Get the latest score from Howlin' Wolf Records “DON'T GO IN THE HOUSE”, “HOLIDAY HELL” and “GOOD TID

TOTAL RECALL: Not a movie but an expensive looking platform jumper.

The new TOTAL RECALL isn't the worst remake in the world.  It has some truly great special effects.  Just look at the robot stormtroopers that are no doubt C.G.I. but look incredibly real like the T-Rex from JURASSIC PARK.  Whats-her-face from the UNDERWORLD movies is an excellent bad guy.  Nothing stops her from getting the job done.  It is total badass to see her intensity as she tries to capture/kill Quaid.  Colin Farrell isn't bad in the film.  He is there doing stuff, I suppose.  The problem is that no matter what TOTAL RECALL sparkles and dangles in front of the viewer's eyes it can't help but make you feel like this whole movie is completely unnecessary.  This movie has already been made and it was called TOTAL RECALL and it was done better.

So the first thing the new TOTAL RECALL does wrong is completely throw out the mystery as to whether Colin's character, Quaid  was an agent working for the resistance or just some normal guy living the implanted fantasy from the company Rekall that puts exciting vacations into your mind.  They flat out show you that Quaid is captured while trying to escape with Jessica Beil in the opening scene!  Remember in the original TOTAL RECALL where Arnold is on the mountain on Mars with the pretty lady and he falls and his space suit helmet breaks and his face gets all contorted and gross?  Those were good times.  He wakes up realizing he just had a nightmare.  When you immediately see that his wife is not the same woman in the dream you become suspicious as to maybe there was some truth to that nightmare.  This opening scene lays the foundation for the later scene when that small guy from Recall (I think that is how it was spelled in the original movie) shows up and tells Schwartzen-Quaid that it was all just an implanted dream.  For a moment not only does Schwartzen-Quaid start to believe it but you as the audience member does too.  But then Schwartzen-Quaid sees the sweat going down the small guys face and its Good-Bye to that guy!  The new TOTAL RECALL begrudgingly takes time away from the "amazing" PG-13 jumping action to have the same scene.  This time however the moment is nowhere near as badass or intense as the original.  That is because we already know that Quaid is a resistance fighter or agent or whatever he is from the first freaking scene of the movie.  Way to go, Len Weisman.  We don't need a big exciting slick chase scene to get the audience entertained.  We need the audience invested into the story based on the mystery as to who Quaid is and how he is involved in the events around him. CLICK HERE TO CONTINUE READING....


Six Strings with James Hannigan

Great chat with composer James, he is a cool great insightful guy, it's a great honor to talk with him.
-Jeremy [Retro-Z]
-Please tell us your involvement on "Dead Space III" and working with Jason Graves, did you get to work together or just share finished works?

James Hannigan: We were mostly working on separate areas and aspects of the game, but kept in touch about the bigger picture. There are times when our tracks are back to back or in a similar direction, but on the whole we were able to bring our own game as well, so to speak. And we also had the Audio Director and team at Visceral helping to unify everything and keep everything coherent and balanced across the game.

-Working with titles that have recognizable names such as "Transformers", "Harry Potter", "Lord of the Rings" do you sense a feel of what the music should sound like or even be? Do you get to step outside the box to make it more yours then tying in the more familiar themes?

James Hannigan: I definitely try to put my own stamp on things when I can. With these franchises it is true that there are a range of styles associated with them, so to some extent you try to work within them so as not to be completely inappropriate or alienating. There’s a fine line that you walk between creating music that is in some sense familiar and unfamiliar at the same time. In general, you find that there are usually opportunities to be yourself and to break a few rules as well, especially when it comes to creating themes for locations and characters, and you often find a way to put a spin on things. It’s also about how you go about interpreting the source material and injecting your own kind of musicality. As it happens, it’s fairly unusual to actually make use of existing themes or music in these games, unless it’s specifically called for and licensed - as in the case of, say, the Lego movie tie-ins.

Another way of leaving your own mark on something I think is in the choosing of when you actually have music in the game and in determining what it signifies. There are any number of ways of reading a situation and applying music, and not always an obviously right one. It’s highly subjective, really. It’s easy to forget in this era of standalone soundtracks and YouTube clips that part of the art of writing music to picture – in games, film or tv – can be about the application of music in context as well as creating tracks that sound satisfying in isolation. I tend to think that the process should be about how everything fits together as a whole in the game, and I try hard not to take an episodic view of things, but more of a symphonic one when possible. You find also that the music you are creating becomes tied in with the narrative and atmosphere of the game as well, and this is another thing that makes a soundtrack distinct when taken as a whole.

-How much creative control do you have working on any of your projects and where do you find inspiration?

James Hannigan: I try to offer my opinion to developers when it comes to music, and I feel that most expect and welcome this from a composer. A dialogue of some sort can be really important in arriving at the right musical direction, to make sure everyone is on the same page when it comes to what the game and its music are setting out to do. The last thing you want to feel is that you are a mere composing machine entirely implementing someone else’s musical vision for a project without bringing much of yourself to the table, but in my experience that rarely happens. At the same time, however, you do of course have to find some middle-ground with the people who are kind enough to ask for your services. Ideally speaking, everyone needs to stay pretty open and flexible to get the best results, as making a game is a highly iterative process and things change all the time. From a personal perspective though, I think you do have to feel you have some kind of influence over the music and its emotional content to really enjoy doing this work, as without that music can become a little clinical and empty, as if merely ticking a box. Listeners can usually tell when a composer’s heart isn’t in a piece of music, as it tends to lack emotional authenticity.

