - Richard Marvin -La-La Land
La Mula
- Oscar Navarro - MovieScore Media/Kronos
The Last House on the Left - David Hess - One Way Static
Lost Place
- Adrian Sieber - MovieScore Media/Kronos
October 29
All Is Lost - Alex Ebert - Community Music
Runner Runner - Christophe Beck - Lakeshore
November 5
Last Vegas - Mark Mothersbaugh - Varese Sarabande
Machete Kills - Carl Thiel, Robert Rodriguez - Morada
Person of Interest: Season Two - Ramin Djawadi - Varese Sarabande
November 12
The Counselor - Daniel Pemberton - Milan
Ed Wood (expanded) - Howard Shore - Howe
November 26
Frozen - Christophe Beck - Disney
December 10
The Hobbit: The Desolation of Smaug - Howard Shore - Watertower
Saving Mr. Banks - Thomas Newman - Disney
Date Unknown
Agente X1-7 Operazione Oceano
- Piero Umiliani - Beat
Doctor Who: Series Seven
 - Murray Gold - Silva
Doctor Who: The Snowmen/The Doctor, The Widow and the Wardrobe
- Murray Gold - Silva
The Doll Squad - Nicholas Carras - Monstrous Movie Music
House at the End of the Drive
- Alan Howarth - Buysoundtrax
Il Furto Della Gioconda
- Nino Rota - GDM
Il Plenilunio Delle Vergine
- Vasili Kojucharov - Beat
La Cage Aux Folles/La Cage Aux Folles II
- Ennio Morricone - GDM
L'Argent Du Ministre
- Walter Rizzati - Beat
Le Bossu (On Guard!)
- Philippe Sarde - Quartet
L'Isola Di Arturo
- Carlo Rustichelli - Quartet
A Single Shot
- Atli Orvarsson - MovieScore Media/Kronos
The 25th Reich
- Ricky Edwards - MovieScore Media/Kronos
Vite Strozzate
- Ennio Morricone - GDM
Zulu Dawn
- Elmer Bernstein - Buysoundtrax


THIS WEEK IN FILM MUSIC HISTORY

October 11 - Laura opens in New York (1944)
October 11 - Michel Legrand begins recording his score for The Happy Ending (1968)
October 11 - Neal Hefti died (2008)
October 12 - Ralph Vaughan Williams born (1872)
October 12 - Joseph Kosma born (1905)
October 12 - Franz Waxman begins recording his score to The Silver Chalice (1954)
October 12 - Gil Melle begins recording his score for The Andromeda Strain (1970)
October 13 - Raoul Kraushaar died (2001)
October 13 - Paul Simon born (1941)
October 13 - Miklos Rozsa begins recording his score to Knights of the Round Table (1953)
October 13 - Lud Gluskin died (1989)
October 13 - David Newman begins recording his score for Jingle All the Way
October 14 - Bill Justis born (1926)
October 14 - Thomas Dolby born (1958)
October 14 - Recording sessions begin for Bronislau Kaper's score for Two Loves (1961)
October 14 - Leonard Bernstein died (1990)
October 15 - Fumio Hayasaka died (1955)
October 15 - Bronislau Kaper begins recording his score to Home From the Hill (1959)
October 15 - Lalo Schifrin begins recording his score to THX- 1138 (1970)
October 15 - Ron Jones records his score for the Star Trek: The Next Generation episode "Lonely Among Us" (1987)
October 17 - Around the World in Eighty Days premieres in New York (1956)
October 17 - Bullitt opens in New York (1968)
October 17 - Vic Mizzy died (2009)


DID THEY MENTION THE MUSIC?

DARIO ARGENTO'S DRACULA 3D - Claudio Simonetti

"From a technical standpoint, there are some impressive contributions from two longtime collaborators, cinematographer Luciano Tovolli and composer Claudio Simonetti, and the retro production design is equally striking. However, Argento wastes their considerable efforts on a story that he never seems especially interested in telling in the first place."

