shot of a female Deadite being killed early on in the film. Universal wanted a PG-13 rating, so Raimi made a few cuts and was still stuck with an R rating. In response, Universal turned the film over to outside film editors who cut the film to 81 minutes and another version running 87 minutes that was eventually released in theaters, still with an R rating. Music Danny Elfman, who composed the score for Darkman, wrote the "March of the Dead" theme for Army of Darkness. After the re-shoots were completed, Joseph LoDuca, who composed the music for The Evil Dead and Evil Dead II, returned to score the film. The composer used his knowledge of synthesizers and was able to present many cues in a mock-up form before he recorded them with the Seattle Symphony. A vinyl release of the score was revealed during the MondoCon in Austin, Texas, on October 3 and 4, 2015 over Mondo Records. Reception Box officeArmy of Darkness was released by Universal on February 19, 1993, in 1,387 theaters in the United States, grossing $4.4 million (38.5% of total gross) in its first weekend. On a budget of $11 million, the film earned $11.5 million in the US and $21.5 million worldwide. Critical response The film holds a 75% approval rating on the review aggregator website Rotten Tomatoes based on 50 reviews, with a weighted average of 6.9/10; making its critical reception above average but much lower than The Evil Dead and Evil Dead II, which both received 95%. The site's consensus reads, "Army Of Darkness is a madcap adventure worth taking thanks to Bruce Campbell's hammy charm and Sam Raimi's acrobatic direction, although an intentional lack of shocks makes this a discordant capper to the Evil Dead franchise". On Metacritic, the film holds a score of 57 out of 100, indicating "mixed or average reviews". Roger Ebert gave the film two out of four stars and wrote, "The movie isn't as funny or entertaining as Evil Dead II, however, maybe because the comic approach seems recycled." In her review for The New York Times, Janet Maslin wrote that "Mr. Campbell's manly, mock-heroic posturing is perfectly in keeping with the director's droll outlook." Desson Howe, in his review for The Washington Post praised the film's style: "Bill Pope's cinematography is gymnastic and appropriately frenetic. The visual and make-up effects (from artist-technicians William Mesa, Tony