The latest release from Varese Sarbande's "We Hear You" series, limited to 2000 units, is a two-disc edition of music from NBC's long-running THE WEST WING, featuring episode scoring by W.G. Snuffy Walden, who earned an Emmy and two nominations for his contribution to the series.
Next week Varese plans to announce three new releases in their Limited Edition CD series of contemporary scores.
La-La Land has announced their latest batch of releases, with an emphasis on composer Blake Neely -- CDs of Neely's music for ARROW: SEASON 5, DC'S LEGENDS OF TOMORROW: SEASON 2, THE FLASH: SEASON 3, and SUPERGIRL: SEASON 2, as well as a two-disc set of Harry Manfredini's scores for the second and third films in the FRIDAY THE 13TH franchise.
CDS AVAILABLE THIS WEEK
Arrow: Season 5 - Blake Neely - La-La Land
Black Mirror: Nosedive - Max Richter - Deutsche Grammophon
Breathe - Nitin Sawhney - Varese Sarabande
DC's Legends of Tomorrow - Blake Neely - La-La Land
Dorothea Lange: Grab a Hunk of Lightning - Jami Sieber, Evan Schiller - Out Front Music
The Flash: Season 3 - Blake Neely - La-La Land
The Foreigner - Cliff Martinez - Sony (import)
Friday the 13th Parts 2 & 3 - Harry Manfredini - La-La Land
Geostorm - Lorne Balfe - WaterTower [CD-R]
Henry May Long - Max Richter - Deutsche Grammophon
Made in Italy - Carlo Rustichelli - Digitmovies
Professor Marston and the Wonder Women - Tom Howe - Sony (import)
Scusi, Lei E Favorevole O Contrario - Piero Piccioni - Digitmovies
Supergirl: Season 2 - Blake Neely - La-La Land
The West Wing - W.G. Snuffy Walden - Varese Sarabande
IN THEATERS TODAY
Alex & Eve - Steve Peach
B&B - Simon Birch, Dan Jones
Breathe - Nitin Sawhney - Score CD on Varese Sarabande
Carving a Life - Edna Alejandra Longoria
Dementia 13 - Adonis Tsilimparis
Dina - Michael Cera
Faces Places - Matthieu Chedid
The Foreigner - Cliff Martinez - Score CD due on Sony
Gnome Alone - Patrick Stump
Human Flow - Karsten Fundal
Marshall - Marcus Miller
The Meyerowitz Stories (New and Selected) - Randy Newman
Overdrive - Pascal Lengagne
Paradise - Sergey Shustitskiy
Professor Marston and the Wonder Women - Tom Howe - Score CD on Sony (import)
78/52: Hitchcock’s Shower Scene - Jon Hegel
Surviving Peace - Kanoa Wolfe-Doblin
Take My Nose…Please - David Cieri
Te Ata - Bryan E. Miller
Una - Jed Kurzel
COMING SOON
October 20
Anthology: Movie Themes 1974 - 1998 - John Carpenter - Sacred Bones
Blade Runner 2049 - Benjamin Wallfisch, Hans Zimmer - Epic
Earth - Alex Heffes - Edsel (import)
Happy Death Day - Bear McCreary - Backlot
Jane - Philip Glass - Sony
L'Uomo Puma - Renato Serio - Beat
The Mountain Between Us - Ramin Djawadi - Lakeshore
Ringo Il Volto Della Vendetta - Francesco De Masi - GDM
The Snowman - Marco Beltrami - Backlot
Tokyo Ghoul - Don Davis - Milan (U.S. release)
The Walking Dead - Bear McCreary - Lakeshore
Wonderstruck - Carter Burwell - Lakeshore
October 27
Battle of the Sexes - Nicholas Britell - Sony
Don't Look Now - Pino Donaggio - Silva
Goodbye, Christopher Robin - Carter Burwell - Sony
November 3
Hans Zimmer: Live in Prague - Hans Zimmer - Eagle Rock
Murder on the Orient Express - Patrick Doyle - Sony
Rage - Ryuichi Sakamoto - Milan
Thank You for Your Service - Thomas Newman - Sony
Tooth and Tail - Austin Wintory - Varese Sarabande
November 10
The Film Scores and Original Orchestral Music of George Martin - George Martin - Atlas Realisations
Loveless - Evgueni Galperine, Sacha Galperine - Varese Sarabande
Mr. Robot vol. 4 - Mac Quayle - Lakeshore
Thor: Ragnarok - Mark Mothersbaugh - Hollywood
November 17
All I See Is You - Marc Streitenfeld - Milan
Molly's Game - Daniel Pemberton - Sony (import)
Only the Brave - Joseph Trapanese - Varese Sarabande
Rat Film - Dan Deacon - Domino
Wonder - Marcelo Zarvos - Milan