Peter Sobcynzki, RogerEbert.com

"As if to compensate for Kretschmann’s underplaying, Rutger Hauer shows up in the film’s second half as Van Helsing, and appears to have had fun hamming it up. (Kretschmann will soon be seen on NBC playing Van Helsing in a new 'Dracula' series. Such is the circle of life.) Also on hand: Argento’s daughter Asia Argento, who goes so far over the top that 'Argento’s Dracula 3-D' almost feels like a send-up. Maybe, given its awful effects and cliché-and-theremin-ridden score, that’s the best way to look at it. It isn’t just sub-par for Argento, it’s sub-par for virtually any director. It’s a stain on Dracula’s good name, and a waste of time for even those looking for the cheapest of vampiric thrills."

Keith Phipps, The Dissolve

"Which is to say that 'Argento's Dracula 3D' isn't so dispiriting because it's a bad movie, though it is, but because there's virtually no sign of the filmmaker in it, nor of any novel motivation to mount yet another version of an oft-told tale. Sure, there are fleeting moments of erotic kink courtesy of the occasionally heaving bare bosom, or of the subtexts that remain of the novel itself, but the film nearly plays as a low-rent adaptation you'd expect from the Syfy channel: The plotting is traditional and plodding, the blocking is flat, the editing poorly timed, the atmosphere flimsy and cobbled together, and the score too consciously flippant in an unsuccessful bid for self-aware cheekiness."

Chuck Bowen, Slant Magazine

"Amid groan-worthy cutaways to phony-looking bugs and spiders -- which are accompanied by hysterical musical cues from Claudio Simonetti’s wannabe-old-school score -- Argento strands his actors in a variety of crummy master shots and close-ups that accentuate their every exaggerated gesture and line-reading."

Nick Schager, The Onion

"The soundtrack is a thick soup of creatures-of-the-night ruckus and Claudio Simonetti’s hilariously cheesy vintage horror score, while visually, the film is predictably over-saturated with the standard palette of deep reds and blacks. So-so digital effects mix with low-tech makeup work from veteran Argento collaborator Sergio Stivaletti. Beyond the occasional swooping owl, leaping wolf, severed head or bloody impalement, the 3D serves mainly to make the whole sad, cadaverous enterprise more ludicrous."

David Rooney, Hollywood Reporter

GRAVITY - Steven Price

"It’s visceral, knuckle-chewingly tense stuff, with Cuarón and his co-writer and son Jonás expertly packing obstacle packed on top of obstacle in the way of the astronauts’ return home, without losing touch of humanity or humor. The camera floats as weightlessly as its subjects, but the shots (often extended, but always in a way that favors storytelling above showboating) are always clear, and more often than not composed with meaning and artistry, courtesy of the great Emmanuel Lubezki. And with the director being careful to ensure the void of space doesn’t carry any noise, the excellent score by Steven Price ('Attack The Block,' 'The World’s End') helps to keep things both breathless and beautiful."

Oliver Lyttleson, The Playlist

"Which isn't to say that Cuarón makes things easy on his audience. 'Life in space is impossible,' announces an opening title card, as Steven Price's overbearing score reaches a deafening roar that ends with abrupt silence. The discombobulated feel never lets up; the extraordinary sound design keeps pace with the restless camera."

Eric Kohn, IndieWIRE

"As things turn bad, then worse, for our two leads, 'Gravity' becomes a ballet of bodies in motion -- floating, hurtling, free-falling, struggling -- punctuated by Steven Price’s foreboding score and the sound of Stone’s ragged breathing.

Jon Frosch, The Atlantic

"Still, some of the hallmarks of Kubrick’s movie -- the eerie silence, the painstaking pacing -- are in short supply. Cueing the viewer with a heavy-handed score, Cuarón rarely slows the proceedings down long enough to generate lengthy suspense. The movie presents its characters with one challenge after another, but doesn’t take a breath to give the audience its bearings."