I get inspiration out of the initial excitement that I have when coming on board a project and thinking about what I can add to it, and after hearing about the goals the development team have. I get most of my ideas – particularly for themes – when I’m out walking rather than when I’m sitting down actually trying to write, which I’ve always found quite interesting. I don’t know about the creative process of others, but for me the process is about learning to listen to the music emerging in my mind rather than seeing myself as someone directly acting on the music. Although I guess it’s a bit of both in reality!

-A game can run for hours from start to the end, how do you find you write each track to fit…do you get to play the games in advance?

James Hannigan: Unless you live close to the developer, it’s generally hard to get hold of the game itself to play it, so a lot of the material you get from them – initially at least – takes the form of written documents, cue lists , game-play footage, cut-scenes and so on. And you glean as much as you can through conversations as well. Depending on how the team works, there may be storyboards and art to see as well which, given the quality of artwork in games these days, can be truly inspiring to look at. You also need to have a handle on interactive music and how to go about composing and editing music to comply with the system in use for the game. So you’re looking for ways of musically binding things together but also thinking about the seams and how music will flow in more of a technical, audio-related way as well. And very often music will be stemmed or layered and essentially remixed by the game. There’s definitely an art to composing for games in the sense that the compositional techniques you employ and the way you organize music need to be in recognition of the fact that your music could, among other things, play indefinitely or be repeated quite often.

-Game music is much more of an art than just music, do you feel that vintage gaming should be remembered in modern gaming and do you have a favorite game modern/vintage/both?

James Hannigan: Absolutely I think vintage game music should be remembered. It’s part of the medium’s cultural heritage - but, more to the point, I think a lot of it was very good and should simply not be forgotten for that reason. What I particularly like about it is that it had a sonic identity making it absolutely recognizable as game music, and that makes it truly unique and much more distinctive if you want to talk about games being an art form. Early game music used the actual onboard gaming hardware to generate sounds, so music production, if you can call it that, was absolutely integral to the underlying technology of the day, and just getting music – any music – out of that hardware was an achievement in itself. For me, knowing how well the composers of that era worked within the technical constraints they were faced with makes the music even more dazzling, and also harder to take at face value. It may be just bleeps and bloops to a lot of people, but those bleeps and bloops were very difficult to make at the time!

The most distinctive sounds for me in early arcade games would have to be in games like Space Invaders and Defender. Without looking, you only need to hear a split second of those games to know exactly what they are, and that’s really saying something.

-Do you ever get the chance to see people play [like a convention] the games you score and feel a great sense of satisfaction?

James Hannigan: Yes, it’s a real thrill. And, naturally, you hope that it’s enjoyed as well and has the desired effect. Unless they take an active interest in music though, I doubt the majority of gamers consciously acknowledge the existence of music in games, as it tends to work subconsciously, but they probably would notice if it was absent. So, all in all, it is a nice feeling to have your music disseminated in this way, regardless of how many people actually acknowledge it directly.

James Hannigan Bio:
Widely recognized as a leading composer for interactive entertainment, James Hannigan's scoring career encompasses an array of genres including popular sci-fi titles such as Command & Conquer: Tiberium Twilight, Command & Conquer: Red Alert 3, Chris Roberts' space combat simulation, Freelancer, and several entries in the Harry Potter series. Most recently James Hannigan composed original music for Visceral Games / Electronic Arts' blockbuster sci-fi horror sequel Dead Space 3, winner of more than 15 critic awards at E3 2012, as well as new and updated themes for Jagex Games Studio's massively multiplayer online role-playing fantasy game Runescape, recognized by Guinness World Records as the world's most popular free MMORPG. In addition to scoring video games, James composes for film and television, contributing to TV series such as BBC America's Primeval. 

Magnolia Pictures: A Royal Affair

A film by Nikolaj Arcel


A ROYAL AFFAIR is the true story of an ordinary man who wins the queen's heart and starts a revolution. Centering on the intriguing love triangle between the ever more insane Danish King Christian VII (Mikkel Boe Følsgaard), the royal physician who is a man of enlightenment and idealism Struensee (Mads Mikkelsen) and the young but strong Queen Caroline Mathilda (Alicia Vikander), A ROYAL AFFAIR is the gripping tale of brave idealists who risk everything in their pursuit of freedom for their people… Above all it is the story of a passionate and forbidden romance that changed an entire nation.

A ROYAL AFFAIR is based on one of the most dramatic events in Denmark and indeed European history; whenever I used to pitch the film to foreign investors, people had a hard time believing that the story was true, that these momentous events had actually happened in the late 1700’s. In Denmark however, it is taught in school, more than 15 books have been written about it (both factual and fictional) and there has even been an opera and a ballet. I feel honored and extremely lucky to finally bring the full story to the screen.

