moviescores

01. Timebomb 02. Pharotek 03. Lone Trooper 04. Scouting 05. Infrared 06. Flurry 07. Mutants 08. Gloom 09. Heroism 10. Approach 11. Dusk Hour 12. The Defense 13. Mad Rap 14. Valves 15. What Lurks 16. Score (more…)

Maniac (remake) - Teaser trailer (VO STfr) by ohmygore Here's a teaser trailer for the Franck Khalfoun directed, Alexandre Aja written Maniac remake - Jesus, how many remakes is this guy going to be involved in? Looks like a bummer, much like the original. I'll probably see this. I love Elijah in Wilfred, and he made for a good creepy bastard in Sin City so this might work. Weird sound effect choice during the first murder they show, sounds like she's being killed with Flubber.

Composer [c.113]Daniel Licht[] will perform his music from [t.29637]Dexter[] live at Largo at The Coronet in Los Angeles on June 10. The musical celebration will be introduced by Michael C. Hall.

[c.401]Rolfe Kent[], the man behind the main theme of [t.29637]Dexter[], will also join on stage with other musicians and vocalists such as Miguel Atwood Fergusson, Mary Elizabeth McGlynn and many more.

This is a one night only event. For more information or to purchase tickets, [url.http://largo.laughstub.com/show.cfm?id=149377]click...

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Every day I tell myself I'm going to swing back into action with this site, but I'm really dragging ass  these days. I've got some new compilations pretty much ready to post, plus several other things I'd like to post , but honestly, I'm to exhausted to even type a couple of paragraphs and upload music much these days. With my strenuous job destroying my spine and sucking my will to live, and me having to cut my mutant grass every 4 days (seriously, what the hell is in my grass that causes it to grow so quickly) I'm pretty much in constant a state of vegetation when I'm at home. I have the energy to sit on my ass and watch shitty movies and Community DVDs. That's it. Anyway, I do actually have some music today. This is from the 1996 film Fatal Frames. Written, Directed and Composed by Al Festa (responsible for the awesomely terrible theme song from Zombie 4, a song I love dearly). Despite my adoration for critically maligned cinema I actually haven't seen this one. Apparently the movie is so bad merely appearing in it was enough to kill Donald Pleasence. In addition to Dr. Leo Bain, Fatal Frames also features David Warbeck, Linnea Quigley and the immortal (literally apparently) Angus Scrimm, so shit pickle or not, I might have to watch this one soon. I hear it's hilarious.

1. Eternal City (Vocal)

2. Main Titles

3. Rome's Arrival: This Is Stefania

4. Roman's Spellbounds

5. St. Angelo's Run

6. Candles In The Night

7. The Seance

8. Black Colosseum (Tamara's Death)

9. Professor Robinson Arrives

10. The Best Memory (Love Theme From Fatal Frames)

11. Trevi In Rosso (Videokiller Attacks)

12. Candles In The Night (Nightmare Reprise)

13. Valenti Investigates

14. Final Nightstorm (Revelations)

15. Alibi '96

16. Desert Flower

17. Pensiero Stupendo (Dance Mix)

18. Eternal City (Instrumental)

He must have cut her into tiny bits, because they never did find the body. Credit goes out to the fellow Cinemaggedonite who uploaded it there per my request.

01. The Beginning of the Partnership 02. Viola’s Audition 03. A Plague of Both Your Houses 04. The DeLessep’s Dance 05. A Daughter’s Day 06. In Viola’s Room 07. A New World 08. Love & the Rehearsal 09. The Arrival of Wessex 10. Greenwich 11. The Brawl 12. News of Marlowe’s Death 13. Love & the End of the Tragedy 14. The Missing Scene 15. The Fight 16. The Play & the Marriage 17. Wessex Loses a Bride 18. The Prologue 19. The Play (Part I) 20. The Play (Part II) 21. Curtain Fall 22. Farewell 23. The End (more…)

