John Avarese create a fittingly haunting environment that evocatively sets the stage for a finale (or is it actually a prologue?) that transpires on the certifiably creepy grounds of a derelict Philadelphia psychiatric hospital.

The Hollywood Reporter  February 17, 2007 


“Even more omnipresent than human voices are John Avarese’s musical accompaniments----or should I call them commentaries?---in a delightful array of styles. He explains in “Making Tulip” that “Initially, the concept of the film would be string quartet---let’s keep this very European-sounding and classical.” But as the film developed, so did it’s improvisatory music. Some of the classical or chamber music elements are still present, but piano jazz interventions are frequent, as are march rhythms with oompah instruments, brief choral or organ interludes, and ¾ time song melodies, plus a stride piano theme inspired by Fats Waller. In this lighthearted, wide-open musical atmosphere I was pleased to hear a reference to “Se vuol ballare” from The Marriage of Figaro.

— The Hudson Review Volume LXV   Number 1   Spring 2012

John Avarese’s agreeable light-jazz score, which occasionally dips into a classical mode, lends the film a jaunty buoyancy.

— The New Your Times August 31, 2010


"John Avarese's music and sound design provide a match for the images that's never less than ideal.

—Variety Sep. 22, 2009


"Following the 1980s theme is the music. My ears were flipping out listening to the score of the film and all its exciting synth-sounding goodness. It’s cool as hell. IN fact, as good as the film is as a whole, the music was my favorite part. Bravo to composer John Avarese. You knocked it out of the park with this one.

— Morbidly Beautiful June 4, 2017