5/5 I must say for a sad story, it's was a great one... normally I would be adding how I fast forwarded to the end of this, not the case. I found myself enthralled in this, even with the sub-titles... which you may not know I am a fan of a good foreign film, here is a great one. The story itself is based on true events and hits all the key elements to make this love, war and wandering eyes come together nicely.
-Jeremy [Retro-Z]


Monstrous Movie Music: 4 New Releases!!

She Demons & The Astounding She-Monster [MMM-1971] offers music to watch girls by – girls who want to kill you!  This fun CD opens with Nicholas Carras’ rousing 1958 score for She Demons, which will get your toes tapping with its jungle drum rhythms.  

Hellgate and Lost Continent [MMM-1972] presents the first film music album by the great Paul Dunlap.  Hellgate is a fabulous 1952 Lippert western, with a fine cast that includes Sterling Hayden, Joan Leslie, Ward Bond, and James Arness.

Virgin Sacrifice [MMM-1973] will be an ear-opener for fans of the talented team of Paul Sawtell and Bert Shefter (Kronos, It! The Terror From Beyond Space, The Last Man on Earth).

The Tall Texan [MMM-1974] features an impressive western score by Bert Shefter, usually known as Paul Sawtell’s partner.

Monstrous Movie Music

I cannot tell you how thrilled I am to hear about one of my favorite "Classic Monster" label "Monstrous Movie Music" has not one... not two... not, well you get it and you should stop over to their site and learn about these newest scores. You know I will though now it looks like I will have to update their music trailer below...
-Jeremy [Retro-Z]


Milan Records: The Place Beyond The Pines [2013] - Mike Patton

The Place Beyond The Pines [2013]
Music by: Mike Patton
Release Date: March 26, 2013


The daring new movie from the director of Blue Valentine, THE PLACE BEYOND THE PINES is a sweeping emotional drama powerfully exploring the unbreakable bond between fathers and sons.

Luke (Academy Award nominee Ryan Gosling) is a high-wire motorcycle stunt performer who travels with the carnival from town to town. While passing through Schenectady in upstate New York, he tries to reconnect with a former lover, Romina (Eva Mendes), only to learn that she has given birth to their son Jason in his absence. Luke decides to give up life on the road to try and provide for his newfound family by taking a job as a car mechanic. Noticing Luke’s ambition and talents, his employer Robin (Ben Mendelsohn) proposes to partner with Luke in a string of spectacular bank robberies – which will place Luke on the radar of ambitious rookie cop Avery Cross (Academy Award nominee Bradley Cooper).

Avery, who has to navigate a local police department ruled by the menacing and corrupt detective Deluca (Ray Liotta), is also struggling to balance his professional life with his family life, which includes his wife Jennifer (Rose Byrne) and their infant son AJ. The consequences of Avery's confrontation with Luke will reverberate into the next generation. It is then that the two sons, Jason (Dane DeHaan) and AJ (Emory Cohen), must face their fateful, shared legacy.

5/5 This the coolest soundtrack/score so far this year with Mike Patton [Faith No More] as composer and some interesting tracks from artist like Ennio Morricone followed by a song from Bon Iver. I just have to say this is got me stirred up to see this film, it's got great elements and you add the score... Bravo!
-Jeremy [Retro-Z]


Magnolia Pictures: Deadfall

A film by Stefan Ruzowitzky


Siblings Addison (Eric Bana) and Liza (Olivia Wilde) are on the run from a casino heist gone wrong. When a car accident leaves their wheel man and a state trooper dead, they split up and make a run for the Canadian border in the worst of circumstances – a near whiteout blizzard. While Addison heads cross-country, creating mayhem in his wake, Liza is picked up by ex-boxer Jay (Charlie Hunnam), en-route for a Thanksgiving homecoming with his parents, June (Sissy Spacek) and retired sheriff Chet (Kris Kristofferson). It’s there the siblings are reunited in a terse and thrilling showdown that pushes the bonds of family to the limit.

Twisted, checked... what you might think, then think again! It's a film that moves you deeper into the cold. It's got a mix of violence, sex and intrigue... sometimes a bit on the gory side... overall a entertaining film! Oh yeah it has that... Olivia Wilde, meow!
-Jeremy [Retro-Z]


MovieScore Media: Pressed [2013] - Peter Allen

Pressed [2013]
Music by: Peter Allen


• GRITTY AND HARD-HITTING SOUNDTRACK FROM THE ACTION THRILLER STARRING LUKE GOSS (Red Widow, Death Race: Inferno, Hellboy II: The Golden Army) AND MICHAEL EKLUND (The Marine: Homefront, The Call, The Imaginarium of Doctor Parnassus)

Key film release dates: US DVD: March 12, 2013 / UK DVD: January 23, 2012 / Australia DVD: June 20, 2012 / Other territories TBC

Pressed is a gritty urban soundtrack in the vein of Crash and Drive, featuring original songs by David Steele and other artists, plus a dark and mesmerizing score by Canadian composer Peter Allen (winner of the Leo Award for his Flower & Garnet and Gemini Award nominee for The Score) who is also currently enjoying success with his score for the indie horror hit American Mary. Starring Luke Goss, currently seen in the ABC show Red Widow, and directed by Justin Donnelly, Pressed tells the story about a drug deal going wrong putting the main character in a desperate situation, and the intensity of the drama and the contemporary setting of the story is effectively portrayed in the soundtrack.  

