The latest new release from La-La Land is THE X-FILES, VOLUME 3, featuring four discs of Mark Snow's music from the TV series; it is expected to begin shipping next week.
Just in time for Halloween, Varese Sarabande has released two newly expanded horror themed limited edition CD Club releases, expected to begin shipping this week -- an expanded, 40th anniversary edition of Jerry Goldsmith's (only!) Oscar-winning score, for the Satanic horror classic THE OMEN, and a Deluxe Edition of Marco Beltrami's score for Wes Craven's hit sequel SCREAM 2 (a smaller selection of cues were previously released on a Varese disc along with cues from the first Scream).
The latest release from Kritzerland is a two-disc set featuring Nelson Riddle's score for the 1964 romantic comedy PARIS WHEN IT SIZZLES, reteaming Sabrina stars William Holden (as a screenwriter) and Audrey Hepburn (as his assistant). The Kritzerland Paris features the complete score, plus alternate cues and the original LP sequencing.
CDS AVAILABLE THIS WEEK
Archipelago: A Film Music Retrospective - Alberto Iglesias - Quartet
Don't Breathe - Roque Banos - Lakeshore
The Omen: 40th Anniversary Edition - Jerry Goldsmith - Varese Sarabande CD Club
Outlander: Season 2 - Bear McCreary - Madison Gate
Scream 2: The Deluxe Edition - Marco Beltrami - Varese Sarabande CD Club
Stranger Things, Vol. 2 - Kyle Dixon, Michael Stein - Lakeshore
Sully - Clint Eastwood, Christian Jacob, The Tierney Sutton Band - Varese Sarabande
IN THEATERS TODAY
The Eagle Huntress - Jeff Peters
Inferno - Hans Zimmer - Score CD on Sony
King Cobra - Tim Kvanovsky
Little Sister - Fritz Myers
The Unspoken - Matthew Rogers
The Windmill - Erik Jan Grob
The Wolves at the Door - Toby Chu
COMING SOON
November 4
The Crown - Hans Zimmer, Lorne Balfe, Rupert Gregson-Williams - Sony
Hacksaw Ridge - Rupert Gregson-Williams - Varese Sarabande
A Palace Upon the Ruins [concert piece] - Howard Shore - Howe
The X-Files: Vol. 3 - Mark Snow - La-La Land
November 11
Arrival - Johann Johannsson - Deutsche Gramophon
Bates Motel - Chris Bacon - Lakeshore
Orange Sunshine - Matt Costa - Varese Sarabande
November 18
City Heat - Lennie Niehaus - Varese Sarabande
Doctor Strange - Michael Giacchino - Disney
Fantastic Beasts and Where to Find Them - James Newton Howard - WaterTower
Far Cry 3 - Brian Tyler - Sumthing Else
Loving - David Wingo - Backlot
Manchester by the Sea - Lesley Barber - Milan
Moana - Mark Mancina - Disney
Nocturnal Animals - Abel Korzeniowski - Silva
Ryuichi Sakamoto: Music for Film - Ryuichi Sakamoto - Silva
November 25
Bleed for This - Julia Holter - Milan
Gears of War 4 - Ramin Djawadi - Sumthing Else
Moonlight - Nicholas Britell - Lakeshore
December 9
A Monster Calls (U.S. release) - Fernando Velazquez - Backlot
December 16
Passengers - Thomas Newman - Sony
Rogue One: A Star Wars Story - Michael Giacchino - Disney
January 13
Hans Zimmer: The Classics - Hans Zimmer - Sony
Date Unknown
The Boy and the Lion - Stelvio Cipriani - Kronos
The Brian May Fantasy Film Music Collection - Brian May - Dragon's Domain
KM31 - Carles Cases - Kronos
Le Sault de L'ange/Les Anges - Francois De Roubaix - Quartet
Les Petroleuses/Dans La Poussiere Du Soleil - Francis Lai - Quartet
L'Inchiesta - Riz Ortolani - Digitmovies
A Monster Calls (European release) - Fernando Velazquez - Quartet
Paris When It Sizzles - Nelson Riddle - Kritzerland
Reunion/Misunderstood - Philippe Sarde - Quartet
Ringo E Gringo Contro Tutti - Gianni Ferrio - Digitmovies
The Sand/Sonata - Vincent Gillioz - Howlin' Wolf
Tetro Rouge - Pablo Croissier - Howlin' Wolf
The Welts - Adrian Kornarski - Caldera
THIS WEEK IN FILM MUSIC HISTORY
October 28 - Gershon Kingsley born (1922)
October 28 - Carl Davis born (1936)
October 28 - Howard Blake born (1938)
October 28 - Lalo Schifrin records his score for the Alfred Hitchcock Hour episode “Memo from Purgatory” (1964)
October 28 - Jerry Fielding records his score for the Mission: Impossible episode “The Exchange” (1968)
October 28 - Lalo Schifrin records his score for the Mission: Impossible episode “Submarine” (1969)
October 28 - Oliver Nelson died (1975)
