Intrada announced three new CDs this week -- a two-disc release of Jerry Goldsmith's score for the 1996 adventure thriller THE GHOST AND THE DARKNESS, with Stephen Hopkins directing an original William Goldman screenplay (inspired by the true story that also inspired the early 3D film Bwana Devil) with Michael Douglas and Val Kilmer stalking a pair of man-killing lions in 19th century Africa, feauring both the full film score as well as the original CD sequencing; a CD featuring three previously unreleased David Newman scores for Paramount productions -- the Saturday Night Live sci-fi comedy spinoff CONEHEADS, the barely-released baseball drama TALENT FOR THE GAME, and the 1992 animated short THE ITSY BITSY SPIDER; and the new Disney Legacy release of the music from their 1955 classic LADY AND THE TRAMP, a two-disc set featuring the Oliver Wallace score and the Peggy Lee songs, which will receive wider distribution later this year.

The latest special release from Varese Sarabande is BACK IN TIME...1985 THE CONCERT EXPERIENCE, a $250 package that includes two tickets to the label's June 11 concert in Redondo Beach, California, premier passes to meet the composers, posters of the event, and a six-CD boxed set including newly recorded cues from the films of 1985 (conducted by David Newman), as well as previously released material including the soundtrack to The Goonies and the label's re-recordings of the Back to the Future trilogy, The Black Cauldron, Out of Africa and Pee-Wee's Big Adventure.

La-La Land has announced two upcoming CDs due in May, both expanded releases of scores for Paramount productions from the 1990s, each an Oscar-nominated film with a score by an Oscar winning composer. On May 5 they will release an expanded version of Howard Shore's charming and melodic score for writer-director Robert Benton's wonderful 1994 film version of Richard Russo's novel NOBODY'S FOOL, with an Oscar-nominated Paul Newman leading an A-list cast including Jessica Tandy, Bruce Willis, Melanie Griffith and Philip Seymour Hoffman. On May 19 they will release a two-disc edition of Dave Grusin's Oscar-nominated score for director Sydney Pollack's hit 1993 film version of John Grisham's best-seller THE FIRM, starring Tom Cruise, Gene Hackman, Jeanne Tripplehorn, Ed Harris, David Strathairn, Gary Busey, Wilford Brimley, Steven Hill, Hal Holbrook, and an Oscar-nominated Holly Hunter; the same day they will also present a 30th anniversary re-release of James Horner's COMMANDO. 

CDS AVAILABLE THIS WEEK

Coneheads/Talent for the Game/The Itsy Bitsy Spider - David Newman - Intrada Special Collection
The Duke of Burgundy - Cat's Eyes - Milan
Effie Gray - Paul Cantelon - Lakeshore
Far from the Madding Crowd - Craig Armstrong - Sony
The Ghost and the Darkness - Jerry Goldsmith - Intrada Special Collection
Grabbers - Christian Henson - MovieScore Media
The Great Human Odyssey - Darren Fung - Varese Sarabande
Hungry Hearts/Banana/L'Amore Non Perdona - Nicola Piovani - Beat
Io Sto Con Gli Ippopotami - Walter Rizzati - Beat
Lady and the Tramp - Oliver Wallace - Disney/Intrada
The Psychic - Franco Bixio, Fabio Frizzi, Vince Tempera - Beat
Robot Overlords - Christian Henson - MovieScore Media

IN THEATERS TODAY

Any Day - Elia Cmiral
Avengers: Age of Ultron - Brian Tyler, Danny Elfman - Score CD due May 19 on Hollywood
Cas & Dylan - Michael Brook
Chic! - Rene Aubry
Eastern Boys - Arnaud Rebotini - Score CD on Blackstrobe (import)
Far from Men - Nick Cave, Warren Ellis - Score CD due May 19 on Goliath
Far from the Madding Crowd - Craig Armstrong - Score CD on Sony
Gardeners of Eden - Jack Douglas, Dan Coe
Hyena - Matt Johnson
Iris - no original score
Maya the Bee Movie - Ute Engelhardt
Ride - Julian Wass
Welcome to Me - David Robbins