5/5 It's got a great vibe from song to score... I have been looking forward to this release, here it is! Can you dig it!
-Jeremy [Retro-Z]



100 GREATEST FILM THEMES - TAKE 3  [2013] [6Cd]
Performed by The City of Prague Philharmonic Orchestra and London Music Works.  


Digital album: SILED1398
Digital Release date: March, 26th
Release date: May, 7th, 2013

The third soundtrack release in the “100” series and covering over 80 years of first-class film music.

This wide and extremely varied collection provides the perfect overview of a musical genre that can both delight and educate on a journey through cinematic history.

Ranging from Laurel & Hardy's Dance Of The Cuckoos theme to John William's majestic score for Lincoln, there is also a wide selection of Disney favorites, classic 60s and 70s film tunes and some of the very best of the contemporary scene that includes Drive, Prometheus, Skyfall, Les Miserables and The Hobbit.

I was able to hear a sample of this, it's not bad... it done in great taste and homage to the original composers
-Jeremy [Retro-Z]


New York: Scribner, c2000, ISBN 0684853523, $27.00



You just can’t swing an undead zombie in a room full of writing books without hitting Stephen King’s classic On Writing. While times have changed somewhat since its initial publication, this book still offers so much for the horror writer of today – partly because it normalizes horror icon Stephen King. It reminds us that there are no real “overnight successes,” and that most writers are just average folk with the same worries as the rest of us while trying to “break into” the world of the published author. King purposefully talks about those basics and the hard elements of craft that we all want to forget are instrumental in any success – from having a support group of friends or family, to keeping up with your grammar rules. You also get to meet the “real” Stephen King, at once irreverent and likeable as he relates growing up the a less-than-perfect circumstance of a single-parent home, communicating his knack for getting into trouble because of his writing subjects, and how the horrors of working in poor paying, mind numbing, blue collar jobs shaped many of his characters and plots.

King’s book reminds us that success in writing is subject to many variables. So if you haven’t read this classic or it’s been a few years, it’s time to pick up a copy and revisit a staple in the how-to-write-fiction section. Who knows better about successful story-telling than a man who has published more than 50 books already? I still give it four tentacles, all waving, the second time around…

KC Redding-Gonzalez

Review: H. P. Lovecraft: Nightmare Countries (The Master of Cosmic Horror)

H. P. Lovecraft: Nightmare Countries (The Master of Cosmic Horror)
By S.T. Joshi
New York: Metro Books, c2012,
ISBN: 9781435141520, $19.98


If there is one thing to be said about books on Lovecraft, it is that you cannot go wrong with anything written by S.T. Joshi. The closest thing to a personal biographer, this author is today’s resident expert on all things Lovecraft and this book does not disappoint. Almost a coffee table book in size, it is worth every penny of its $19.98 price. The 160-page, glossy textured tome contains photographs of everything from family and locales, to images of documents, magazine covers, death certificates and Lovecraft’s personal drawings and drafts. Joshi pulls no punches and lets us see the real Lovecraft in all his glory and tragic foibles. For the Lovecraft fan, this is a must-have collector’s piece.

As a writer, my favorite thing about this book is seeing images of the actual original draft pages of some of Lovecraft’s works – his handwriting, his self-editing, the doodles of how he saw his monsters. There is nothing like looking directly at the beginnings of some of the greatest horror fiction ever written. And it is all on sale right now at Barnes and Noble in the discount section…So don’t waste another moment. Head to the sale aisle and look for the waving tentacles. I give it five out of waving five…

KC Redding-Gonzalez

MovieScore Media: Cheerful Weather For The Wedding [2013] - Michael Price

Cheerful Weather For The Wedding [2013]
Music By: Michael Price
Release date (CD/digital): March 26, 2013


Key film release dates: US theatrical: December 7, 2012 - DVD: March 26, 2013 / UK DVD: January 14, 2012 / Germany DVD: November 15, 2012 / Other territories TBC

Starring Downton Abbey star Elizabeth McGovern and up and coming star Felicity Jones, director Donald Rice's Cheerful Weather for the Wedding is a British romantic comedy about a young woman who gets cold feet on her wedding day, fearful she's about to marry the wrong man. The wonderful orchestral score for the film is composed by Michael Price, who co-wrote the highly popular Sherlock TV music with David Arnold and worked on many of his scores. Price has an impressive background as a music editor on the Lord of the Rings movies, Children of Menand Love Actually, and started out in the film music business as a music co-producer for the legendary Michael Kamen on scores such as X-Men, The Iron Giant and Event Horizon. His score for Cheerful Weather for the Wedding is delightful and very romantic, sometimes playful and, perfectly capturing the film title: cheerful! Our album also features two folk music tracks featuring Panjandrum.