October 28 - Recording sessions begin for James Newton Howard’s score for Eye for an Eye (1995)
October 28 - Gil Melle died (2004)
October 29 - Daniele Amfitheatrof born (1901)
October 29 - Neal Hefti born (1922)
October 29 - George Bassman records his score to Mail Order Bride (1963)
October 29 - Michael Wandmacher born (1967)
October 29 - Irving Szathmary died (1983)
October 29 - Paul Misraki died (1998)
October 30 - Paul J. Smith born (1906)
October 30 - Irving Szathmary born (1907)
October 30 - Teo Macero born (1925)
October 30 - Charles Fox born (1940)
October 30 - Brian Easdale died (1995)
October 30 - Paul Ferris died (1995)
October 30 - Paul Baillargeon records his score for the Star Trek: Deep Space Nine episode “Little Green Men” (1995)
October 31 - Robert Drasnin records his score for the Lost in Space episode "West of Mars" (1966)
October 31 - Adam Schlesinger born (1967)
October 31 - Spellbound opens in New York (1945)
October 31 - Jerry Goldsmith begins recording his score for Patton (1969)
October 31 - John Williams begins recording his score to The Towering Inferno (1974)
October 31 - The Mission is released in the United States (1986)
October 31 - Ian Fraser died (2014)
November 1 - John Scott born (1930)
November 1 - Roger Kellaway born (1939)
November 1 - Keith Emerson born (1944)
November 1 - David Foster born (1949)
November 1 - Jerry Fielding records his first Mission: Impossible score, for the episode “The Coucil” (1967)
November 1 - Leighton Lucas died (1982)
November 1 - Louis Barron died (1989)
November 2 - Gary Yershon born (1954)
November 2 - Bernard Herrmann begins recording his score for Journey to the Center of the Earth (1959)
November 2 - k.d. lang born (1961)
November 2 - Felice Lattuada died (1962)
November 2 - Joseph Mullendore's score for the Star Trek episode "The Conscience of the King" is recorded (1966)
November 2 - Alexander Courage records his score for the Lost in Space episode "A Day at the Zoo" (1967)
November 2 - Gary McFarland died (1971)
November 2 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Once More Into the Breach” (1998)
November 3 - John Barry born (1933)
November 3 - Hal Hartley born (1959)
DID THEY MENTION THE MUSIC?
FREEHELD - Hans Zimmer, Johnny Marr
"Flaccidly told both from a writing and directing perspective, 'Freeheld' finds the closeted cop Hester and her butch, auto-mechanic girlfriend Andree meet cute, and aside from Hester’s control issues (which are spelled out often in needless expository dialogue rather than shown) their relationship is up and running. Hester tries to hide aspects of her personal life from her cop partner Dane Wells (Michael Shannon) which causes some resentments, but the first half of the movie is largely conflict free and centers on the halcyon days of an average relationship (and it’s generic enough that even a Hans Zimmer score goes by unnoticed)."
Rodrigo Perez, The Playlist
"Moving firmly into grown-up prestige-drama territory following two appealingly youth-centric pictures (2008’s 'Nick and Norah’s Infinite Playlist' and 2005’s terrific 'Raising Victor Vargas'), Sollett oversees an array of outstanding technical contributions including Maryse Alberti’s well-framed compositions; Jane Musky’s realistically lived-in sets (especially for Laurel and Stacie’s house); and a gentle, unobtrusive score by Hans Zimmer and Johnny Marr. Still, if 'Freeheld' paints a pretty picture, it’s also an insufficiently ambiguous and faintly condescending one, projecting the sort of complacency that too often accompanies movies peering back at recent history from a more evolved perspective. It takes a hard-won milestone and makes it feel, dramatically speaking, like a foregone conclusion."
Justin Chang, Variety
"Sollett gives the drama a look of unfussy naturalism that keeps the focus squarely on the performers. And for a movie that counts on heartstrings being tugged, he makes refreshingly restrained use of Hans Zimmer's score, along with some nice Jersey-flavored guitar by Johnny Marr. But this is a small, decorous movie laboring under the misapprehension that it's a bold, important one."