Ben Kenigsberg, The Onion

"'Gravity'’s sound design is equally revelatory, magnifying Bullock’s desperate and terror-filled gasps for air then taking us into the dread silence of sound-deadening space. Steve Price’s bass-heavy score is the perfect match, complementing the action with its heart-thrumming rhythms."

Jeff Meyers, Orlando Weekly

"But while the core story of 'Gravity' is pure genre down to the workmanlike nature of chunks of its dialogue, it makes the most of that situation by having a formidable narrative drive, a plot smartly worked out to the smallest, most persuasive detail, and an intense, immersive score and sound design by composer Steven Price."

Kenneth Turan, Los Angeles Times

"The script is, at times, weighed down by some heavy screenwriting clichés. Some are minor, like the fuel gauge that reads full until the glass is tapped, causing the arrow to drop. More cringe-inducing is the tragic back story stapled to Stone, a doctor on her first trip into orbit. We would care about her even without the haunting memory of a dead child, who inspires a maudlin monologue and a flight of orchestral bathos in Steven Price’s otherwise canny and haunting score."

A.O. Scott, New York Times

"In conducting the action noiselessly, he adheres to the science of this scenario. But neither Ryan nor Matt can resist speaking bromidically. The score, by Steven Price, mistakes bombast for wonder."

Wesley Morris, Grantland

"Although the movie’s trailers used sound effects, 'Gravity' adheres to the laws of science, rendering outer space as a silent void. Cuarón relies heavily on music, like Stanley Kubrick did in '2001: A Space Odyssey.' But the original score by Steven Price isn’t just a complement to the film’s jaw-dropping visuals. The music is a critical element in the film, piping in not only from the screen but also from behind and around you, helping to bewilder and dislocate you when hurtling debris destroys the telescope in a vast, soundless explosion. Your eyes take a moment to process what’s happening, because the usual sonic cues aren’t there to guide you. The effect is shocking and terrifying, the first of the movie’s many triumphs of pure craftsmanship."

Rene Rodriguez, Miami Herald

"Cuaron’s nimble shot selections, the cinematography from Emmanuel Lubezki, the score by Steven Price and the beautiful special effects provide an atmosphere that goes from dreamlike calm to shocking action time and again. You can’t help but be reminded of classics such as 'Alien' and '2001: A Space Odyssey' (with the advantage of cutting-edge visual effects)."

Richard Roeper, Chicago Sun-Times

"What I suspect older critics are falling for is the lack of aliens and super powers. It isn't effects they hate at all, so long as those effects are in the service of an ostensibly realistic story, like 'Titanic.' It's fantasy. And while there are one or two things that stretch credulity just a touch, the space technology stuff here seems feasibly real, and the sound design is aces - unlike in the noisy trailer, this space is silent save for whatever you'd hear inside the suits...and a haunting, minimalist score by Steven Price ('Attack the Block')."

Luke Y. Thompson, Topless Robot

"Forget all of this year’s ordinary sci-fi and space movies. Alfonso Cuaron’s phenomenal 'Gravity' blows them all away. 'Gravity' has a very simple, but very smart story. It also has astonishing visual effects, sound design and music, yet it focuses, first and foremost, on characters."

Jeffrey M. Anderson, San Francisco Examiner

"The roar of booster rockets and high-pitched clang of metal collisions are never missed, however, with Steven Price’s score effectively heightening the drama and emotion of each scene. Price’s ominous warnings of the deadly debris field’s arrival is particularly potent, as the dark, metallic music drenches the film in dread and angst."

Kirk Baird, Toledo Blade

"In Alfonso Cuarón’s frightening and beautiful space thriller, 'Gravity,' the musical score, by Steven Price, builds to brain-assaulting volume, only to break suddenly into silence. The quiet registers on our emotions with greater violence than the ferocious din. In this movie, silence is not only the sound of chilly outer space; it’s the stillness of death, whose easeful allure beckons from the opening sequence to the last."

