The latest CD from Intrada presents the soundtrack to the 2013 horror sequel HATCHET III, with music by Scott Glasgow (Bone Dry, The Gene Generation, Lo, Riddle). They have also released a 2-LP set of their recently expanded version of Jerry Goldsmith's WARLOCK.
Varese Sarabande has announced three new limited edition CDs of contemporary film scores which are expected to begin shipping next week -- the soundtrack to DEVIL'S KNOT, director Atom Egoyan's docudrama about the child murders covered in the Paradise Lost documentary trilogy, starring Oscar winners Reese Witherspoon and Colin Firth and scored by Egoyan's regular composer, Oscar winner Mychael Danna; the Chinese period action drama RISE OF THE LEGEND, with music by Shigeru Umebayashi (Hannibal Rising, Curse of the Golden Flower, House of Flying Daggers); and the soundtrack to the recent animated film from Japan, GAMBA, scored by Benjamin Wallfisch (Desert Dancer, Hours, The Escapist).
CDS AVAILABLE THIS WEEK
Anomalisa - Carter Burwell - Lakeshore
The Choice - Marcelo Zarvos - Milan
Dad's Army - Charlie Mole - Silva
Die Weibchen/Oh Happy Day/Engle, Die Ihre Flugel Verbenen - Peter Thomas - CSC
Hail, Caesar - Carter Burwell - Backlot
Hatchet III - Scott Glasgow - Intrada Special Collection
Il Terrible Ispettore - Carlo Rustichelli - Digitmovies
La Viaccia - Piero Piccioni - Saimel
Samoa Regina Della Guigla - Angelo Francesco Lavagnino - Digitmovies
IN THEATERS TODAY
All Roads Lead to Rome - Alfonso Gonzalez Aguilar
The Choice - Marcelo Zarvos - Score CD on Milan
Eisenstein in Gunajuato - featuring music by Sergei Prokofiev
4th Man Out - Herman Beeftink
Misconduct - Federico Jusid
Monday at 11:01 A.M. - Corey Allen Jackson
Rams - Atli Orvarsson
Regression - Roque Banos
Southbound - The Gifted
Tumbledown - Daniel Hart - Score CD due Feb. 12 on Milan
COMING SOON
THIS WEEK IN FILM MUSIC HISTORY
February 5 - Felice Lattuada born (1882)
February 5 - Bronislau Kaper born (1902)
February 5 - Clifton Parker born (1905)
February 5 - Nick Laird-Clowes born (1957)
February 5 - Elmer Bernstein begins recording his score for The Rat Race (1960)
February 5 - Jacques Ibert died (1962)
February 5 - Guy Farley born (1963)
February 5 - Kristopher Carter born (1972)
February 5 - Douglas Gamley died (1998)
February 6 - Hugo Montenegro died (1981)
February 6 - John Dankworth died (2010)
February 7 - George Bassman born (1914)
February 7 - Marius Constant born (1925)
February 7 - Laurie Johnson born (1927)
February 7 - Alejandro Jodorowsky born (1929)
February 7 - Gottfried Huppertz died (1937)
February 7 - Frans Bak born (1958)
February 7 - David Bryan born (1962)
February 7 - Jerry Fielding begins recording orchestral cues for Demon Seed (1977)
February 7 - Shirley Walker begins recording her score for Willard (2003)
February 8 - John Williams born (1932)
February 8 - Joe Raposo born (1937)
February 8 - Alan Elliott born (1964)
February 8 - Planet of the Apes released (1968)
February 8 - Lalo Schifrin begins recording his score for Earth II (1971)
February 8 - Akira Ifukube died (2006)
February 9 - Jean Constantin born (1923)
February 9 - Barry Mann born (1939)
February 10 - Larry Adler born (1914)
February 10 - Gordon Zahler born (1926)
February 10 - Jerry Goldsmith born (1929)
February 10 - Billy Goldenberg born (1936)
February 11 - Recording sessions begin for Leigh Harline's score for The Desert Rats (1953)
February 11 - Bernard Herrmann records his score for the Alfred Hitchcock Hour episode “Wally the Beard” (1964)
February 11 - Mike Shinoda born (1977)
February 11 - Heinz Roemheld died (1985)
DID THEY MENTION THE MUSIC?
