in Beverly Hills, California at the Laemmle Theatres Music Hall. On September 11, 2015 the film opened for its second theatrical run in Harrisburg, Pennsylvania at Midtown Cinema after a special September 11 screening of the film as part of the Harrisburg-Hershey Film Festival, which was founded by "Bridge and Tunnel" producer Hamza Ahmad in order to bring independent film to the capital city of his home state of Pennsylvania. The film was released across video on demand platforms such as iTunes, Amazon Video, Verizon, Cox, Google Play, and AT&T U-verse on February 2, 2016. Accolades Soundtrack The movie includes original music by John Nolan of Taking Back Sunday, Vinnie Caruana of I Am the Avalanche, Happy Body Slow Brain, Bayside, and NGHBRS. In July 2014, John Nolan's original song for the movie entitled "Here Comes the Wolf" was awarded with the "Best Original Song" honor at the Long Island International Film Expo. The song was also nominated for the same award at the Long Beach International Film Festival and The Other Venice Film Festival in Venice, California. On October 21, 2014 the soundtrack was digitally released through Spotify, iTunes, Google Play, and other online digital retailers. The digital release of the album does not include "Indiana" by Bayside or "Hold Up Girl" by NGHBRS, because those two songs had previously been released by the artists themselves. After a soundtrack release show at Webster Hall headlined by John Nolan and Vinnie Caruana, the soundtrack was released by Enjoy the Ride Records on December 30, 2014 with the following track listing: Score The original score for Bridge and Tunnel was composed by Ryan Hunter, the former lead singer of Envy on the Coast. Hunter's score was engineered by his former bandmate Brian Byrne, and also features guest appearances by Isaac Bolivar and Dylan Ebrahimian. In creating the score Hunter stated, "I started watching the film a lot, picking out scenes that I wanted to make music to. I also decided upon making music for those scenes that the music might not even end up there ... I knew before going into it, it needed an organic and imperfect approach to it. I called Brian Byrne to help me produce it and to engineer it, his studio has a lot of cool old toys and half broken instruments to work with and that's kind of what this called for." The score was