November 24
Mayhem - Steve Moore - Relapse
December 8
Justice League - Danny Elfman - WaterTower
December 15
Star Wars: The Last Jedi - John Williams - Disney
Date Unknown
A Fish Called Wanda - John DuPrez - Music Box
Hammer Horror: Classic Themes (1958 - 1974) - various - Silva
La Cordillera - Alberto Iglesias - Quartet
L'Amant Double - Philippe Rombi - Quartet
Via Degli Specchi - Pino Donaggio - Music Box
Wild Geese II - Roy Budd - Caldera
THIS WEEK IN FILM MUSIC HISTORY
October 13 - Maurice Jarre records his score for The Last Tycoon (1976)
October 13 - Raoul Kraushaar died (2001)
October 13 - Berto Pisano born (1928)
October 13 - Paul Simon born (1941)
October 13 - Lud Gluskin died (1989)
October 13 - David Newman begins recording his score for Jingle All the Way (1996)
October 13 - Dave Pollecutt died (2001)
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 14 - Alan Silvestri begins recording his score for Predator 2 (1990)
October 15 - Fumio Hayasaka died (1955)
October 15 - Simon Boswell born (1956)
October 15 - Franz Reizenstein died (1968)
October 15 - Kevin Kliesch born (1970)
October 15 - Lalo Schifrin begins recording his score to THX- 1138 (1970)
October 16 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “Misadventure” (1964)
October 16 - Maurice Jarre begins recording his score for Taps (1981)
October 16 - Art Blakey died (1990)
October 16 - David Bell records his scores for the Enterprise episodes “Terra Nova” and “Dear Doctor” (2001)
October 16 - Albert Elms died (2009)
October 16 - Pete Rugolo died (2011)
October 17 - Luiz Bonfa born (1922)
October 17 - Around the World in Eighty Days premieres in New York (1956)
October 17 - Bullitt opens in New York (1968)
October 17 - Basil Poledouris records his score for the Twilight Zone episode “A Message from Charity” (1985)
October 17 - Jay Livingston died (2001)
October 17 - Vic Mizzy died (2009)
October 18 - Frederick Hollander born (1896)
October 18 - Rene Garriguenc born (1908)
October 18 - Allyn Ferguson born (1924)
October 18 - John Morris born (1926)
October 18 - Peter Best born (1943)
October 18 - Howard Shore born (1946)
October 18 - Miklos Rozsa begins recording his score for East Side, West Side (1949)
October 18 - Bernard Herrmann begins recording his score to The Wrong Man (1956)
October 18 - Wynton Marsalis born (1961)
October 18 - Pete Carpenter died (1987)
October 19 - Fiorenzo Carpi born (1918)
October 19 - George Fenton born (1950)
October 19 - Victor Young begins recording his score to Scaramouche (1951)
October 19 - Johnny Harris records his score for the Buck Rogers in the 25th Century episode “Return of the Fighting 69th” (1979)
October 19 - Recording sessions begin on James Newton Howard’s score for Falling Down (1992)
October 19 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “True Q” (1992)
DID THEY MENTION THE MUSIC?
"There may well be viewers receptive to this ugly brand of reactionary fear-mongering, which -- thanks to a release date postponed from last October -- can claim accidental topicality in the wake of November’s horrific Paris attacks. But that’s not to credit a scrap of cultural or political perspicacity to a film in which seasoned White House advisors observe with wonder that a massive terrorist strike on the U.K. is 'all over social media too.' A film this incurious about the world it demolishes is perhaps smarter when it plays dumb, though even at its most purely physical, 'London Has Fallen' remains short on style, rhythm or even tacky formal bravado: Ed Wild’s widescreen lensing, often swamped in all that translucent-looking effects work, trades in smeary shades of steel, while the marching-band thrum of Trevor Morris’s score steers sternly clear of memorable riffs."
