Christine, based on Stephen King's novel about an unusual kind of car repossession, was taken by John Carpenter from book to screen in a blazingly short time. Rather than bypassing his usual methods, as he did with The Thing, Carpenter once again chose to do the score. The original soundtrack released from the movie was a brief affair indeed, offering up a small selection of rock & roll tunes used in the movie, plus a short selection ("Christine Attacks," here with the subtitle "Plymouth Fury") from Carpenter's score. As it is, this Tangerine Dream-influenced, mechanically pounding number is probably the best thing in the score, highly visual, threatening, and relentless. As with the best of Carpenter's work, it's enough to haunt your dreams for a few days – a property shared by the scores for Halloween and The Fog (both on Varese Sarabande).
Red Heat is quite possible the most peculiar score James Horner has ever written, drawing on influences as diverse as Russian Opera and Starsky and Hutch. The Main and End Titles are probably the best cues on the album: strong, string and percussion based marches (with an element of Glory in there somewhere) with a mixed-voice choir singing in Russian over the music. The effect is rather unusual, but works well in the context of the film. Russian Streets is an interesting action cue, using what I can only assume to be a balalaika to add an eastern touch to standard action fare: dissonant chords on strings, blaring trumpets, an extremely rapid percussion element and tolling bells and a glissando. This then goes into Cleanhead Bust, which starts off rather well: a funky disco beat and a solo saxophone with different synth sound effects here and there, (…)
One of Jerry Goldsmith’s greatest sci-fi/fantasy scores comes to CD in complete form: Twilight Zone: The Movie, the 1983 anthology film inspired by the classic Rod Serling TV series. No composer was better suited to score the big-screen Twilight Zone adaptation than Jerry Goldsmith. By the early 1980s Goldsmith was a master in every genre of film, from intimate dramas to large-scale adventures, but he was particularly noted for his landmark scores for science fiction: Planet of the Apes, Star Trek: The Motion Picture, Alien and more—including Poltergeist (1982), for Twilight Zone: The Movie producer and co-director Steven Spielberg, and the original Twilight Zone series, for which Goldsmith scored classic episodes like “The Invaders”.
This ex-Dead Can Dance member imparts her own mixture of the ethereal, the worldly, the emotionally abstract, and the purely beautiful to all of her projects. She's been universally recognized and acclaimed for her body of work: she received a Golden Globe and was Oscar-nominated for the "Gladiator" soundtrack. She has also worked on such high profile movies as "Ali" and "The Insider". This release is a soundtrack for the New Zealand indie film "Whale Rider", already the biggest grossing film in New Zealand ever. Gerrard's music, combined with the motion picture, provides an experience of profound power and spiritual enlightenment.
The Martian Deluxe Soundtrack is compiled of both 'Songs From The Martian' and 'The Martian: Original Motion Picture Score'. 'Songs From The Martian' is the companion Soundtrack to the film The Martian, the action adventure directed by Ridley Scott, starring Matt Damon in the lead role as Astronaut Mark Watney. The '70s-laden album is comprised of some of the greatest classics from disco's golden era (tracklist below) including "Turn The Beat Around" (Vickie Sue Robinson), "Hot Stuff" (Donna Summer), "Rock The Boat" (Hues Corporation), "Waterloo" (ABBA), and "I Will Survive"(Gloria Gaynor), and others. 'The Martian: Original Motion Picture Score' is composed by Harry Gregson-Williams (The Shrek Franchise, X- Men Origins, Man On Fire, The Chronicles Of Narnia). Gregson-Williams also previously scored director Ridley Scott's 2005 movie 'Kingdom Of Heaven.'
For this, his seventh soundtrack for director Peter Greenaway, Nyman deftly orchestrates a mix of strings, horns, and voices to produce another of his fetching and romantic minimalist backdrops. The opening "Memorial" is the highlight of the lot and drives along with stuttering saxophones, an insistent string arrangement, elegiac brass solos, and the soaring vocals of soprano Sarah Leonard (Leonard would be featured on a large part of the Prospero's Books soundtrack). The piece was originally inspired by a 1985 Belgian soccer match tragedy, in which 39 Italian fans were killed. Nyman utilized a death march in his earlier Greenaway collaboration, Drowning by Numbers, and revives the scheme to great effect here for what would become the main theme of The Cook, the Thief, His Wife, and Her Lover. Nyman contrasts the piece's climatic quality with two relatively sedate yet brooding numbers.
Peggy Sue Got Married is a 1986 American comedy-drama film directed by Francis Ford Coppola starring Kathleen Turner as a woman on the verge of a divorce, who finds herself transported back to the days of her senior year in high school in 1960. The film was written by husband and wife team Jerry Leichtling and Arlene Sarner. The film was nominated for three Academy Awards: Best Actress (Turner), Best Cinematography, and Best Costume Design. In addition, Turner was nominated for Best Foreign Actress at the Premis Sant Jordi de Cinema.
Desert Dancer is a 2014 British biographical drama film directed by Richard Raymond and written by Jon Croker. Starring Reece Ritchie and Frieda Pinto, the film is based on the true story of Afshin Ghaffarian, a young, self-taught dancer in Iran, who risked his life for his dream to become a dancer despite a nationwide dancing ban.
Our Encore editions usually stick to the original track list and running order, but Jagged Edge never had individual track titles. And now it does! Plus we have remastered it and re-sequenced it for an all-new listening experience. There wasn’t any additional music, so we couldn’t offer this as a Deluxe Edition, however, we have really shined up this Jagged Edge. A beautiful, bittersweet John Barry love theme along with some atypical suspense music are hallmarks of this very distinct entry in Barry’s legendary filmography.