-Jeremy [Retro-Z]


Perseverance Records: Chitty Chitty Bang Bang by Richard M. & Robert B. Sherman

Chitty Chitty Bang Bang
Perseverance Records PRR 063
$17.98, Ships Late April
Limited to 3000 copies.
The first 30 copies will be autographed by Richard Sherman
Perseverance Records is proud to announce the reissue of the soundtrack to Chitty Chitty Bang Bang. This is a 2-CD reissue of the Kritzerland limited edition release.

Best known for their many songs written for Walt Disney Pictures, the Sherman Brothers, Richard and Robert, took on the task of creating songs for the film - their first ever non-Disney venture. Producer Cubby Broccoli thought the Shermans would be the perfect duo to write the songs for the film. While they were still with his studio, Walt Disney gave the brothers his blessing to work on the project due to a clause in their contract that allowed them to do so. They were involved with the film for about a year but went to England for three months to write the music.... To Read More [Click Here]

I am a fan... you know you are too, but this guy always remains in my nightmares!
-Jeremy [Retro-Z]

Cheezy Flicks: Death Wheelers

The Dead Still Ride...  The Living Howl In Terror!
Ride with the living dead! Motorcycle maniacs on wheels!

A gang of young people call themselves the Living Dead. They terrorize the population from their small town. After an agreement with the devil, if they kill themselves firmly believing in it, they will survive and gain eternal life. Following their leader, they commit suicide one after the other, but things don't necessarily turn out as expected.

Cheezy Flicks

5/5 I am partial to good movies that come from the 70's and I am not even sure if they were meant to be taken serious... they might have been. I love this kind of stuff, over the top acting... dialogue and sound effects. So if you like that, you will love this...
-Jeremy [Retro-Z]


Magnet Releasing: Storage 24

London is in chaos. A military cargo plane has crashed leaving its highly classified contents strewn across the city. Completely unaware London is in lockdown, Charlie (Noel Clarke) and Shelley (Antonia Campbell-Hughes), accompanied by best friends Mark (Colin O’Donoghue) and Nikki (Laura Haddock), are at Storage 24 dividing up their possessions after a recent break-up. Suddenly, the power goes off. Trapped in a dark maze of endless corridors, a mystery predator is hunting them one by one. In a place designed to keep things in, how do you get out?
3/5 I never understand how movies get made, here you have a pretty decent idea for a film and some decided instead of making it good... we will make it fit "what the audience wants". You have a group that all seem to know each other in a way, that is the subplot and a few weirdos who lurk in the background. Some how they all end up in one place, one place where at some point you are rooting for the monster. Which I felt had the best role in the entire film, not saying it was bad... I enjoyed it, just guessing who was next and why were these jack-nuts wonder around this storage unit looking for something that would be better found outside. I did find the ending very good, but it took a time to get there.
-Jeremy [Retro-Z]


Magnolia Pictures: AT THE GATE OF THE GHOST

Magnolia Home Entertainment:


Available on DVD and Blu-ray™ April 16, 2013

An Adaptation of the Academy Award® Nominated Film, Rashomon From the Executive Producer of Ong Bak 2, Chocolate, The Bodyguard 2 and Dynamite Warrior.

Starring Ananda Everingham (Eternity, Red Eagle, The Legend of The Tsunami Warrior, Shutter), Mario Maurer (Jan Dara Pachimmabot, The Love of Siam), Chermarn Bonnyasak (Eternity, The Love of Siam), Phongpat Wachirabanjhong (Chocolate) and Phettai Wongkamlao aka Mum Jokmok (Ong Bak Franchise, Chai Lai Angles: Dangerous Flowers, The Bodyguard 1 & 2, The Protector) and Dom Hetrakul (Bangkok Dangerous, The King Maker)

In this adaptation of the Japanese film Rashomon, a young monk leaves town to seek his father’s counsel after being disturbed by the murder trial testimony of the bandit Singh Khan, the wife of the deceased warlord, and a shaman who conjures up the warlord’s spirit. Along the way, he encounters a poor man who testified at the trial, and the two take refuge in an abandoned burial tunnel during a storm. They are met by an old beggar who joins in their lively conversation about the trial. In vivid detail, each story is witnessed on screen as it’s told from the bandit’s, the wife’s and the warlord’s perspectives, all riddled with bias and personal agenda. In the end, the young monk is left to determine what meaning is of true consequence not only in this murder trial, but in choosing to continue on his monastic path.

-Jeremy [Retro-Z]

Milan Records: The Company You Keep [2013] - Cliff Martinez

The Company You Keep [2013]
Music by: Cliff Martinez
April 2, 2013


Based on the 2003 novel by Neil Gordon, The Company You Keep stars Robert Redford as Jim Grant, a civil rights lawyer and single father who must go on the run when a brash young reporter (Shia LaBeouf), exposes his true identity as a former 1970s radical fugitive wanted for murder.  Sparking a nationwide manhunt, Grant sets off on a cross-country journey to clear his name.  The ensemble cast features Susan Sarandon, Nick Nolte, Chris Cooper, Stanley Tucci, Terrence Howard, Julie Christie, Brit Marling and Anna Kendrick.

5/5 I am a fan of everything about this film from it's director, actors... to the riviting score by Cliff Martinez
-Jeremy [Retro-Z]


Chemical Burn Entertainment: Three That Makes You Check Your Brain!!