David Rooney, Hollywood Reporter
LABYRINTH OF LIES - Niki Reiser, Sebastian Pille
"'Labyrinth of Lies' hits every genre cliché, from the mawkish score to the no-dialogue-montage-of-tragedy. Perhaps inevitably, it’s Germany’s submission for the best foreign film Oscar."
Farran Smith Nehme, New York Post
"On one level, it is a coming-of-age story, with Radmann becoming indelibly marked by the education he receives from the testimony of eyewitnesses. To their credit, however, Ricciarelli and Bartel do not exploit the real-life horrors by turning them into character-building object lessons. During their film’s most powerful sequence, several Auschwitz survivors file through Radmann’s office, each telling of atrocities they endured or viewed. But the audience sees only the faces of the pained but resolute witnesses, and hears not their words but elegiac music. When Radmann’s matronly secretary leaves the interview room with a stunned expression on her face, the filmmakers make their point with an impact undiminished by their respectful subtlety."
Joe Leydon, Variety
"After a discouraging initial talk with a camp survivor, in which Radmann’s first, rather innocent question, 'How many victims were there?,' is answered with a stoic 'Thousands,' Ricciarelli mutes the dialogue for the following eyewitness accounts, instead simply showing a montage of speaking faces, set to Niki Reiser and Sebastian Pille’s haunting, choir-powered score, and then cutting to a shot of Radmann’s big-hearted, middle-aged secretary (Hansi Jochmann), who leaves the room in shock after what one supposes must be the revelation of grueling inhuman details. Audiences will fill in the rest."
Boyd van Hoeij, Hollywood Reporter
TRASH - Antonio Pinto
"The second hour picks up the pace, as the kids start piecing together the wallet’s secrets, making connections that expose a pattern of political corruption. There’s a whiz-bang quality to 'Trash''s back half, which plays more like an adaptation of juvenile fiction, and not the R-rated heavy sigh that so much of the rest of this movie ends up being. When Trash finally reaches its powerful climactic image -- a shot of the boys standing just above the dump, representing the triumph of the discarded -- the whole project almost justifies its existence. Yet even after that scene, 'Trash' goes on for 10 more minutes, piling on more of Antônio Pinto’s oppressive score, more of Adriano Goldman’s flashy cinematography, and more of Daldry’s general relentlessness. 'Trash' is meant to appeal to arthouse audiences who liked 'City Of God,' 'Slumdog Millionaire,' and other youth-oriented underdog tales set in squalid conditions. But while once upon a time Daldry made a very good movie like 'Billy Elliot,' here he lets what should’ve been an efficient little thriller get stymied by an excess of style, and the weight of self-importance."
Noel Murray, The Onion AV Club
"Curtis offers single bits of expository dialogue to allow what should be imperative characters to simply recede into the shadows, of which 'Trash' has many, along with endless sickly greens and vomit-tinged yellows refracting and splitting characters' faces. The visual choices are the film's most egregious offence (that or the omnipresent, sanguine score by Antonio Pinto), because they offer nothing except a now-hackneyed understanding of hyper-realism, where poverty-stricken and crime-ridden cities are made into dangerous, neon-tinged playgrounds, fitted with a pop playlist; the film is so calibrated for crossover, commercial appeal that it might as well be advertising the soundtrack between chases and gunplay ('You've just heard "Guerrilla" by Maxine Ashley, available from Universal Music')."
Clayton Dillard, Slant Magazine
"The location shooting works in the film's favour and Daldry effectively employs a straight-to-camera diary style, allowing the kids to fill in details, alongside fast-paced and entertaining action. However, an insistence on using brash, overbearing music to accompany many of the skirmishes diminishes the tension-levels significantly, and the simplistic and saccharine approach to the material niggles throughout. The lure of the drug trade is left to one side, and the overly optimistic ending is an aggravating finish to what is also an excessively long film."
Katherine McLaughlin, The List
"Unfailingly attractive lensing by Adriano Goldman ('Jane Eyre,' 'August: Osage County') is especially good at including the environment around the characters, despite a tendency to make it all look a bit too pretty. Although the favela sits on stilts in a rubbish-strewn lake (made for the occasion), next to the city dump, this is a remarkably clean production -- even Rato’s body sores seem more pancake makeup than uncomfortable lesions. Antonio Pinto’s intrusive music has an annoying habit of anticipating action and mood."
Jay Weissburg, 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, Arclight, Crest, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.