BACKCOUNTRY - Frères Lumières
"But when the film pivots, it pivots hard. One hour in, 'Backcountry' shifts gears from a naturalistic relationship drama to a no-holds-barred survival nightmare, and there’s no contest over which mode is a better fit for MacDonald. He never overplays his action scenes, leaving the most intense sequences stripped of Frères Lumières’ score, or completely silent. He rightly trusts his ursine star to do ample scaring without the aid of flashy camerawork (MacDonald mostly shoots those bits erring on the side of horror, with a shaky-but-not-too-shaky handheld) or a mood-setting soundtrack."
Charles Bramesco, The Dissolve
"It’s all pretty effective but in the end, somehow empty. Not to make an unfair comparison to a classic, but the movie 'Deliverance' actually followed through on all of the themes that its storyline suggested, while in 'Backcountry,' we end up with a storyline in which all but the most elemental stuff winds up as window dressing. Some might see this as a blessing somehow -- I have to admit I’m not particularly keen on anyone’s take on the Condition Of Contemporary Masculinity anyway, but that could just be me -- but at the closing of the movie, for all the unusual action and suspense it packed, I felt a sense of evasion. Also, the Godspeed You! Black Emperor sound-alike-score from Frères Lumières is a little irksome in its sound alikeness."
Glenn Kenny, RogerEbert.com
BIG GAME - Juri Seppa, Miska Seppa
"Ludicrous premise aside, 'Big Game' has all the trappings of a muscular, expansive popcorn adventure, with sweeping aerial shots of the spectacular terrain (much of it actually shot in Germany) and a conventional, thundering orchestral score. Taken in a lighthearted spirit, it’s all good fun, with well-handled if increasingly improbable action. It’s not always clear just how much Helander is in on his own joke, however, and some audiences who take feature at face value may be forgiven for thinking it’s just about the dumbest thing they’ve ever seen."
Dennis Harvey, Variety
INSIDE OUT - Michael Giacchino
"It would be difficult to overpraise the vocal stylings of Amy Poehler, who conveys not just supernatural exuberance but the semi-tonal quavers of doubt that keep that said exuberance from being cloying or cartoonish. Michael Giacchino’s score is marvelous even by his own exalted standards. Each region of Riley’s mind has its own melodic character but exists in relation to the larger organism -- a factory in which every cog and pulley is soulfully in tune. Like, come to think of it, Pixar."
David Edelstein, New York
"Fittingly, the music, by faithful Pixar troubadour Michael Giacchino, is clean, bright and playful, but tinged with a recurring note of melancholy, a perfect match for the rainbow-colored but sometimes menacing brain-world designed by the studio’s magical animation team."
Dana Stevens, Slate.com
"Every step of this journey can feel, all at once, both on the nose and dazzlingly inventive. The best analogue for Riley's mind is a Hollywood studio backlot, where rickety old sets crumble as more modern, complex new products are developed. This gives Docter excuses to pay homage to both abstract films (in the realm of abstract learning) and B-movie aesthetics (in a hilarious dream production factory), and it gives 'Inside Out' an aura of relentless ingenuity even as the film comes to seem like it was plucked from a Pixar Narrative Generator algorithm. (Michael Giacchino, the studio's resident composer, contributes an uncharacteristically forgettable score, but the production design, where Day-Glo coloring mingles with the alluring curves of an Apple-designed contraption, is remarkable, and should make for a rewarding 3D viewing experience.)"
Christopher Gray, Slant Magazine
"The idea has been tried -- remember TV's 'Herman's Head'? — but never with the artful brilliance of filmmaker Pete Docter ('Up'; 'Monsters, Inc.'). Docter gets into our control centers as well as Riley's. We all hear voices in our heads -- no, not the kind that get you locked up. As envisioned by Docter, co-director Ronnie Del Carmen and co-writers Meg LeFauve and Josh Cooley, 'Inside Out' isn't so much a tale of emotions at war as it is emotions angling for a truce, reflected in Michael Giacchino's glorious, mood-leaping score."
Peter Travers, Rolling Stone
"Technically, the film is a whole other kind of marvel. The animation is otherworldly and fluid, even more advanced than the studio’s previous high-water mark, 'Toy Story 3.' The visual flourish of mental sectors like ImaginationLand, Dreamland Productions and Abstract Thought -- where everything becomes Picasso-like and two-dimensional -- is witty and wonderfully dynamic, while Michael Giacchino’s terrific score captures wellsprings of feeling in a simple, tinkling-piano theme that winds up soaring."
