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Intrada has announced two new releases this week -- their third release of Jerry Goldsmith's rousing symphonic score for the 1982 fact-based escape drama NIGHT CROSSING, with the score remastered to more closely reflect Goldsmith's original vision, and featuring additional alternate cues; and the first release of Richard Band's score for the 2012 horror flim SHIVER.

La-La Land has announced their planned slate of June releases. On June 3rd, they will release a remastered (but not expanded, per the composer's wishes) CD of John Corigliano's Oscar-nominated debut score, ALTERED STATES, and the first-ever release of Oscar-winner Marvin Hamlisch's score for the 1985 juvenile sci-fi adventure, D.A.R.Y.L. On June 24, they will release an expanded, two-disc edition of John Williams' gorgeous (and of course, Oscar-nominated) score for one of Steven Spielberg's greatest (and arguably his most underrated) films, 1987's EMPIRE OF THE SUN, and an expanded and remastered version of one of Marc Shaiman's finest scores, for 1991's hit THE ADDAMS FAMILY.

Music Box has announced that their 50th CD will be the first-ever soundtrack release for GOLDEN NEEDLES, the light-hearted 1974 action-adventure film about the hunt for a set of rare acupuncture needles (yes, that's really what it's about). The eclectic cast included Joe Don Baker, Elizabeth Ashley (the Tracy and Hepburn of acupuncture adventure films), Jim Kelly, Ann Sothern and Burgess Meredith. The director was Robert Clouse, and the film reunited him with his Enter the Dragon composer, Lalo Schifrin.

Charlie Chaplin's 1936 classic MODERN TIMES will screen at UCLA's Royce Hall on Sunday, June 8 at 6:30 p.m., with its Chaplin score (originally arranged by David Raksin and Edward Powell) performed live by the Los Angeles Chamber Orchestra conducted by silent film composer Timothy Brock (Sunrise), who will be conducting his new score for the short Kid Auto Races at Venice, the first film in which Chaplin appeared in his Tramp costume.

For collectors of movie sheet music, Musicroom has released MUSIC FROM THE HITCHCOCK FILMS, featuring piano solo music of cues from such Hitchcock films as Family Plot, Rear Window, Spellbound, and of course the Herrmann scores (including Psycho, Vertigo, North by Northwest and The Trouble with Harry).


- James Newton Howard - Disney
A Million Ways to Die in the West - Joel McNeely - Back Lot
Night Crossing - Jerry Goldsmith - Intrada Special Collection
The Railway Man
 - David Hirschfelder - Varese Sarabande
Seven Wonders of the World
- Emil Newman, Jerome Moross, David Raksin - Sepia
Shiver - Richard Band - Intrada
Strike Back - Scott Shields - Varese Sarabande
Un Bambino Di Nome Gesu'
- Piero Piccioni - Saimel


Age of Uprising: The Legend of Michael Kohlhaas - Martin Wheeler, The Witches
The Discoverers - Aaron Mirman
Emoticon - Lindsay Marcus
Filth - Clint Mansell - Score CD on Milan
The Grand Seduction - Paul-Etienne Cote, Maxime Barzel, Francois-Pierre Lue
 - James Newton Howard - Score CD on Disney
A Million Ways to Die in the West
  - Joel McNeely - Score CD on Back Lot
Night Moves - Jeff Grace - Score CD due June 3 on Milan
The Odd Way Home - Daniel James Chan
We Are the Best! - music supervisor: Rasmus Thord