Guy Lodge, Variety
10 CLOVERFIELD LANE - Bear McCreary
"The story opens with Michelle (Mary Elizabeth Winstead), deciding to exit a relationship gone south and head for the hills. This entire opening sequence plays out like a beautiful, near wordless, mini-symphony with Bear McCreary’s fantastic score soundtracking Michelle’s internal anxiety and indecision -- up until the point where her car is run off the road. She later awakens in an underground bunker, her broken leg chained to a pipe. It’s here we meet Goodman’s Howard, who -- throughout the course of the film -- alternates between captor and caretaker."
Mark Rozeman, Paste Magazine
"This simple and suspenseful horror thriller calls for spare technique, but the director, Dan Trachtenberg, smothers the action in showy camera work and an overly insistent music score. But, as the mystery unravels, he reveals flashes of a giddily hyperbolic pop imagination."
Richard Brody, The New Yorker
"'10 Cloverfield Lane' is a cinematic puzzle box that rewards your patience with three standout performances; a memorable, nerve-jangling score by composer Bear McCreary; and an escalating sense of disorienting confusion: The bunker’s occupants aren’t the only ones wondering exactly what the hell is going on topside. The film stumbles a bit in the end, when the exact nature of the perils within and without are made clear, but up until that point, '10 Cloverfield Lane' is scarily suspenseful stuff."
Marc Savlov, The Austin Chronicle
"As the resourceful Michelle tries to figure out what’s really going on, Trachtenberg gets to work on your nerves with the help of an unrelentingly taut score from Bear McCreary and an occasional pop hit on Howard’s old-timey jukebox -- 'I Think We’re Alone Now' has never seemed so malevolent. This setup isn’t exactly novel (plus, Winstead bears a striking resemblance to Brie Larson of the hostage drama 'Room'), but the screenplay is so nicely sparse, its twists so well deployed, that you don’t feel anything’s being reheated. And speaking of twists: The less you know, the better. (In fact, don’t even go on to the next paragraph if you’re a real spoiler purist.)"
Sara Stewart, New York Post
"The obvious reason the two films connect so thinly is that '10 Cloverfield Lane' wasn't originally conceived as a sort-of sequel, but retrofitted like the chainsaw Bruce Campbell attaches to his arm in 'Evil Dead II.' In sharp contrast to the shaky-cam of 'Cloverfield,' first-time director Dan Trachtenberg gives the opening scenes a classic Hitchcockian quality, nodding specifically to Janet Leigh's dash out of town in 'Psycho' and laying on a muscular score (by Bear McCreary) in homage to Bernard Herrmann. Also like Hitchcock, the story takes a decisive turn once a car peels off the road."
Scott Tobias, NPR
"That none of this unfolds from the perspective of a subjective camera is a relief, even if 'Cloverfield' remains one of the more inventive entries in the ongoing found-footage cycle. First-time director Dan Trachtenberg -- an Abrams protégé, just like the original’s Matt Reeves -- shoots '10 Cloverfield Lane' mostly in claustrophobic close-up, a suitable strategy for studying the shifting allegiances of his surrogate, subterranean family. Setting aside a few stylistic flairs -- the opening credits arrive during the auto accident, creating alarming shock cuts to darkness and silence every few seconds -- Trachtenberg mostly just trusts his capable cast and the sturdy three-hander cooked up for them. (He also leans heavily on 'Walking Dead' composer Bear McCreary, whose urgent suspense score makes this deliberately small movie feel a little bigger, giving it an extra charge of Spielbergian grandeur.)"
