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CD Review: THEN CAME BRONSON soundtrack

By DANIEL SCHWEIGER 09/26/2013
THEN CAME BRONSON soundtrack | ©2013 Intrada Records

NBC’s 1969 one-season series THEN CAME BRONSON had Michael Parks as a freewheelin’ journalist who goes on the road down Route 66, and a whole lot of other byways, as mostly driven by the liltingly romantic music of George Dunning – whose soft, string musings comprise the first CD of this unexpected, but very welcome Intrada release. No dirty, rock and rolling Easy Riders here for the primetime sensibility, just a nice guy cyclist finding kindred spirits on the road. One can certainly see album producer Lukas Kendall’s affinity for Dunning’s sweetly gentle approach, as his scoring here could easily […]Read On »


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CD Review: THE WOLVERINE soundtrack

By DANIEL SCHWEIGER 09/25/2013
THE WOLVERINE soundtrack | ©2013 Sony Music

For a composer with muttonchops when it comes to horror scoring, Marco Beltrami has shown his talent for playing supernatural superheroes with the likes of The Crow and Hellboy. Taking multiple stabs at his second Marvel character after his berserker score for BLADE II, Beltrami actually ends up giving powerful restraint to his take on Weapon X for THE WOLVERINE. Dealing with a mutant whose powers of self-healing and longevity were God-given before his protruding finger-razors were souped-up with adamantium, Beltrami is more musically interested in playing a bub battling with his own inner demons, a man who’d far rather […]Read On »


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Exclusive Interview: Ken Marino pushes hard for BAD MILO

By DANIEL SCHWEIGER 09/05/2013
Ken Marino in BAD MILO | ©2013 Magnet

In the annals of ass-monster movies, BAD MILO comes across as a terrific rush – pardon the unavoidable metaphors. Not nearly the gross-out fiesta its premise of a dooty Dark Half might imply in its admittedly hilarious trailer, this production of director Jacob Vaughan (THE CASSIDY KIDS) and the usually sedate mumblecore directors / producers Jay and Mark Duplass (BAGHEAD), BAD MILO is far more of an update of tragic WOLFMAN mythos, as crossed with the satire of OFFICE SPACE, the reproductive angst of THIRTYSOMETHING and any number of post-EST self-help psychiatry sessions. Grimacing and screaming through it all in […]Read On »


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Interview: Rob Simonsen on scoring THE SPECTACULAR NOW and THE WAY WAY BACK

By DANIEL SCHWEIGER 09/01/2013
Rob Simonsen | ©2013 Rob Simonsen

Just as guitars and soulful rock-pop melody signaled the youthquake revolution in film scoring with Simon and Garfunkel’s score to THE GRADUATE in 1967, today’s movies about troubled teens on the cusp of a far larger adult world are sounding out with a similar spirit that reflects what the “kids” are listening to, as opposed to their grandparents’ old-school symphonic scores. However, pop-rock is an ever-growing animal as well, having ventured well off the top 40 mainstream since the days when a strumming approach was all that you needed to signal a post-adolescent breaking away from conformity. Now teen dramedies […]Read On »


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CD review: MONSTERS UNIVERSITY soundtrack

By DANIEL SCHWEIGER 08/16/2013
MONSTERS UNIVERSITY soundtrack | ©2013 Walt Disney Records

As the composer who first put Pixar on the CG toon map with TOY STORY, Randy Newman has had a gleefully antic time with the company’s armadas of cute playthings and bugs. Perhaps it was because the creatures of MONSTERS, INC. were far more furry friend than fiend that Newman’s Carl Stalling-esque approach stood out for its mischievousness and warmth- his over-the-top toon sound perfect at playing a one-eyed goblin and giant blue beast as big softies. Now Randy Newman gets to return a decade later with Mike Wazowski and James P. Sullivan in this winningly pleasant prequel that takes […]Read On »


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CD Review: NOW YOU SEE ME soundtrack

By DANIEL SCHWEIGER 08/15/2013
NOW YOU SEE ME soundtrack | ©2013 Glassnote

Few Hollywood composers have nailed the rocking rhythm of the orchestral beat like Brian Tyler, whose action scores for such pictures as EAGLE EYE, FAST AND FURIOUS 6 and two EXPENDABLES are all about thematic propulsion, going like jet engines until they orgasmically plateau. But while Tyler’s the go-to guy for fast cars and muscular mayhem, the composer has rarely had the chance to use his rhythmic sound for a humorous action score, one where no one really gets hurt (though his yeoman work on IRON MAN 3 certainly didn’t lack for comedic riffs). Now Tyler’s testosterone at last gets […]Read On »


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CD review: ROSEWOOD soundtrack

By DANIEL SCHWEIGER 08/14/2013
ROSEWOOD soundtrack | ©2013 La La Land Records

Beyond exploring other galaxies and ravishingly exotic lands, the urbane composer John Williams has found a rich, melodic vein to mine in the south from THE REIVERS‘ coming of age to CONRACK‘s rural school and the comedy-drama car chase that marked Williams’ first collaboration with Steven Spielberg on THE SUGARLAND EXPRESS. But this Queens’ native’s way of knowing how to wield a guitar, jaw harp and harmonica like a regular good old boy would also show the region at its ugliest in a Florida town called ROSEWOOD, whose white population expelled its black populace during one murderous night. While John […]Read On »


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CD review: THALE soundtrack

By DANIEL SCHWEIGER 08/13/2013
THALE soundtrack | ©2013 Movie Score Media

From child vampires to giant trolls and Santa’s naked evil helpers, strange creatures have increasingly been appearing from the Nordic regions. THALE is an especially striking, coccyx-accented young woman to arrive from these hinterlands. And the mystery behind her is played for all of its beautiful eeriness by composers Raymond Enoksen and Geirmund Simonsen, musical creature hunters who’ve yielded stunning findings for this new wave of “fairy tale” horror pictures, whose originality is rapidly putting Hollywood’s genre films to shame. The fiddle seems an indigenous instrument to this isolated, rustic lands of forest and snow, so it’s appropriate that THALE […]Read On »


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CD review: TOO LATE BLUES and THE WORLD OF SUZIE WONG soundtracks

By DANIEL SCHWEIGER 08/12/2013
TOO LATE BLUES soundtrack | ©2013 Kritzerland Records

As pretty much the only label determinedly releasing scores from before 1965, if not 1960 at this point, Kritzerland gets extra points for concentrating on the jazz scores of the Mad Men era, not only releasing such stalwarts as Elmer Bernstein (THE RAT RACE), but also such equally worthy composers as Adolph Deutsch (THE APARTMENT) and Andre Previn (TWO FOR THE SEASAW). Now Kirtzerland has released two more wonderful scores that push past 70 minutes of listening with the era’s inimitable swing, one with an Asian accent, and the other packing the true improvisatory heart of the art form. One […]Read On »


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CD review: WORLD WAR Z soundtrack

By DANIEL SCHWEIGER 08/11/2013
WORLD WAR Z soundtrack | ©2013 Warner Bros. Records

Sure Marco Beltrami scored the first movie in zombie history that elicited a tear-jerking lump in one’s throat instead of ripping it out. But just because Beltrami did such a great job on the simillarly terrific WARM BODIES, don’t think the guy behind SCREAM, HELLBOY and THE THING has gone all soft and emo on us as WORLD WAR Z shows with music-gnashing global destruction. Imagine ten thousand Ghost Faces piling on top of each other to make mincemeat out of humanity, and you’ll hear the relentless, rhythmic rage that’s made Beltrami the go-to guy for horror scoring. There’s tons […]Read On »


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