June 3
Altered States - John Corigliano - La-La Land
D.A.R.Y.L. - Marvin Hamlisch - La-La Land
Night Moves - Jeff Grace - Milan
X-Men: Days of Future Past 
- John Ottman - Sony
June 10
Hidden Moon - Luis Bacalov - Varese Sarabande
June 17
House of Cards: Season Two 
- Jeff Beal - Varese Sarabande
How to Train Your Dragon 2
- John Powell - Relativity Music
The Signal
- Nima Fakhrara - Varese Sarabande
June 24
The Addams Family - Marc Shaiman - La-La Land
Empire of the Sun - John Williams - La-La Land
The Lion King (expanded) - Hans Zimmer - Disney
July 1
Fargo - Jeff Russo - Sony
Game of Thrones: Season 4 - Ramin Djawadi - Watertower
July 8
Dawn of the Planet of the Apes - Michael Giacchino - Sony
Date Unknown
Basta Guardarla
- Franco Pisano - Beat
Bates Motel - Chris Bacon - Varese Sarabande
A Dio Piacendo
 - Marco Werba - Intermezzo
The Fourth Protocol
- Lalo Schfirin - Buysoundtrax
Golden Needles - Lalo Schifrin - Music Box
Grand Piano - Victor Reyes - MovieScore Media/Kronos
I Crudeli
- Ennio Morricone - GDM
La Betia Ovvero In Amore Per Ogni Gaudenza Ci Vuole Sofferenza
- Carlo Rustichelli - GDM
La Citta' Ideale
- Andrea Rocca - Beat
Le Cose Che Restano
- Marco Betta - Beat
Moj Nikifor
- Bartek Gliniak - MovieScore Media/Kronos
Nella Stretta Morsa Del Ragno/Non SI Sevizia Un Paperino
- Riz Ortolani - Hexacord
No Down Payment/The Remarkable Mr. Pennypacker
- Leigh Harline - Kritzerland
- David Shire - Kritzerland
Red Krokodil
- Alexander Cimini - Kronos
The River Murders
- Pinar Toprak - Caldera
Three Days (of Hamlet) 
- Jonathan Beard - Buysoundtrax
To-Day's Sound
- Piero Umiliani - Beat
- Christoph Zimbigl - MovieScore Media/Kronos
The Two Faces of January
- Alberto Iglesias - Quartet
Walk of Shame - John Debney - Lakeshore
The White Queen
- John Lunn - Silva


May 31 - Akira Ifukube born (1914)
June 1 - Werner Janssen born (1900)
June 1 - Nelson Riddle born (1921)
June 1 - Barry Adamson born (1958)
June 1 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Emissary" (1989)
June 2 - Marvin Hamlisch born (1944)
June 2 - David Dundas born (1945)
June 2 - Alex North begins recording his score to Les Miserables (1952)
June 3 - Curtis Mayfield born (1942)
June 3 - Johnny Mandel begins recording his score for The Americanization of Emily (1964)
June 4 - Irwin Bazelon born (1922)
June 4 - Oliver Nelson born (1932)
June 4 - Poltergeist released in theaters (1982)
June 5 - William Loose born (1910)
June 5 - Laurie Anderson born (1947)
June 5 - Amanda Kravat born (1966)
June 5 - Arthur Rubinstein begins recording his score to Whose Life Is It Anyway? (1981)


COLD IN JULY - Jeff Grace

"Mickle directs with cool assurance, moodiness, and droll humor with edge-of-the-seat moments nicely scored by Jeff Grace."

Ernest Hardy, Village Voice

"In a reissued edition of his novel, Mr. Lansdale describes 'Cold in July' as 'a kind of period piece.' And that is, to a certain extent, also true of the film. Tense, synth-y music by Jeff Grace harkens back to a predigital era, as do Dane’s mullet and mustache. Many elements, though, feel mixed and matched. The Mercury station wagon Dane drives looks as if it could have emerged from the early 1970s, and the film may bring to mind recent Western-tinged endeavors like David Lowery’s 'Ain’t Them Bodies Saints' and the Coen brothers' 'No Country for Old Men.'"

Matthew Cassel, New York Observer

"Adapted from Joe R. Lansdale’s novel, 'Cold in July' has a steely, slightly off-kilter vibe. Less extreme than the regional portraits preferred by the Coen brothers, the movie soaks up the period details, particularly in Jeff Grace’s wry nod to the synthesizer-driven scores of the 1980s."

Tim Grierson, Paste Magazine

"This tension is summoned through a brazen but effective approximation of John Carpenter's signature style, from Mickle's static camera to the ever-bubbling synth squelches of Jeff Grace's score, and it's as a modest character study that flirts with suspense, about Richard's unflagging drive to get Ben off his lawn, that 'Cold in July' feels most compulsively watchable."

Ed Gonzalez, Slant Magazine

"The biblical adage that the sins of the father shall be visited on the son gets quite a workout in Jim Mickle’s bloody, brooding action-thriller 'Cold in July,' which premiered here at Sundance to a rousing response on Tuesday. Mickle then came out and told the crowd in the Eccles Center something that helped me make sense of this fast-rising genre filmmaker’s career. Someone asked about the electronic score to this East Texas tale of father-son vengeance, and Mickle replied that it was a tribute to the classic soundtracks of genre-movie legend John Carpenter, who often wrote his own music. That cleared it all up: Mickle is the new Carpenter, and if you’re into that kind of thing and haven’t heard about him, you soon will."