A.A. Dowd, The Onion AV Club
"'10 Cloverfield Lane' is an irresistible thriller, directed with lots of confidence and flair. Director Dan Trachtenberg announces his presence from the first moments, and almost as soon as that, the audience knows it’s in good hands. Though the movie takes place almost entirely in a single location, it is constantly active and tense. The opening scene is like a silent movie. With Bear McCreary’s ostentatious, menacing music soaring over the soundtrack -- this is music that wants you to notice it -- we see a young woman making a phone call (we don’t hear her voice), packing a bag and leaving her engagement ring and keys behind her. This is Michelle (Mary Elizabeth Winstead), and she is beginning a new life. The silent sequence, which continues as she drives away in her car, has an interesting effect. Often with thrillers, as with horror movies, the openings grab us, so that by the time the genre kicks in and starts delivering thrills, all that thriller stuff feels like an intrusion. But by making the whole opening without dialogue, the director sets the movie’s first minutes aside, as something apart. We feel instinctively that this is not the real story."
Mick LaSalle, San Francisco Chronicle
"Right from the start, you know you’re in confident hands. Bear McCreary’s frenetic orchestral score accompanies a teary yet wordless breakup, as Mary Elizabeth Winstead -- the young, impressive actor with a determined jawline like Sigourney Weaver’s -- hangs up on her boyfriend, leaving behind a diamond ring and taking to the road with a bottle of Scotch. A car crash brings her down. She awakens, bloodied and nervous, chained to the wall of a cell. Her captor (John Goodman, channeling his creepy 'Barton Fink' side) tells her an “attack” has happened, rendering the outside world uninhabitable. And we see just enough of that to wonder if he’s right. Maybe he's her savior whose only crime is having a jukebox full of Tommy James and the Shondells."
Joshua Rothkopf, Time Out New York
"The film begins silently (over a great, old-fashioned score by Bear McCreary) as Mary Elizabeth Winstead's Michelle bolts from her fiance's apartment after an argument. Jittery, confused, she only wants to drive far, far away."
Stephen Whitty, Newark Star-Ledger
"So let’s deal with what happens before then. Michelle is on the highway, fleeing her normal life in a sequence that, in its tone and scoring, recalls the opening scenes of 'Psycho' -- and turns out to be as much of a red herring. There’s a horrible car crash; she wakes up on a cot in a concrete room, hooked up to an IV, cuffed to a pipe. Soon she meets the man who put her there: Howard, a survivalist who tells her there’s been an attack, 'I’m not sure yet if it’s nuclear or chemical, but down here you’re safe.' By 'down here' he means his underground bunker, protected from the now-contaminated air, stocked with a multi-year supply of food and essentials. 'Everyone outside of here is dead' he assures her."
Jason Bailey, Flavorwire
"Once in development under the name 'The Cellar,' the script by Josh Campbell and Matthew Stuecken (with a co-story credit by 'Whiplash' writer Damien Chazelle) was retrofitted to place it in the world of 'Cloverfield.' So, as Michelle (Winstead) drives away from her life and partner, leaving her house keys and ring on the table, we hear ominous reports of power outages on the coast over the radio. These opening scenes are clearly designed to be reminiscent of another story of a woman who left the city for a dangerous countryside, as Michelle packing her bags and Bear McCreary’s overheated, Hermann-esque score will make anyone who’s seen 'Psycho' think of Marion Crane in the opening act of Hitchcock's classic. It’s not long before Michelle finds her Norman Bates."
Brian Tallerico, RogerEbert.com
"Carried along by the beats of Bear McCreary's pulsating score, '10 Cloverfield Lane' seems eager to play itself like a B-movie throwaway. It's anything but. 'Cloverfield' producer J.J. Abrams, who just did some 'Star Wars' thing, is back on the team, and Damien Chazelle ('Whiplash') wrote the script with Josh Campbell and Matthew Stuecken. Translation: You're in good hands."
Peter Travers, Rolling Stone
"In an opening sequence that eerily echoes Marion Crane’s flight from justice in 'Psycho,' an emotionally distraught Louisiana woman named Michelle (Winstead) packs her bags and drives out into the night. Along the way, she’s hectored by an angry boyfriend on the phone, and also by Bear McCreary’s frenzied score, which rises to a pitch of shrieking intensity shortly before her car skids off the road and flips over. When Michelle regains consciousness, she finds herself in a bunker several feet below ground, where she is fed and tended to by her grizzled, heavy-set man named Howard (Goodman). He urges her not to fight him or try to escape from the bunker, which represents her only hope of survival."