October 28
EQUINOX [Silent Movie Theater]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
GHOSTBUSTERS (Elmer Bernstein) [Cinematheque: Aero]
HER (William Butler, Owen Pallett) [AMPAS]
MOSQUITO (Allen Lynch, Randall Lynch), MOONTRAP (Joseph LoDuca) [Silent Movie Theater]
PAN'S LABYRINTH (Javier Navarrete) [LACMA]
YOUNG FRANKENSTEIN (John Morris), THE MAN WITH TWO BRAINS (Joel Goldsmith) [New Beverly]
October 29
THE BLOB (Michael Hoenig), DEVIL FETUS, THE ENTITY (Charles Bernstein), PHANTASM II (Fred Myrow, Christopher L. Stone), HUMANOIDS FROM THE DEEP (James Horner), HELL NIGHT (Dan Wyman), BRAIN DAMAGE (Clutch Reiser, Gus Russo) [Cinematheque: Aero]
LOVE AT FIRST BITE (Charles Bernstein), AN AMERICAN WEREWOLF IN LONDON (Elmer Bernstein), BEETLEJUICE (Danny Elfman), MODERN PROBLEMS (Dominic Frontiere), THE FEARLESS VAMPIRE KILLERS (Christopher Komeda) [New Beverly]
MEAT [Silent Movie Theater]
YOUNG FRANKENSTEIN (John Morris), THE MAN WITH TWO BRAINS (Joel Goldsmith) [New Beverly]
October 30
DRACULA, DRACULA'S DAUGHTER [Cinematheque: Aero]
GHOSTBUSTERS (Elmer Bernstein) [Cinematheque: Egyptian]
GREMLINS (Jerry Goldsmith) [Arclight Hollywood]
HALLOWEEN (Tyler Bates), HALLOWEEN II (Tyler Bates) [New Beverly]
THE HAUNTING (Humphrey Searle) [Silent Movie Theater]
THE TINGLER (Von Dexter) [Silent Movie Theater]
October 31
BRIDE OF FRANKENSTEIN (Franz Waxman) [Arclight Hollywood]
BRIDE OF FRANKENSTEIN (Franz Waxman) [LACMA]
FRIGHT NIGHT (Brad Fiedel) [Arclight Santa Monica]
HALLOWEEN (Tyler Bates), HALLOWEEN II (Tyler Bates) [New Beverly]
PSYCHO (Bernard Herrmann) [Arclight Sherman Oaks]
November 1
DIXIE DYNAMITE (Jordan & Styner), MOONSHINE COUNTY EXPRESS (Fred Werner) [New Beverly]
THE MASTER (Jonny Greenwood) [Arclight Hollywood]
TWELVE O'CLOCK HIGH (Alfred Newman) [LACMA]
November 2
A CLOCKWORK ORANGE (Wendy Carlos) [Arclight Santa Monica)
THE DEER HUNTER (Stanley Myers) [New Beverly]
November 3
THE DEER HUNTER (Stanley Myers) [New Beverly]
November 4
BLONDIE JOHNSON (Leo Forbstein), BLONDE CRAZY (Leo Forbstein), BIG CITY BLUES (Leo Forbstein) [UCLA]
THE DEER HUNTER (Stanley Myers) [New Beverly]
THE HAND (James Horner) [Silent Movie Theater]
HELLBOY (Marco Beltrami) [LACMA]
JACKIE BROWN [New Beverly]
THE NEVER ENDING STORY (Klaus Doldinger, Giorgio Moroder)[Nuart]
November 5
THE DEER HUNTER (Stanley Myers) [New Beverly]
HELLBOY II: THE GOLDEN ARMY (Danny Elfman) [LACMA]
L.A. CONFIDENTIAL (Jerry Goldsmith) [Cinematheque: Aero]
PLATOON (Georges Delerue) [Silent Movie Theater]
SUPERMAN (John Williams) [New Beverly]
THREE ON A MATCH (Leo Forbstein), THREE BROADWAY GIRLS (Alfred Newman) [UCLA]
WILD GIRL (Gregorio Garcia Segura) [New Beverly]
November 6
CORALINE (Bruno Coulais) [Cinematheque: Aero]
DIAL M FOR MURDER (Dimitri Tiomkin) [Cinematheque: Aero]
SUPERMAN (John Williams) [New Beverly]
TARZAN THE APE MAN, GREYSTOKE: THE LEGEND OF TARZAN, LORD OF THE APES (John Scott) [New Beverly]
| 