COMING SOON

May 5
Broken Horses - John Debney - Lakeshore
Demonic Toys - Richard Band - Full Moon
Girlhouse - tomandandy - Phineas Atwood
Journey to Space - Cody Westheimer - Phineas Atwood
The Longest Ride - Mark Isham - Milan
Meridian - Pino Donaggio - Full Moon
Nobody's Fool - Howard Shore - La-La Land
The Rewrite - Clyde Lawrence - Phineas Atwood
May 12
The Age of Adaline - Rob Simonsen - Lakeshore
Child 44 - Jon Ekstrand - Lakeshore
Jerusalem - Michael Brook - Lakeshore
Max Max: Fury Road - Tom Holkenborg (Junkie XL) - Watertower
Orange Is the New Black - Gwendolyn Sanford, Brandon Jay, Scott Doherty - Varese Sarabande
Poldark - Anne Dudley - Sony (import)
A Royal Night Out - Paul Englishby - Sony (import)
May 19
Avengers: Age of Ultron - Brian Tyler, Danny Elfman - Hollywood
Blackwood - Lorne Balfe - Lakeshore
Commando - James Horner - La-La Land
Ex Machina - Ben Salisbury, Geoff Barrow - Invada
Far from Men - Nick Cave, Warren Ellis - Goliath
The Firm - Dave Grusin - La-La Land
Orphan Black - Trevor Yuile - Varese Sarabande
Poltergeist - Marc Streitenfeld - Sony
May 26
The D Train - Andrew Dost - Lakeshore
June 2
Spy - Theodore Shapiro - Milan
June 9
Jurassic World - Michael Giacchino - Backlot
June 16
Inside Out - Michael Giacchino - Disney
Obsession (re-recording) - Bernard Herrmann - Tadlow
June 23
Cinderella - Paul J. Smith, Oliver Wallace - Disney
Max - Trevor Rabin - Sony
Date Unknown
The Battle of Algiers - Ennio Morricone, Gillo Pontecorvo - Quartet
Belle du Seigneur - Gabriel Yared - Caldera
Davide Cavuti: I Capolavoari Di Alessandro Cigognini - Alessandro Cicognini - Beat
Doctor Who: Series 8 - Murray Gold - Silva
The Dovekeepers - Jeff Beal - Varese Sarabande
From Earth to Mars - Arturo Rodriguez -MovieScore Media
La Ragazza Di Via Condotti - Enrico Simonetti - Quartet
L'ingenua/L'oscendo Desiderio - Carlo Savina - Quartet
Midsomer Murders: The Ballad of Midsomer County - Jim Parker - Silva
Pirate's Passage - Andrew Lockington - MovieScore Media
Ripper Street - Dominik Sherrer - Silva
Spooks: The Greater Good - Dominic Lewis - Silva
Uccidere in Silenzio - Stelvio Cipriani - Quartet

THIS WEEK IN FILM MUSIC HISTORY

May 1 - Heinz Roemheld born (1901)
May 1 - Bill Byers born (1927)
May 1 - Citizen Kane premieres in New York (1941)
May 1 - Jerry Goldsmith begins recording score for Ace Eli and Rodger of the Skies (1972)
May 1 - Gordon Jenkins died (1984)
May 1 - Bill Byers died (1996)
May 2 - Van Alexander born (1915)
May 2 - Satyajit Ray born (1921)
May 2 - Elliot Goldenthal born (1954)
May 2 - Aram Khachaturian died (1978)
May 2 - Recording sessions begin for Danny Elfman's score for Batman Returns (1992)
May 2 - Recording sessions begin for John Ottman's score for Orphan (2009)
May 3 - Hugo Friedhofer born (1901)
May 3 - Delia Derbyshire born (1937)
May 3 - David Raksin begins recording his score for Two Weeks in Another Town (1962)
May 4 - Albert Glasser died (1998)
May 5 - Patrick Gowers born (1936)
May 5 - Andre Previn begins recording his score for House of Numbers (1957)
May 5 - Recording sessions begin for Christopher Young's score for Species (1995)
May 6 - Recording sessions begin for Bronislau Kaper's score to The Glass Slipper (1954)
May 6 - Recording begins on Alfred Newman and Hugo Friedhofer's score to The Bravados in Munich, Germany (1958)
May 6 - Tom Chase born (1965)
May 6 - Michel Legrand begins recording his score to Ice Station Zebra (1968)
May 6 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Neutral Zone" (1988)
May 7 - Jack Elliott born (1914)
May 7 - Anne Dudley born (1956)

DID THEY MENTION THE MUSIC?