David Denby, The New Yorker

"The sound design is no less awesome, shifting among the tinny crackle of mission control, the heavy breathing inside the space helmets and Steven Price’s lovely, forceful score."

Greg Evans, Bloomberg News

"Helping to vary the soundscape is Steven Price’s richly ominous score, playing like an extension of the jolts and tremors that accompany the action onscreen."

Justin Chang, Variety

"Here, as elsewhere in the film, Cuaron coils the tension and visceral impact of key scenes via a startling mix of the objective and subjective, and the extreme contrast between the stillness of empty space and the abrupt arrival of terrible threats. This is achieved by switching from the eerie electronic heaves of Steven Price's insidiously effective score to total silence; from violent physical action to tight shots of Stone's face, her breath visible on the inside of her mask and her nervous inhaling and exhaling the only sounds to be heard; from the beauty of a green, blue and tan planet on one side and the depths of infinite darkness on the other; from the awe of the cosmic to the terror of nothingness, from the warmth of the sun to the coldness of eternal limbo."

Todd McCarthy, Hollywood Reporter

PARKLAND - James Newton Howard

'But once Kennedy is pronounced dead, 'Parkland' goes downhill fast, with a tone of TV-movie solemnity, epitomized by James Newton Howard’s heavy-handed score, taking over."

Jon Frosch, The Atlantic

"It's in the film's second half that 'Parkland' goes all Tony Romo and fumbles. Instead of becoming truly engrossing, it threatens to descend into unreserved melodrama, complete with a score by James Newton Howard that would fit any early episode of 'The West Wing.'"

Pete Vonder Haar, Village Voice

"James Newton Howard’s pro forma score has lots of somber swelling strings and mournful trumpets. Cinematographer Barry Ackroyd is a regular Paul Greengrass collaborator, presumably brought on-board for his demonstrated skill at you-are-there recreations in 'United 93' and 'The Hurt Locker;' here, when the camera bobs, weaves and jerkily zooms through wooden window blinds in the FBI’s Dallas office, it’s like a very special episode of 'The Office.'"

Vadim Rizov, Paste Magazine

"The pic badly miscalculates such mock-poetic heavy-handedness as the classy approach, making it worse by slathering it all in a score that alternates between patriotic horns and cheesy suspense music."

Peter Debruge, Variety

"Editors Leo Trombetta and Mark Czyzewski help to balance the multiple story strands and keep the 93-minute drama hurtling forward. The haunting, melancholy music by James Newton Howard underscores the terrible sense of loss without ever seeming obtrusive. The film wisely doesn’t wade into the ongoing controversy over whether Oswald acted alone. Instead it honors a dozen ordinary people who inadvertently found themselves swept up into history."

Stephen Farber, Hollywood Reporter

VIKINGDOM: THE RED ECLIPSE - Edry A. Halim

"Tech/design package is pro if not exactly classy. Helmer’s brother Edry A. Halim contributes a score that seldom lets you forget the influence of 'Carmina Burana' on similar efforts in the last three decades. And yes, there is a closing-credits power ballad."

Dennis Harvey, Variety


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.

October 11
ABBY (Robert O. Ragland) [Silent Movie Theater]
THE BREAKFAST CLUB (Keith Forsey) [Nuart]
HANDS ON A HARD BODY (Neil Kassanoff) [Silent Movie Theater]
THE LATE SHOW (Ken Wannberg), NIGHT MOVES (Michael Small) [New Beverly]
MACARIO (Raul Lavista), PEDRO PARAMO (Joaquin Gutierrez Heras) [LACMA]
THE OMEN (Jerry Goldsmith) [Cinematheque: Egyptian]
SPRING IN A SMALL TOWN (Yijun Huang) [UCLA]