Andrew O’Hehir,

"As uneven as some of 'Cold In July' can be (whether you buy and can stick with some of it may be in the eye of the beholder; it does feel like a poor script when you haven’t seen the grand design), Mickle guides the picture well. One thing you can’t fault is its effectively oppressive psychology and humid midsummer night air. Mickle has an acute understanding of chilling tone, mood and distressing atmosphere. Additionally, the haunting score by Jeff Grace is terrific, if not a little schizophrenic like some of the film; mostly eerily atmospheric, but occasionally infused by a sinister ‘80s Tangerine Dream/John Carpenter-esque aesthetic. Cinematographer Ryan Samul’s dark visual poetics are solid too."

Rodrigo Perez, The Playlist

"Jeff Grace's synthesizer score evokes the creepy pulse of Carpenter's 'Halloween.'"

Peter Travers, Rolling Stone

"The film's retro, John Carpenter-esque synthesizer score, composed by Jeff Grace, further pushes viewers away. Grace's soundtrack augments the film's nature as a pulpy time capsule. So yes, it makes sense that we're confronted with one mullet, one conspicuously clunky cellular telephone, and oodles of tacky decor. This is, as a title card states, a period piece set in 'East Texas, 1989,' so people act, and behave a certain way. Furthermore, the Carpenter connection is also theoretically interesting: Richard and Russel jump at shadows, and are seen from a remove because they're essentially anticipating the appearance of a Michael Myers-esque boogieman. I won't tell you what's looming over them, but once you know what shady business Richard and Russel are unwittingly involved in, you'll instantly see it as a dated moral panic (because nothing dates a period more than its greatest public fears)."

Simon Adams,

"This odd trio -- two-thirds grizzled war vets, one-third inept (but determined) shopkeeper -- winds up accidentally happening upon some truly disturbing truths, leading to a final act that finds Mickle channeling pleasingly trashy '80s influences. This is a director not shy about explicitly calling out his inspirations: at one point the characters have a meeting at a drive-in screening of 'Night of the Living Dead,' and much of the film lies atop a score from Jeff Grace that self-consciously hearkens back to the synth scores that used to be John Carpenter's calling card."

Ian Buckwalter, NPR

"Best, then, to approach 'Cold in July' as a leaner, meaner ’80s homage, from the semi-cheesy synthesizer stings on the soundtrack to the cellphones as big as the characters’ heads. The dread’s just a little deeper now, and the brains on the walls more realistic."

Ty Burr, Boston Globe

"The synth-heavy score and even the font used will remind some of '80s John Carpenter, but even as a film of a 1989 book, the attitude on-screen is thoroughly modern in spite of the Reagan-era trimmings and trappings. It's a modernized take on classic crime fiction's themes and tropes, part Jim Thompson and part something else. 'Cold in July' fits in with other excellent recent film festival all-American crime tales like 'Blue Ruin' and 'We Gotta Get Out of This Place,' and it wouldn't be out of place put alongside 'True Detective,' either."

James Rocchi, The Wrap

"There’s a very 1980s vibe to the middle passage, especially once the director cranks up Jeff Grace’s mood music, which sounds like some lost Tangerine Dream score. Just don’t get too attached to that mode, as it isn’t long before Mickle switches it up again."

A.A. Dowd, The Onion

"The first half-hour of Jim Mickle’s adaptation of Joe R. Lansdale’s seedy crime novel 'Cold In July' closely resembles a horror movie, in style and intent. After an opening title sequence that borrows John Carpenter’s 'Halloween' font -- and Carpenter’s minimalist score, aped here by composer Jeff Grace -- Mickle shows small-town Texas businessman Richard Dane (played by Michael C. Hall) hearing a noise in his living room, getting out of bed, finding a burglar, and shooting the intruder dead."

Noel Murray, The Dissolve

"Not least among the pic’s retro pleasures is the hard-driving synthesizer score of composer Jeff Grace, which kicks in under the opening credits and rarely lets up. (Somewhere, Pino Donaggio and Giorgio Moroder are smiling.) Regular Mickle d.p. Ryan Samul gives the film a sleek, richly textured widescreen look, especially in the beautifully underlit night scenes."