Joe Neumaier, New York Daily News
"Incoming memories are stored in bright glowing orbs, color-coded according to whatever Emotion was dominant at the time she experienced it, then stored in the appropriate place in the vast landscape of her mind. (Oddly, while Riley’s memories play like little movies, projected inside her head but seen from an objective outside view, her dreams are made at a movie studio with a subjective p.o.v. camera.) Riley’s brain might as well be another planet -- unusually dangerous, all things considered, with different islands for each of her key qualities. It’s full of amusing nooks and crannies, like Imagination Land and the more sinister Subconscious, which this fantastic voyage takes time to visit along the way, giving composer Michael Giacchino the chance to augment his heartening score with separate mood-appropriate themes for each of these realms."
Peter Debruge, Variety
MANGLEHORN - Explosions in the Sky, David Wingo
"Green demonstrates no control over his star, who dodders through the movie in a sleepy daze. In what scans as an ill-advised attempt to capture the hero’s headspace, the director overlaps internal monologues, off-screen dialogue, and a gratingly whimsical score by the normally reliable Explosions In The Sky. Sonically and visually, the movie is a mess; dramatically, it’s barely a movie at all -- an aimless character study with no grip on its character."
A.A. Dowd, The Onion AV Club
"In recent years, Green has gone back and forth between mass-produced studio pics and organic indie dramas, though something about working with Pacino forces what could have been a breaks-the-mold character portrait into factory-made territory. Green clearly admires 'Scarecrow' but doesn’t seem to have recognized what worked about it, giving Pacino a shouty, indignant scene with his son (clearly compensating for things in his own past) and a date with Hunter’s bank teller that feel too contrived to accept. But the helmer leans heavily enough on what’s worked for him before -- like using David Wingo music (accompanied here by Explosions in the Sky and some forlorn harmonica grooves) to tie together abstract and untraditional cuts -- to satisfy a modest appetite for eccentricity."
Peter Debruge, Variety
"All of which is too bad, because there's a stirring gentleness in the early scenes, along with Orr's seductive visuals, accompanied by the symphonic post-rock of Texas band Explosions in the Sky and the delicate scoring of David Wingo. But those elements just make you wish someone had made a stronger case for subtlety. Narrative muscle is also in short supply in a film whose default position is dreamy meandering."
David Rooney, Hollywood Reporter
TED 2 - Walter Murphy
"I know it sounds absurd, but what am I to make of a late scene wherein Morgan Freeman, playing a civil rights attorney hired to argue Ted’s case, actually says to the jury, in sonorous, Morgan Freeman tones, 'You stand here today in the spirit of the Emancipation Proclamation and the 13th Amendmen'” as dramatic music sways. There is no joke there. Freeman doesn’t look at the camera and wink. (But oh, how he probably wanted to wink at the camera, or maybe just punch it.) This is the movie’s big emotional crescendo: MacFarlane seems to want us to be legitimately moved. What am I supposed to take from that? What exactly is happening?"
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, Arclight, Crest, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.