Composer: Danny Elfman Label: WaterTower Music Suggested Retail Price: $9.99 Grade: A Of all the great, Gothic love affairs that have been artistically going on in the cinema, easily the most enjoyable, and enduring partnership belongs to composer Danny Elfman and filmmaker Tim Burton. Birds of a bizarre feather from Elfman’s joyously demonic rock band Oingo Boingo to Burton’s twisted scribblings for Disney, it was fate that these kindred, oddball spirits would immediately hit it off from the clown hell that tormented “Pee Wee Herman’s Big Adventure” in 1985. The Burton / Elfman circus of audio-visual horrors that would mostly grow increasingly frenetic through the likes of “Beetlejuice,” “”Batman Returns,” “Mars Attacks,” “Sleepy Hollow” and “The Nightmare Before Christmas.” With nearly every genre collaboration over the last 27 years going further and further into the deep end, it comes as the biggest shock as to just how drolly restrained (relatively speaking) that their newest macabre jaunt is for “Dark Shadows.” It’s a film of many surprisingly genteel pleasures, at least until its finally goes haywire- not that Elfman himself gets dragged down into an abyss of bad storytelling and overt effects that leaps out of nowhere to prevent this from being one of the most breezily pleasurable Burton film since “Beetlejuice.”

Inspired by the cult TV soap opera that no doubt played a major part in twisting Burton’s young imagination, the original “Dark Shadows” wasn’t so much about horror as romance, a gauche love affair with the uncanny that would truly become popular when it embodied its uncannily florid yearning into the sympathetically undead vampire Barnabas Collins. Now given a production of several zillion dollars and Johnny Depp-led star appeal that the technically plagued original could only dream of, Tim Burton further undermines this bigscreen adaptation’s potential hamminess (especially the screwball comedy promised by the somewhat misleading trailer) by playing it straight, if not underplaying the premise. But that certainly doesn’t mean there aren’t many subtly goofy pleasures to be had here, especially in Danny Elfman’s subtly eye-winking score, a relatively uncomplicated treat in the composer’s rhythmically intensive cannon of musical ghoulishness.

A good deal of Elfman’s devilish, trademarked suspects are assembled in “Dark Shadows” to be sure- a dramatically swirling orchestra, organ and chorus among them. And while the “Prologue” gets things off to a tempestuous bang, the kind of raging orchestrations that Elfman’s given to headless horseman, supervillain circuses, or cemetary-dwelling freaks doesn’t really hit until the uncertain climax demands it. Instead, Elfman’s work here is mostly about filling up the vast, centuries-old halls of Collinwood manor in a way not that dissimilar from what Robert Colbert did on ABC daytime, conjuring a fog of strings, cheesy electronics and haunting melodies that are a whole lot more playfully self-conscious this time around. “Deadly Handshake” and “Barnabas Comes Home” are marvels of eerie atmosphere with mock-menacing strings, echoing motifs and tubular bell percussion, a spider-web of musical effects that go bump in the night amidst Rick Heinrich’s impeccable set design, while deliciously conjuring something far more cheaper. Theremin-like pulsations of “Hypno Music” positively threatening to crumble a set that might as well be made out of plaster of Paris. Like this cue, there’s a charming kitsch quality to much of “Dark Shadows” musical miasmas that essentially make this into the score for “Ed Wood” that Elfman never got to do.

What remains completely heartfelt about the score, and a big reason for its success is Elfman’s innate feeling for the lethal outcast. Whether it’s Edward Scissorhands or Hellboy, there’s a melodic tenderness to Elfman’s horror scoring that always makes us sympathize with the freakish, while never letting us forget that the personable “monster” could puncture our throats at any moment. Barnabas Collins is particularly fine company for the composer in that regard, a blood-sucking fish out of water whose biggest distaste is for his own cursed actions. Elfman is as lovestruck for him as Bella is for Edward, the composer giving passionate, if foreboding attraction to a figure whose white-face makeup and flowery dialogue would be completely absurd outside of any other actor, or director’s domain. And when “Dark Shadows” tries to play it for as much real emotion as it will ever carry with “Roger Departs,” Elfman’s theme for Barnabas as father figure is downright noble. This guy is no Dracula, yet all the serious appeal of the vampire myth that he embodies (and was arguably made popular again in the original form of Jonathan Frid) can be found within Elfman’s score between the gently satirical lines.