October 12
HANDS ON A HARD BODY (Neil Kassanoff) [Silent Movie Theater]
THE HAUNTED PALACE (Ronald Stein) [Silent Movie Theater]
THE LATE SHOW (Ken Wannberg), NIGHT MOVES (Michael Small) [New Beverly]
LOS OLVIDADOS (Rodolfo Halffter, Gustavo Pittaluga) [LACMA]
PIECES (Carla Maria Cordio), PROM NIGHT(Paul Zaza, Carl Zittrer) [Cinematheque: Egyptian]
RED HEROINE [UCLA]

October 13
DEATH BED: THE BED THAT EATS (Ossian Brown, Mike McCoy, Steven Thrower) [Silent Movie Theater]
GHOSTBUSTERS (Elmer Bernstein) [Arclight Sherman Oaks]
HANDS ON A HARD BODY (Neil Kassanoff) [Silent Movie Theater]
INGLOURIOUS BASTERDS [New Beverly]

October 14
HANDS ON A HARD BODY (Neil Kassanoff) [Silent Movie Theater]
HOMEBODIES (Bernardo Segall) [Silent Movie Theater]
INGLOURIOUS BASTERDS [New Beverly]
ONIBABA (HIkaru Hayashi), KURONEKO (Hikaru Hayashi) [Cinematheque: Aero]
REAR WINDOW (Franz Waxman) [AMPAS]

October 15
HANDS ON A HARD BODY (Neil Kassanoff) [Silent Movie Theater]
LORD JIM (Bronislau Kaper) [LACMA]
MARTIN (Donald Rubinstein) [Silent Movie Theater]
SHORT CUTS (Mark Isham)  [New Beverly]

October 16
HANDS ON A HARD BODY (Neil Kassanoff) [Silent Movie Theater]
SHORT CUTS (Mark Isham)  [New Beverly]
WINTERBEAST (Michael Perilstein), THE HOUSE BY THE CEMETERY (Walter Rizzati) [Silent Movie Theater]

October 17
DARK AUGUST (William Fischer) [Silent Movie Theater]
HANDS ON A HARD BODY (Neil Kassanoff) [Silent Movie Theater]
LOOKING FOR MR. GOODBAR (Artie Kane), AMERICAN GIGOLO (Giorgio Moroder) [New Beverly]

October 18
APPLAUSE [UCLA]
BUFFY THE VAMPIRE SLAYER (Carter Burwell) [Nuart]
LAST HOUSE ON DEAD END STREET [Silent Movie Theater]
LOOKING FOR MR. GOODBAR (Artie Kane), AMERICAN GIGOLO (Giorgio Moroder) [New Beverly]
NAZARIN (Rodolfo Halffter), LA JOVEN [LACMA]
SCOTT PILGRIM VS. THE WORLD (Nigel Godrich) [New Beverly]

October 19
BASKET CASE (Gus Russo) [Silent Movie Theater]
THE COWARD (Satyajit Ray) [Cinematheque: Egyptian]
EL (Luis Hernandez Breton) [LACMA]
THE EXTERMINATING ANGEL (Raul Lavista), SIMON OF THE DESERT (Raul Lavista) [LACMA]
THE HOWLING (Pino Donaggio), THE WOLF MAN [Cinematheque: Aero]
THE SCARLET EMPRESS [UCLA]
SUNSET BLVD. (Franz Waxman) [Cinematheque: Egyptian]

October 20
THE DEADLY SPAWN (Michael Perilstein) [Silent Movie Theater]
THE MUMMY [Cinematheque: Egyptian]
THE PEOPLE UNDER THE STAIRS (Don Peake, Graeme Revell) [Silent Movie Theater]
THE PIT AND THE PENDULUM (Les Baxter) [Silent Movie Theater]
SPRING SILKWORMS, THE BIG ROAD (Er Nie) [UCLA]

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Today in Film Score History:
December 22
Alfi Kabiljo born (1935)
Fred Steiner's scores for the Star Trek episodes "By Any Other Name" and "The Omega Glory" are recorded (1967)
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Guido De Angelis born (1944)
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