February 5
THE AMERICAN DREAMER, THE LAST MOVIE (Kris Kristofferson, John Buck Wilkin, Chabuca Granda, Severn Darden) [Silent Movie Theater]
BRANDED TO KILL (Naozumi Yamamoto), YOUTH OF THE BEAST (Hajime Okumura) [UCLA]
GRINDHOUSE: DEATH PROOF [New Beverly]
MCCABE AND MRS. MILLER (Leonard Cohen), THE LONG GOODBYE (John Williams) [Cinematheque: Egyptian]
MONTY PYTHON AND THE HOLY GRAIL (DeWolfe) [Crest]
OKLAHOMA! (Richard Rodgers, Robert Russell Bennett, Jay Blackton, Adolph Deutsch), SHOW BOAT (Jerome Kern, Adolph Deutsch, Conrad Salinger) [Cinematheque: Aero]
SPECIES (Christopher Young) [Nuart]
THE THING (Ennio Morricone) [New Beverly]
February 6
THE AMERICAN DREAMER [Silent Movie Theater]
AN AMERICAN IN PARIS (George Gershwin, Johnny Green, Saul Chaplin), THE BAND WAGON (Arthur Schwartz, Adolph Duetsch) [Cinematheque: Aero]
THE DEER HUNTER (Stanley Myers) [Cinematheque: Egyptian]
THE LIFE AND TIMES OF GRIZZLY ADAMS (Thom Pace)[New Beverly]
THE THING (Ennio Morricone) [New Beverly]
TOKYO DRIFTER (Hajime Kaburagi), FIGHTING ELEGY (Naozumi Yamamoto) [UCLA]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Cinematheque: Aero]
February 7
THE AMERICAN DREAMER [Silent Movie Theater]
CHANDU THE MAGICIAN (Louis De Francesco), CHANDU ON THE MAGIC ISLE (Abe Meyer) [UCLA]
THE LIFE AND TIMES OF GRIZZLY ADAMS (Thom Pace)[New Beverly]
STAGECOACH (Richard Hageman, Frank Harling, John Liepold, Leo Shuken) [New Beverly]
February 8
THE AMERICAN DREAMER [Silent Movie Theater]
KANTO WANDERER (Masayoshi Ikeda), THE CALL OF BLOOD (Hajime Ikezawa, Tadanori Suzuki)[UCLA]
MAD MAX: FURY ROAD (Tom Holkenborg), THE ROAD WARRIOR (Brian May) [Cinematheque: Aero]
STAGECOACH (Richard Hageman, Frank Harling, John Liepold, Leo Shuken) [New Beverly]
February 9
THE AMERICAN DREAMER [Silent Movie Theater]
THE GREAT SILENCE (Ennio Morricone) [New Beverly]
SPELLBOUND (Miklos Rozsa) [LACMA]
February 10
MCCABE AND MRS. MILLER (Leonard Cohen) [New Beverly]
THE PRINCESS BRIDE (Mark Knopfler) [Arclight Culver City]
February 11
MCCABE AND MRS. MILLER (Leonard Cohen) [New Beverly]
THE PICTURE OF DORIAN GRAY (Herbert Stothart), THE CANTERVILLE GHOST (George Bassman) [Cinematheque: Aero]
ROCKY (Bill Conti) [Cinematheque: Egyptian]
February 12
BEAUTY AND THE BEAST (Georges Auric), WINGS OF DESIRE (Jurgen Knieper) [Cinematheque: Aero]
BLADE RUNNER (Vangelis) [Cinematheque: Egyptian]
GATE OF FLESH (Naozumi Yamamoto), STORY OF A PROSTITUTE (Naozumi Yamamoto)[UCLA]
INGLOURIOUS BASTERDS [New Beverly]
MCCABE AND MRS. MILLER (Leonard Cohen) [New Beverly]
THE MOTHER AND THE WHORE [Silent Movie Theater]
THERE'S NOTHING OUT THERE (Christopher Thomas) [Silent Movie Theater]
VERTIGO (Bernard Herrmann) [Nuart]
X-RAY (Arlon Ober) [Cinematheque: Egyptian]
February 13
AGAINST A CROOKED SKY (Lex De Azevedo) [New Beverly]
ANNIE HALL, THE PURPLE ROSE OF CAIRO (Dick Hyman) [Cinematheque: Aero]
KING KONG (Max Steiner) [Cinematheque: Egyptian]
MCCABE AND MRS. MILLER (Leonard Cohen) [New Beverly]
THE PATSY [Silent Movie Theater]
THE SINFUL DWARF (Ole Orsted) [Cinematheque: Egyptian]
TATTOOED LIFE (Masayoshi Ikeda), CARMEN FROM KAWACHI (Taichiro Kasugi) [UCLA]
February 14
AGAINST A CROOKED SKY (Lex De Azevedo) [New Beverly]
BREAKFAST AT TIFFANY'S (Henry Mancini) [Cinematheque: Aero]
CITY LIGHTS (Charles Chaplin) [Silent Movie Theater]
HAROLD AND MAUDE [Cinematheque: Egyptian]
LOVE EXPOSURE (Tomohide Harada) [Silent Movie Theater]
THE NOTEBOOK (Aaron Zigman) [Arclight Santa Monica]
RAFTER ROMANCE (Max Steiner), DOUBLE HARNESS (Max Steiner) [UCLA]
RIO BRAVO (Dimitri Tiomkin) [New Beverly]
THE THIN MAN (William Axt) [Silent Movie Theater]
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