BLOODLINE: Vengeance From Beyond

Deep within the woods, the Surgeon pursues his perverted experimentation with Science and Magick on random people he has kidnapped. His bizarre and maniacal mutilation agenda reaches an apex when he captures a young girl who becomes separated from her twin sister. Years later Sandra, now a grown woman damaged with the regret that she failed to save her sister, returns to face her deepest fears. As if summoned across space and time the Surgeon rises from the shadows to resume his sinister agenda but this time, Sandra will claim her revenge for destroying the hopes and dreams of so many innocent lives. The maze that surrounds the woods becomes the stage of a Paranormal battle without equal, Ghosts and Zombies are sent from the bowels of hell to reclaim the damned soul of the Surgeon.

Influenced by Kubrick's THE SHINING and the classic slasher movies of the Eighties, BLOODLINE is a descent into a world of horrors that entertains and frightens at the same time. The fans of Italian horror movies will recognize Sergio Stivaletti, the Italian master of FX make-up and Claudio Simonetti, composer of DAWN OF THE LIVING DEAD, DEEP RED and SUSPIRIA. BLOODLINE is a visceral cinematic experience that will remain deeply embedded in your psyche - with the Surgeon alongside Freddy, Jason, and Leatherface in a hall of horrors you will never forget. 

Sloppy The Psychotic

Meet Mike, a man whose only goal in life was to bring joy to children as “Sloppy the Clown.” After a cruel twist of fate, Mike finds himself without his beloved job as a children’s clown and starts slipping deeper and deeper into the abyss, unleashing a psychopath so insane that even John Wayne Gacy would be shocked. Bout after bout of bad luck finally sends him completely over the edge. The depth of horror and depravity that a children’s clown, hell bent on revenge, will succumb to is both horrifying and fascinating. A tribute to the great exploitation films of the '70’s and '80’s. This is the first movie to successfully incorporate rape, murder, cannibalism, mass slaughter, alcoholism AND balloon animals!

9 Days: Whipped, Chained and Tortured by a Psychopath

A dark, twisted retelling of “Dante’s Inferno,” done in the torture-porn style of “Hostel” and “High Tension.” To escape her abusive foster home, headstrong 18-year-old Danielle Hitches a Ride with an affable psycho who calls himself Virgil and has an axe to grind against women based on his warped religious beliefs. She realizes she hasn’t quite found her knight in shining armor when she awakens half-naked, chained to a post in Virgil’s basement. As Virgil, puts Danielle through a sadistic “moral cleansing” of debauched torture sessions that could kill her at any moment, she must choose either to fight back or to become as inhuman and deranged as Virgil himself. What Virgil doesn’t know is that Danielle may be more than up to the challenge of his psychotic head games.

Who writes this stuff, I don't know... this group of films was interesting for the sake of keeping independent films being made. Let us start with the first film "BLOODLINE" I think I turned this off or fast forwarded over and over it wasn't bad... it wasn't good either. It makes references to be influenced by such great and grand horror films, yes I can see it... wait no I cannot. Second "SLOPPY" I felt sorry for this misguided messed up clown, he just fell into a bad spot... being crazy and misunderstood. Last "9 DAYS" another torture film that I found oddly entertaining... it held a certain level of interest and no not because of the torture or nudity.
-Jeremy [Retro-Z]

Varese Sarabande: RIDDLE [2013] (Limited 1000) - Scott Glasgow

RIDDLE [2013] (Limited 1000)
Music by Scott Glasgow
Release Date: 03/11/13


Some Secrets Never Die …

College student Holly Teller (Elisabeth Harnois) is drawn to the mysterious small town of Riddle, Pennsylvania in search of her missing brother. Against the will of the local Sheriff (Val Kilmer) and town elder (William Sadler), she begins to unravel a mystery connected to an abandoned psychiatric hospital on the edge of town, uncovering a terrifying past the town is determined to keep hidden.

5/5 This was a great score by Scott Glasgow and it is limited release from Varese, I love and hate when they release great stuff to a limited release. I don't know anything about the film so I thought I would share the trailer, let's watch together... it appears to be a charged drama with Val Kilmer riding the lead. Needless to say the score might be one of the many plus things to this film, so why don't you click on over and Riddle me this...
-Jeremy [Retro-Z]


Varese Sarabande: G.I. Joe: Retaliation [2013] - Henry Jackman

G.I. Joe: Retaliation [2013]
Music by Henry Jackman


G.I. JOE: RETALIATION features the G.I. Joe Team coming into a conflict with Zartan, Storm Shadow and Firefly, all serving under the newly released Cobra Commander. Zartan (who is still impersonating the President of the United States) frames all G.I. Joe operatives as traitors to the United States, exterminating most of them and leaving a small group of survivors. Zartan and the Commander now have all the world leaders under Cobra’s control, with their advanced warheads aimed at innocent populaces around the world. 

