The thing in October (part IX).

It seems that, in his short career, Douglas Pipes is being typecast as the Halloween/horror guy. (I probably should've mentioned that in my Monster House review.) Maybe he doesn't mind it and maybe he does, but I hope that his next job is something different. Typecasting can doom many an up-and-comer. Elia Cmiral never saw coming the typecasting bus that smashed into him, but it's not too late for Mr. Pipes. For now, though, let's look at Trick 'r Treat.

It's the last night in October in a small Ohio town, and with it brings many secrets, from a school principal (Dylan Baker) to a young woman (Anna Paquin) awaiting her first time and a miserly old man (Brian Cox). And then there's the weird little figure with the burlap sack on its head. Completed two years ago, the film sat on the shelf (Warner Bros. couldn't sack up and release it against Saw IV). This is usually a sign of the film's inferiority, but not in this case. An amusing, scary and constantly surprising anthology. Not the best thing ever, but very entertaining.

There are two main motifs that weave in and out of the score. One is a tune of wavering strings counterpointed by Psychoesque stabbing strings, representing the excitement and danger, respectively, of Halloween. The other is a haunting (and effective) variation of the public domain taunt 'Nyah-nyah, nyah-nyah-nyah'. (This theme dominates "Meet Sam", the renditions of it becoming more powerful and threatening.)

Pipes throws in some slurring brass effects (which don't get used often enough in film music) in "Father and Son" and "It's Halloween, Not Hanukkah". While we (the audience) find out how hard it is to bury a body, "Father and Son" lurks with muted horns, quavering strings and thoughtful piano before bursting forth with orchestral might and creepy vocals.

"Meet Rhonda" starts with wavering strings, then adds nervous flutes and a lovely lullaby and cooing female voices. "Charlie Bites It", however, is surprisingly playful, especially given the onscreen actions.

In spite of my misgivings about typecasting, Pipes does prove himself skilled at horror music. Tracks like "Halloween Prank", "Not a Trick" and "Old Mr. Kreeg" are far more melodic than what one usually hears these days in the genre.

"The Halloween School Bus Massacre" introduces another melody, a mournful repeating piano figure underlining the disturbing urban legend. Pipes throws in strings and a heartbreaking version of the 'nyah-nyah' motif. The theme is reprised in "The Bus Driver", underscoring, for me, the film's biggest surprise.

La La Land Records released the CD. Don't hesitate to get it...or to rent the film.

The thing in October (part VIII).

Every once in a great while, a composer comes along from out of nowhere and just amazes with what they have to offer. It is hoped that the composer will have a long, successful career showing off their abilities. Such a composer got his start on Monster House.

We all know that creepy-looking house on the block and the crotchety old man who lives there, always screaming at kids to get off his lawn. What if there was a good reason to keep people away? Three kids soon find out. Of the roughly four thousand animated movies released in 2006, this is one of the best, exciting and slyly subversive.

The film marked the feature scoring debut of Douglas Pipes. The "Opening Titles" get right into the spirit of the film, with a theme of horns and racing strings that seems to suggest a dark version of Mancini's bounding and leaping Great Mouse Detective theme. The end of the "Opening Titles" features an ascending four-note notif for horns that gets reprised in tracks like "Construction" and "Dummy Feed".

The other major theme comes in "Eliza's Song", a bustling, wistful five-note tune for the neighborhood. Interestingly, this track features dialogue as little Eliza rides her tricycle. The track ends amusingly as the orchestra mickey-mouses her sudden tumble. "Tricycle" reprises the theme in a peppy arrangement.

There's also a recurring motif of loud, menacing horns when something or someone gets eaten ("Cops Get Eaten", "House Comes Alive!", "Cop Car Gets Eaten"). Racing strings and snare drums highlight "The Plan" (which introduces a heroic-sounding submotif for horns that figures later in the score in "Chowder to the Rescue").

To augment the creepy vibe, Pipes utilized the theremin along with the orchestra, and in tracks like "Awesome Kite", "Cops Get Eaten" and "Ding Dong", it's quite effective. The score also has a surprising amount of heart, as in the meditative "Elegy", "The Flashback" and "The Dance" (a lovely, piano-based take on the main theme).

The latter tracks give themselves over to action, but it's very exciting action. "The Battle", in particular, builds in intensity, interpolating everything from a march-like version of the main theme to the 'Plan' sub-motif at it's most noble.

Surprisingly, this was also discontinued by its manufacturer (Varese Sarabande, in this case), but copies are available, dirt cheap, at Amazon.com.