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Aisle Seat 4-24: Quiet Place, 4K & New Release Wrap
Posted By: Andy Dursin 4/23/2018 - 9:00 PM
It seems as if cinemas are being filled with two kinds of studio films these days: bloated franchises based on pre-fab brands, and modestly budgeted horror outings like last year’s hit “Get Out” where directors seemingly have more freedom to tell their stories. This year has brought another unexpected commercial success, John Krasinski’s A QUIET PLACE (***½, 95 mins., PG-13), and this one is even better than Jordan Peele’s intriguing if overrated film, dabbling in some familiar genre elements but doing so in such a unique and effective manner that it’s one of the most exciting film-going experiences I’ve had in years.
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Film Score Friday 4/20/18
Posted By: Scott Bettencourt 4/19/2018 - 9:00 PM
The latest soundtrack from Intrada is the first commercial score CD release of James Horner's emotional score for the 2008 Holocaust-themed tearjerker THE BOY IN THE STRIPED PAJAMAS, starring Vera Farmiga, David Thewlis, and Asa Butterfield in his first lead role.


Varese Sarabande has just announced a limited edition (1500 units), three-disc set featuring Rachel Portman's music for the TV anthology series JIM HENSON'S THE STORYTELLER, which aired from 1987 to 1991. 


The latest film music CD release from Kritzerland features the music of Oscar winner Johnny Mandel -- a re-release of his brief score for director Sidney Lumet's 1982 Best Picture nominee THE VERDICT, and expanded version of Mandel's unused score for the 1973 cop thriller THE SEVEN-UPS, and the first release of suites of his music for episodes of TV's long-running M*A*S*H.
 

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Film Score Friday 4/13/17
Posted By: Scott Bettencourt 4/12/2018 - 9:00 PM
The latest from La-La Land is a new edition of Bernard Herrmann's classic, groundbreaking score for director Robert Wise's 1951 sci-fi drama THE DAY THE EARTH STOOD STILL.


Intrada plans to release one new CD next week.

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Aisle Seat 4-10: Shout, Kino Lorber, New Releases
Posted By: Andy Dursin 4/9/2018 - 9:00 PM
A bevy of Disney-licensed titles debut on Blu-Ray this week from Kino Lorber, with several titles new to the format included in the mix. Among the latter is the 1991 Goldie Hawn vehicle DECEIVED (**½, 108 mins., 1991, PG-13), a Touchstone thriller that aims for Hitchcokian heights. While the movie doesn’t quite get there, it’s nevertheless a modestly entertaining film with one of Thomas Newman’s best (and still unreleased) scores.
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Did They Mention the Music 2015
Posted By: Scott Bettencourt 4/6/2018 - 9:00 PM
When I began this series over a decade ago, it was intended to sum up the critical view of the film scores of the year just passed. However in the last few years, between the increased number of films whose reviews I search, the increased number of publications I read reviews in, and other time constraints, the "Did They Mention the Music?" section of my Friday columns has gone from looking at the scores of just-released films to scores of films released two years ago, which is why it's taken me so long to finish this particular column. (And I don't want to think about when Did They 2016 will be ready, much less 2017.) So just think of this column as a nostalgic look at the long-ago scores of 2015.


THE PRAISE:
 
AIR - Edo Van Breemen
 
"What it is, in other words, is science fiction in quotation marks. That makes for some unquestionable aesthetic pleasures -- namely, a swooping, whizzing synth score that builds to a Vangelis-esque end theme, and some handsome camerawork by Norm Li, cinematographer of the similarly retro-genre-fetishistic 'Beyond The Black Rainbow'. But it isn’t much of a reason to be. Cantamessa’s background is game design ('Manhunt,' 'Middle-Earth: Shadow Of Mordor'), and 'Air' is all environment and puzzles. However, unlike other recent movies that take their cues from game design -- namely Bong Joon-ho’s 'Snowpiercer' -- it doesn’t progress through its environment so much as circle it in repetitive tasks."
 
Ignatiy Vishnevetsky, The Onion AV Club
 
ALEX OF VENICE - David Wingo
 
"Apart from the strong performances -- that do keep the movie afloat despite from the narrative breaks in your emotional suspension of disbelief -- other cinematic elements help support the movie. The film is well shot with naturalistic lighting, and composer David Wingo’s wistful score is also quite excellent and effective. However, the melancholy, plaintive score arguably does too much of the emotional heavy-lifting and that’s because, again, these moments don’t always add up genuinely. 'Alex Of Venice”' isn't a strong sum of its good individual parts and many moments feel unearned. We believe and empathize with Mary Elizabeth Winstead when she’s upset often as she’s a good actress that can sell a scene, but we don’t always believe the situation or the sequence that got her from emotional point A to B. And this obviously hurts the movie and the viewer’s engagement in it, and that's not all."
 
Rodrigo Perez, The Playlist
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Film Score Friday 4/6/18
Posted By: Scott Bettencourt 4/5/2018 - 9:00 PM
The latest CD from Intrada is the premiere release of one of James Horner's final scores, for the 2015 National Geographic IMAX documentary LIVING IN THE AGE OF AIRPLANES.


Music Box has announced two new soundtrack CD releases -- an expanded version of David Shire's score for George Romero's underrated thriller MONKEY SHINES; and a disc pairing two scores by Claude Bolling, FLIC STORY and DOUCEMENT LES BASSES

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Aisle Seat 4-3: April Arrival Edition
Posted By: Andy Dursin 4/2/2018 - 9:00 PM
Kicking off this month’s Twilight Time limited editions is THE SEVEN-UPS (103 mins., 1973, PG), a follow-up of sorts to “The French Connection” that reunites most of the production personnel from that Oscar-winning smash — producer Philip D’Antoni (who also served as director here), composer Don Ellis, and stars Roy Scheider and Tony LoBianco — and sports a story authored by detective Sonny Grosso, the inspiration for “Popeye Doyle,” himself.
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Today in Film Score History:
April 25
Alec Puro born (1975)
Brian May died (1997)
David A. Hughes born (1960)
Franz Waxman records his score for Stalag 17 (1952)
Gary Hughes died (1978)
Georges Delerue records his score for L’Homme Qui Revient De Loin (1972)
Heinz Roemheld's score for Union Station is recorded (1950)
John Williams begins recording his score for How to Steal a Million (1966)
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