If Barnabas feels positively old at being serenaded by Alice Cooper, Elfman compounds the musical anachronisms way beyond B-movie / soap opera electronics. Even if “Shadows- Reprise” bursts out with a hilarious retro scream before jamming with electric propulsiveness that’s far more “Batman Begins” than “Batman.” When the kitchen sink special effects arrive to dispel the Baroque drollness that really makes most of “Dark Shadows” work beyond your wildest hopes, Elfman still remains on keel from “The Angry Mob” onward by mixing the throwback keyboards with swells of synth modernism. Much like the Wolfman he scored with far more seriousness, Elfman rips apart his elegant clothes and reverts to raging orchestral form for the overly big finale as he’s called upon to deliver the thundering goods, which he does in thematically operatic style for a potpourri of angry ghosts, animated wooden figures and a witch-bitch’s fiery vengeance. You might be gasping as to what the hell’s happening on screen. Yet Elfman’s thunderous, but still-romantic music maintains fine storytelling form as its throttling momentum turns Barnabas from silent observer to the absurd visuals into super-heroic do-gooder, racing to the rescue with choral and symphonic aplomb for “Widow’s Hill- Finale” and “The End?” – a true Batman, in deed and music.

But while “Dark Shadows’ might tragically falter from becoming a Tim Burton classic to ending up an admirable miss, Danny Elfman’s score shines as another subversive gem, added to a treasure chest that helped make him into the gonzo Prince of musical darkness. It’s work that’s all the more admirable when the spooky-ooky ride gets bumpy, let alone for turning a project’s inherent goofiness from the get-out into a thing of true endearment and supernatural power. Make your home at Elfmanwood HERE

01. Molly 02. Eddie 03. Nadia 04. Dan 05. Debbie 06. Bill 07. Eileen 08. Jack 09. Darren 10. Unnamed 11. Franklyn (more…)

01. Main Title / The Trenches 02. First Love Touch 03. Heartbeat to a Gunshot 04. Mathilde’s Theme 05. Secret Code 06. Elodie’s Theme 07. Kissing through Glass 08. Massage Fantasy 09. Never Had the Child 10. The Man From Corsica 11. Our Soldiers’ Letters 12. Why Do You Cry? 13. End Titles (more…)

[url./manufacturers/database/?id=341]Varese Sarabande[] has announced it will re-release old and out-of-print soundtracks it had previously published under its new 'Varese Encore' series.

Founded in the late 70s, Varese Sarabande has released thousands of soundtrack albums, many of which are out of print and now only available second-hand.

The label plans to remaster each re-released album as well as update its packaging, but does not anticipate changes to original album tracks. According to a company blog post, their aim is to make out-of-print albums "available to a new generation (or two) who have never had an opportunity to buy certain titles from any place other than eBay."

The first batch of 'Varese Encore'...

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01. Borgia Occupation 02. Master Assassin 03. Cesare Borgia 04. Infiltrating the Borgia Castle 05. City of Rome 06. The Brotherhood Escapes 07. Brotherhood of the Assassin’s 08. The Pantheon 09. Villa Under Attack 10. Echoes of the Roman Ruins 11. Rome Countryside 12. Borgia Tower 13. Roman Underworld 14. Countdown 15. Borgia - The Rulers of Rome 16. Ezio Confronts Lucrezia 17. Legacy of the Borgia Family 18. Battle in Spain 19. Fight of the Assassin’s 20. Desmond Miles 21. VR Room 22. End Fight (AC2 Bonus Track) (more…)

[url.http://www.amazon.com/gp/product/1935247050/ref=as_li_ss_tl?ie=UTF8&tag=soundtrnet-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=1935247050][]Soundtrack.Net readers have probably come across the 'unused' film score credit. Usually a composer has been hired and, for a variety of reasons, his or her work gets written and recorded but is later tossed out. Another composer is hired, often at the last minute, a new score is composed from scratch.

Many examples are cited in Soundtrack.Net's database, such as [m.21904]A River Runs Through It[]. ([c.15]Elmer Bernstein[] was originally hired and later replaced by [c.91]Mark Isham[]. Isham discusses this in the bonus interview track on Silver Screen edition of [a.3698]A...

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The music of award-winning composer [c.151]James Newton Howard[] will be celebrated in concert at the 12th World Soundtrack Awards, which will be held at the Kuipke Events Centre in Ghent on Saturday, October 20th. Howard is one of the most versatile and respected film music composers currently working in film. A program of his impressive music will be performed by the renowned Brussels Philharmonic and be accompanied by select film clips. The concert will be conducted by both Howard and Dirk Brossé.

In addition, composer [c.260]Pino Donaggio[] will be receiving the World Soundtrack Lifetime Achievement Award at the event. A selection of his work will also be performed at the concert.

The World Soundtrack Awards was established by the Ghent Film Festival's World Soundtrack...

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