5/5 I was not a fan of the first movie, really tried to get into it... really. That being said the score to the first film left a sour taste in my mouth. This being the second/sequel I am all ready getting a good vibe for me to get a bit more excited. Now let's talk about the score, it's a different score by a different composer and Henry Jackman pulls a few different strings to make this one worthy. He is becoming a composer to turn to if you want the action to rock, yet keep the pulse set on low until you are ready for the snake to strike. Grand Job!
-Jeremy [Retro-Z]



Composed and Conducted by JERRY GOLDSMITH
INTRADA Special Collection Vol. 237

For Shock Treatment, where an actor is hired to commit himself to a gruesome insane asylum in an attempt to discover where another inmate secreted a fortune, producer Aaron Rosenberg encouraged Jerry Goldsmith to go wild.  And wild he went, using techniques that would later be drawn on for his groundbreaking score for Planet of the Apes.  In Shock Treatment Goldsmith used the esoteric instrumentation that would mark so many of his later scores, but he also experimented with recording effects of a kind that few other composers of this era would have dared to attempt, including the speeding up and/or reversing piano phrases.

Fate Is the Hunter, on the other hand, provides another musical terrain entirely. This is Jerry Goldsmith in classic symphonic mode, supporting a far more traditional film. The composer’s contribution here is spare: less than 30 minutes of music, mostly consisting of variations the main title.  This is one of Goldsmith’s loveliest themes: searching and magical. “Moon Fish” and “Forest Scene” are two cues that move the audience from the difficult present to the idealized past via a single character.  Such is the genius of Jerry Goldsmith on display, early in his career. Brief, but impactful.

This release offers music that, a mere decade ago, would have been impossible to present on CD. Thanks to new technology, restoration specialist Mike Matessino, producer Nick Redman, and executive producer Douglass Fake have been able to offer this extraordinary disc in stereo for the first time, re-syncing and conforming each individual track to bring us the premiere release of these scores in expanded format.

INTRADA Special Collection Vol. 237
Retail Price: $19.99
Available Now
For track listing and sound samples, please visit

-Jeremy [Retro-Z]

Intrada: Bad Boys [1983] - Bill Conti

Composed and Conducted by BILL CONTI
INTRADA Special Collection Vol. 239

Despite the brutal violence of the major set-pieces in the 1983 film Bad Boys starring Sean Penn (as Mick), composer Bill Conti took pains to emphasize the film’s humane side in his score, building around a gentle main theme that serves as the love theme and as a musical reflection of Mick’s humanity as well as his potential for redemption. There are four facets to the score, of which the largest in impact is the austere, clinical sound of high woodwind harmonies, dominated by clarinet choir. A second orchestral device features piano and strings playing the warm and tender love theme. The third features suspense and dramatic action material, while the fourth layer of music is that of Chicago and her streets at night where the story begins. Conti scores for full orchestra, but primarily uses strings, piano and percussion for the love theme, woodwinds for the correctional facility, and strings, woodwinds and French horn for the action. He reserves full brass for his sizzling source music. When heard as one lengthy work, the shades of excitement, color, subtlety and drama are impressive.

Michael “Mick” O’Brien is introduced when he smashes a terrified woman’s car window to steal her purse. The only positive thing in Mick’s young life is his girlfriend JC.  Mick and his friend Carl plot to rip off Paco, a drug-dealing fellow student, but the caper ends tragically—Carl is killed, and Mick accidentally runs over Paco’s eight-year-old brother. Mick is sentenced to a correctional facility where the brutal inmate “barn bosses” really run the place. Mick uses violent means to become the new barn boss, but the grieving Paco plots his revenge, beating, raping and nearly murdering JC. Paco is arrested and sent to the same facility, where the other inmates bet on who will survive the inevitable confrontation.

INTRADA Special Collection Vol. 239
Retail Price: $19.99
Available Now
For track listing and sound samples, please visit:

-Jeremy [Retro-Z]

Update: Oz The Great and Powerful [2013], Those Calloways [2013] and Battlestar Galactica: Blood and Chrome [2013]

Intrada: Oz The Great and Powerful [2013]
by: Danny Elfman
Everywhere, magical Elfman melody abounds! Contrasting music for iconic witches amongst many highlights. Dennis Sands records large forces with stunning clarity at Sony Scoring Stage. Marc Mann conducts choir, Pete Anthony conducts orchestra.

Released By: INTRADA
Intrada: Those Calloways [2013]
Intrada CD offers complete score in stereo from actual 1/2" three-channel scoring session masters preserved in mint condition in bountiful Disney vaults. Colorful "flipper" packaging allows choice of front cover artwork! Max Steiner conducts.

Released By: INTRADA
La-La Land Records: Battlestar Galactica: Blood and Chrome [2013]
by: Bear McCreary
Acclaimed composer McCreary returns to the BSG universe with his amazing musical arsenal, launching a breathtaking score that recalls his famed GALACTICA sound while energizing it in exciting new sonic directions.


Okay I was able to listen to these three great scores and found them to be a typical release from Elfman, that is completely fine. Some feel he should be reaching new levels of his composing career, for me it's his style I like and feel he does grow from each release. Steiner's release is long overdue and I am pleased that Intrada is pulling out all of the stops working with Disney and able to bring this score/soundtrack to us. Last McCreary has been doing the scores for Battlestar Galactica for several years and for me it is his strongest work. Bear brings the strong vibe and allows us to dream ourselves to other worlds and brings it home... I hope there will be a few more hidden treasures soon.