Scott Foundas, Variety

"From the title font to the 1980s setting to the ominous underlay of Jeff Grace’s obsessive synth score, Mickle appears to be tipping his hat to John Carpenter, though this paradoxically represents a departure from horror for the director. But like Carpenter at his best, Mickle threads a strain of sly humor through the grim movie that functions as a kind of a wink, helping to sell some of the more improbably twisty plot turns and outré developments."

David Rooney, Hollywood Reporter


"Set to Oscar winner A.R. Rahman’s energetic score, the movie sees Bernstein arrive in India and struggle to keep his dinners down and his spirits up."

Lisa Barnard, Toronto Star

"The musical score, courtesy of 'Slumdog Millionaire''s Oscar-winning comp oser A.R. Rahman, helps brings Indian cities like Jaipur and Bangalore to vivid life. Indeed, scenes in India are the lively heart of the film. The soul comes through when the Indian transplants arrive in Los Angeles. Instead of indulging in clichéd fish-out-of-water scenes, the guys fall into a slump, homesick and lonely for their families."

Claudia Puig, USA Today

"When Bernstein goes to India for the contest, 'Million Dollar Arm' jumps straight on the 'Slumdog Millionaire' train and rides along, complete with an upbeat score by A.R. Rahman. Alan Arkin is along as a grizzled baseball scout, which provides a 'Little Miss Sunshine' vibe, although in a case of art imitating life, Arkin's character sleeps through most of his scenes."

Jeff Baker, The Oregonian

"Several A.R. Rahman–scored montages later, J.B. returns from India with two wide-eyed prospects: Dinesh (Madhur Mittal) and Rinku ('Life of Pi'’s Suraj Sharma), along with goofball translator/videographer Amit (Pitobash)."

Bilge Ebiri, Vulture

"The plot suggests an intriguing triple play that combines the outside-of-box thinking of 'Moneyball,' the can-do gumption of 'Jerry Maguire' and the mass-of-humanity chaos of 'Slumdog Millionaire' underscored with music by the Oscar-winning A.R. Rahman. And for about half the movie, it almost succeeds."

Susan Wloszcyna,

"From the opening juxtaposition of the Magic Kingdom logo with the warbling strains of A.R. Rahman's ethnic score, it's clear what kind of movie 'Million Dollar Arm' is going to be. It's prefab Disney product: shallow, unchallenging pablum struck through with uplifting sentiment and the usual tiresome lessons about family, faith, and good old-fashioned self-improvement being the only surefire ingredients for happiness (read: netting filthy lucre). The marketing campaign suggests a potentially fascinating premise: the true story of the first two Indians ever signed to a major league baseball team. Bafflingly, however, the Indian athletes become supporting players in their own movie, which is, in actuality, the account of one rich white guy's journey toward realizing that baseball is supposed to be fun and Lake Bell is cute enough to settle for."

Abhimanyu Das, Slant Magazine

"If the plotting is undeniably predictable, the India scenes nevertheless give 'Million Dollar Arm' a hearty dose of visual and narrative energy. As far as the film’s saturated color palette is concerned, as well as its jubilant wall-to-wall song score by Oscar-winning composer A.R. Rahman, Gillespie certainly takes his cues from 'Slumdog' director Danny Boyle (who was himself filtering Bollywood through an Anglo prism). The country itself is depicted in largely the same chaotic, exoticized terms that have become de rigueur in Western-made movies: endless snarls of traffic, stomach-upsetting cuisine, poor sanitary conditions, and those unflappable locals who throw their hands in the air and say things like, “Here in India, we do things a little differently.” But even at its broadest, the movie is careful to afford its Indian characters a certain fundamental dignity -- and, in another intelligent move, allows them to deliver much of their dialogue in their native Hindi."

Scott Foundas, Variety


"Jon [sic] Ottman’s score doesn’t over power the movie at all, it’s actually not utilized to it’s full potential and is very subtle, but I’ll never get tired of hearing the theme song from the old Animated series. It always puts a smile on my face."

Michelle Alexandria, Eclipse Magazine

"As the younger Prof, who's rejected his mutant powers, McEvoy [sic] gets to be soulfully despairing, and Lawrence has a few frisky moments when she's not in her blue-reptile-skinned Mystique getup. Most of the time, though, they're as confined as the other actors: trapped in their supersuits, upstaged by the CGI and buffeted by editor/composer John Ottman's sub-Wagnerian score. At least the droning Teutonic music befits the movie's heavier themes. The first X-Men movie opened at a Nazi death camp where the young Magneto was imprisoned; this one's introduction dumps piles of corpses in a scene that emulates archival footage of Auschwitz."

