Additionally, in no particular order, there were vocal supporters of the Ralph Jones «incongruously great
score to «Slumber Party Massacre ``; «Phantasm» «s heavily «Exorcist «- indebted
score from Fred Myrow and Malcom Seagrave; Danny Elfman «s channelling of Bernard Herrmann for «Nightbreed ``; Wojciech Kilar «s bombastic, often recycled music for «Bram Stoker's Dracula ``; John Harrison's
score for Romero's anthology film «Creepshow ``; Richard Band «s better - than -
deserved compositions for the terrible «Troll ``; the great Lalo Schifrin «s
score for the original «The Amityville Horror ``; a more recent example in Climax Golden Twins» music for Brad Anderson «s now cultish «Session 9 ``; Pino Donaggio's terrific work with de Palma's «Dressed to Kill ``; Gene Moore's
classic church organ scares in «Carnival of Souls ``; and while we've featured Bava fils above, we could easily have found room for his father Mario Bava, probably with the funky original music by Libra for his final film «Shock.»
Giving the crime movie a well -
deserved amphetamine - kick up the backside, Nicolas Winding Refn's «Drive» (about a getaway driver, Ryan Gosling, who becomes unexpectedly involved in the life of his beautiful neighbor Carey Mulligan) wasn't original in its separate elements: virtually every plot beat had been deployed somewhere before, and its neon - lit, synth -
scored aesthetic called back to
classic Michael Mann, Walter Hill and William Friedkin pictures of the»70s and»80s.