Bravo to the labels!
-Jeremy [Retro-Z]

Score Review: In the Name of Sherlock Holmes

We have been getting some nice feedback on our latest score "In the Name of Sherlock Holmes" by: Robert Gulya, here is something I would love for you too read...and thank John Mansell for the kind words.

Review of John Mansell, submitted at 2013-03-16 20:27:01, score: 9/10
Howlin wolf records maybe a relatively new label, but in a very short period of time have filled their catalogue with some pretty impressive film scores. Many of these have been of the Horror or Fantasy variety but also there have been other types of movie soundtracks represented within the catalogue, one of the many things I like about Howlin Wolf is they bring to us the collectors, soundtracks that maybe a few years back would not have seen the light of day never even being considered for a release, because of the films budget or maybe because the film went straight to DVD or received a limited theatrical release. The label have also been instrumental in introducing to film music enthusiasts many new composers who have real talent, again many of these musicians would not have been an even break by other labels, so we have to firstly say thanks to Howlin Wolf for being courageous enough to release some of these scores.

-Jeremy [Retro-Z]


Looks like the LORD OF TEARS KICKSTARTER is a success.  That doesn't mean you can't still contribute.  There are still a few days to go and the only way you can order a copy of the movie is by donating to the campaign.  It may be another year before there is an official distribution for the film on DVD so get to it!  The hype is growing and it looks like director Lawrie Brewster is having some fun with his Owlman character.  There is a YouTube video of Owlman freakin kids out on video chat which is really funny and something to be seen.  I can't wait to see Owlman in movie form.  There are also some pictures they have of Owlman in an abandoned hospital that help create an eerie mood to prepare you for what you are going to see in LORD OF TEARS.  The film will also be shown at the San Diego Comic Fest in October.  Exciting stuff!  Be a part of it!




EA Recordings: Dead Space 3 [2013] - Jason Graves

Dead Space 3 [2013]
Music: Jason Graves
Dead Space Composer Jason Graves is joined by James Hannigan on the third episode in the series. Graves and Hannigan last collaborated on ‘Command and Conquer – Tiberian Twilight’ in 2010 and have joined forces again to bring their unique talents to bear on this wide ranging score. As the story and the universe of Dead Space have evolved, so has the music. Dead Space 3 delivers the gamut of emotions from those familiar chilling creepy sounds introduced in Dead Space 1, to elated moments, tear jerking moments and memorable epic themes. On his journey through the game, Isaac is accompanied by a team of other characters including Ellie Langford, John Carver, Austin Buckell, Jennifer Santos and Robert Norton. The relationships between these characters are underscored by a web of melodies that will echo around your head long after you have put your controller down!
5/5 I have been introduced to Jason Graves work recently not that I have not heard of him, just didn't know how much I would enjoy his style. I am now a fan and will be bring you more about his work...
-Jeremy [Retro-Z]
PAX Naga Theatre, Boston
Saturday, March 23rd
2.30pm - 3.30pm

BuySoundtrax Records - Gives Us Two Releases

Film Music For a New Age Vol.
Cinema Classics for Solo Piano
Digitally on March 19, 2013

BuySoundtrax Records is proud to announce the release of two new recordings on Film Music For a New Age Vol. 1 and Cinema Classics for Solo Piano (performed by Mark Northam). 

Film Music For a New Age Vol. 1 is the first in an upcoming series of newly recorded/arranged versions of themes that are new age-influenced from films including Avatar, Class of the Titans, Legend, and Star Trek Generations.
Cinema Classics for Solo Piano is a stripped down arrangement of classic film themes as performed by Mark Northam.  Performing these themes for solo piano really lets the melodies shine and spotlights the genius of such composers as Jerry Goldsmith, James Horner, Dave Grusin, Nino Rota and John Williams.


4/5 and 4/5 I prefer the originals to the scores I get, though it is nice once in awhile to get some great interpretations of a mix in one place. These sounds-capes bring us a aspect of sharing not only the talent of artist you know and ones you should like "Mark Northam".
-Jeremy [Retro-Z]

Top Ten Movie Countdown Blogfest - Hosted by: Alex J. Cavanaugh

Top Ten Movie Countdown Blogfest
Hosted by: Alex J. Cavanaugh

I of course thought I would do films that had successful sequels, that spanned a trilogy or more. If I had to watch these films again, I would. So on to the show and enjoy my favorite films... up to this point! No particular order of films... just how I thought them out, thank you for stopping by and to good friend Alex for another successful blog-fest! Also if you make it to the bottom look for the special dancing bear, you cannot miss it...
-Jeremy [Retro-Z]

HALLOWEEN [10 films]

STAR WARS [6 films]



MARVEL [3 Iron Man, 1 Captain, 1 Thor, 1 Avengers, 2 Hulks]

MAD MAX [3 films]

JAMES BOND [24 films]

HARRY POTTER [7 parts 8 films]

FRIDAY THE 13TH [10 films, 1 buddy film]

NIGHTMARE ON ELM STREET 8 films, 1 buddy film]


Thank you for making it to the bottom, if you would like please check out my t-shirt store at "Neatorama"... coming soon some of my newest designs and guess what they are?