Mark Jenkins, NPR

"Like many of Singer’s prior pics, the production benefits from the dual contributions of versatile editor-composer John Ottman -- particularly evident in the story’s clean pacing and construction, despite some busy cross-cutting in the action-heavy final stretch."

Justin Chang, Variety

"Visual effects and CGI work, unsurprisingly, are top-notch throughout, and the Sentinels' attacks are rendered with a chilling visceral charge. The classy use of 3D is a model of restraint, yielding visual rewards particularly with Magneto's handiwork. Editor John Ottman keeps the pace satisfying but never rushed. Doubling as composer, he supplies a score that ranges over many distinct moods, giving a winking nod to fat blaxploitation beats during the initial shift to the '70s."

David Rooney, Hollywood Reporter


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

May 30
FOXY BROWN (Willie Hutch), COFFY (Roy Ayers) [New Beverly]
THE HOLY MOUNTAIN (Alejandro Jodorowsky) [Nuart]
JOE (Bobby Scott), SAVE THE TIGER (Marvin Hamlisch) [Cinematheque: Aero]
SLEEPAWAY CAMP (Edward Bilous) [Silent Movie Theater]

May 31
THE PLAYER (Thomas Newman) [UCLA]
SERENITY (David Newman) [New Beverly]
THE TRIAL (Jean Ledrut), TOUCH OF EVIL (Henry Mancini) [LACMA/AMPAS]
UN CHIEN ANDALOU, LAND WITHOUT BREAD (Darius Milhaud), BELLE DE JOUR [Cinematheque: Egyptian]

June 1
FIELD OF DREAMS (James Horner), THE NATURAL (Randy Newman) [New Beverly]

June 2
FIELD OF DREAMS (James Horner), THE NATURAL (Randy Newman) [New Beverly]
THE SARAGOSSA MANUSCRIPT (Krzysztof Penderecki) [Silent Movie Theater]
THE TREASURE OF THE SIERRA MADRE (Max Steiner) [Arclight Hollywood]

June 3
MAN OF IRON (Andrzej Korzynski) [LACMA/AMPAS]
ON HER MAJESTY'S SECRET SERVICE (John Barry) [Arclight Sherman Oaks]
THE SARAGOSSA MANUSCRIPT (Krzysztof Penderecki) [Silent Movie Theater]

June 4
HOOK (John Williams) [Arclight Hollywood]

June 5
DYNAMITE CHICKEN [Silent Movie Theater]
SCARLET STREET (Hans J. Salter), HANGMEN ALSO DIE (Hanns Eisler) [Cinematheque: Aero]

June 6
THE BIG HEAT (Mischa Bakaleinikoff), CLASH BY NIGHT (Roy Webb) [Cinematheque: Aero]
THE THIN MAN (William Axt), AFTER THE THIN MAN (Herbert Stothart, Edward Webb) [New Beverly]
VIDEODROME (Howard Shore) [Silent Movie Theater]
WHO FRAMED ROGER RABBIT (Alan Silvestri) [Nuart]

June 7
M, THE TESTAMENT OF DR. MABUSE (Hans Erdmann) [Cinematheque: Aero]
OUR MODERN MAIDENS [Silent Movie Theater]
SHORT CUTS (Mark Isham) [UCLA]
THE THIN MAN (William Axt), AFTER THE THIN MAN (Herbert Stothart, Edward Webb) [New Beverly]
WHO CAN KILL A CHILD? (Waldo de los Rios) [Silent Movie Theater]

June 8
ALIEN (Jerry Goldsmith), JODOROWSKY'S DUNE (Kurt Stenzel) [New Beverly]
METROPOLIS (Gottfried Huppertz) [Cinematheque: Aero]
POPEYE (Harry Nilsson, Tom Pierson) [UCLA]
WHO CAN KILL A CHILD? (Waldo de los Rios) [Silent Movie Theater]

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Comments (1):Log in or register to post your own comments
Thanks for the info about the piano arrangements of Herrmann music. Has anyone seen this? I'm wondering how good the arrangements are.

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