Justin Chang, Variety
"Director of photography Jeff Cutter’s intimate camerawork, often relying on darkly expressive close-ups before expansively capitalizing on later plot developments, ably establishes the film’s unsettling tone, underpinned by Bear McCreary’s brooding orchestral score."
Justin Lowe, Hollywood Reporter
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, LACMA, Laemmle, New Beverly, Nuart, Silent Movie Theater and UCLA.
October 13
CREEPSHOW (John Harrison) [LACMA]
FRIDAY THE 13TH (Harry Manfredini) [Arclight Hollywood]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
THE OMEN (Jerry Goldsmith), HOLOCAUST 2000 (Ennio Morricone) [New Beverly]
THE RETURN OF THE LIVING DEAD (Matt Clifford) [Nuart]
SUSPIRIA (Goblin) [Cinematheque: Aero]
October 14
ANDREI RUBLEV (Vyacheslav Ovchinnikov) [Cinematheque: Aero]
IT FOLLOWS (Disasterpiece) [New Beverly]
MAD MONSTER PARTY? (Maury Laws) [New Beverly]
THE OMEN (Jerry Goldsmith), HOLOCAUST 2000 (Ennio Morricone) [New Beverly]
October 15
COME AND SEE (O. Yanchenko) [Cinematheque: Aero]
EASY RIDER, CHASERS (Dwight Yoakam, Pete Anderson) [New Beverly]
MAD MONSTER PARTY? (Maury Laws) [New Beverly]
THE PRINCESS BRIDE (Mark Knopfler) [Arclight Culver City]
THE PRINCESS BRIDE (Mark Knopfler) [Arclight Hollywood]
THE PRINCESS BRIDE (Mark Knopfler [Arclight Santa Monica]
THE PRINCESS BRIDE (Mark Knopfler) [Arclight Sherman Oaks]
October 16
EASY RIDER, CHASERS (Dwight Yoakam, Pete Anderson) [New Beverly]
REAL WOMEN HAVE CURVES (Heitor Pereira) [AMPAS]
October 17
CHEF [Arclight Santa Monica]
THE MONSTER SQUAD (Bruce Broughton) [Arclight Sherman Oaks]
THE MUMMY [LACMA]
THE RELIC (John Debney), LASERBLAST (Richard Band, Joel Goldsmith) [New Beverly]
October 18
BRIDE OF FRANKENSTEIN (Franz Waxman), SON OF FRANKENSTEIN (Frank Skinner) [New Beverly]
THE HIRED HAND (Bruce Langhorne), KID BLUE (John Rubinstein, Tim McIntire) [New Beverly]
A NIGHTMARE ON ELM STREET (Charles Bernstein) [Arclight Hollywood]
October 19
THE HIRED HAND (Bruce Langhorne), KID BLUE (John Rubinstein, Tim McIntire) [New Beverly]
TROLLHUNTER [Laemmle NoHo]
October 20
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
HALLOWEEN (John Carpenter) [Nuart]
MAGIC (Jerry Goldsmith), THE SILENCE OF THE LAMBS (Howard Shore) [New Beverly]
TWISTER (Mark Mancina), MINORITY REPORT (John Williams) [Cinematheque: Aero]
October 21
EAST OF EDEN (Leonard Rosenman) [Cinematheque: Aero]
IT FOLLOWS (Disasterpiece) [New Beverly]
MAGIC (Jerry Goldsmith), THE SILENCE OF THE LAMBS (Howard Shore) [New Beverly]
THE MONSTER SQUAD (Bruce Broughton) [New Beverly]
October 22
FIVE EASY PIECES, NEXT STOP, GREENWICH VILLAGE (Bill Conti) [Cinematheque: Aero]
FLESHEATER (Erica Portnoy) [Cinematheque: Egyptian]
HORROR OF DRACULA (James Bernard), CURSE OF FRANKENSTEIN (James Bernard) [New Beverly]
THE MONSTER SQUAD (Bruce Broughton) [New Beverly]
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