BLACKHAT - Harry Gregson-Williams, Atticus Ross

"Aesthetics and impetus are also Mann's principal tools, which are employed with a momentum that moves as sleekly as a Ferrari. The crepuscular photography of  Stuart Dryburgh ('The Painted Veil,' 'The Piano') is gorgeously low-lit with 'Blade Runner'-esque cityscapes and lights streaking the night sky (Fincher’s DP Jeff Cronenweth will no doubt look on admiringly). Those that had serious issues with Mann’s anachronistic digital photography in his last feature-length film 'Public Enemies' should have no quibbles here. Likewise, the score by Atticus Ross, Leo Ross and (maybe not so much) Harry Gregson-Williams is kinetic, atmospheric and resplendently melodramatic (British producers and Bjork collaborator The Haxan Cloak says he worked on the film as well)."

Rodrigo Perez, The Playlist

"Mann has never really displayed a sense of humor in his movies, and he isn't about to start now (the sole joke, a line about Santa Claus, is blown when Hemsworth garbles it in his horrible fake American accent) but no amount of slow camera moves, blue lights, long takes and ambient music by Trent Reznor's pal Atticus Ross can add depth to a kiddie pool."

Luke Y. Thompson, Topless Robot

"Throughout, the camerawork is choppy, full of movement and odd cuts, all done in a frenzy that can’t qualify as vigorous, but rather is like showing off. Or maybe it’s just a failed attempt to add excitement where there is none. Meanwhile, even as Mann is practically doing somersaults with the camera, the soundtrack is doing nothing but creating distance, with a steady synthesized humming and buzzing that makes you feel you’re in a waiting room with the worst fluorescent lighting in history."

Mick LaSalle, San Francisco Chronicle

"Unlike most directors, style is hardly a side dish with Michael Mann -- it’s the main entrée. No one captures city lights at night or luxury cars slinking down the highway like the creator of 'Miami Vice,' and his conversion to digital video continues to yield breathtaking results. Synthesizers twinkle, cell phones vibrate, and a certain kind of cinema is reborn."

Joshua Rothkopf, Time Out New York

"But while 'Blackhat' may be the worst Mann film since his bizarre, misbegotten 1983 shocker 'The Keep,' it’s still a Michael Mann film, and surface pleasures abound. This is one for the time capsule: Mann conjures his usual mood through nightscapes and synth music, but with a more global perspective, attaching himself to characters who are scaling the walls separating country from country and network from network. There’s freedom in this mobility, rendered in a mad dash between systems and places from Hong Kong to Los Angeles to Indonesia. There’s also hope in the productive mingling of cultures to solve a problem. (Or at least to knock boots.) And there’s the attendant threat of having one man at a computer terminal bringing the world to its knees."

Scott Tobias, The Dissolve

"Mann has proven over the years that he can direct the heck out of scenes of flight and pursuit, and 'Blackhat' features fights and chases that hum with scary credibility. True to form, the film is full of sleek, cool Mann-isms: a speedboat coursing through Kowloon Bay under a fluorescent-stained night sky, a blunt, unsexy gun battle that rattles to the bone, people striding confidently across tarmacs in fancy sunglasses while synth music swells and blares. This is a snazzy-looking film, and many of Mann’s visuals pack genuine punch. It’s probably impossible to watch the climactic action scene, tightly yet fluidly built as it is, without holding your breath. Mann makes stylish thrillers that usually don’t forget to thrill, and Blackhat is no exception. As I walked out of the theater and down Broadway after a nighttime screening, I still felt immersed in the film’s brooding, shimmering world of intrigue."

Richard Lawson, Vanity Fair

"The movie just sort of goes on like this, with Hathaway and his cohorts and his barely-hanging-in-there shirt jaunting around Jakarta and Washington D.C. and Beijing and other places Mann can make look cool with dark lighting and his signature ruddy digital cinematography. Blackhat is basically three scenes repeating: Hathaway taps urgently on his laptop; bad guys show up and instigate a shootout; and Hathaway and his friend's sister gaze longingly at each other, all tortured and blue. Even the action scenes have a tired, rote quality to them: Mann can make look anything look compelling, but what he can't do is make any of this feel new or particularly inspired. It is not for lack of trying. He does all his usual tricks: the brooding, the glowers, the perfectly cast Hard and Weary Men supporting characters, the thumping soundtrack that briefly creates the illusion of urgency. He doesn't mail it in, which is actually sort of the problem: Mann's attempts to pump some life into this material just reveals how empty it all is."

Will Leitch, Deadspin

"Michael Mann is an action filmmaker even when his characters are standing still. His movies contemplate themselves: they are simultaneously about what's happening and what it means. They're sensitive to the intellectual and emotional undercurrents swirling around the characters, whether they're running, driving, punching and shooting, or just brooding in close-up while electronic music shimmers and drones."

Matt Zoller Seitz, RogerEbert.com

"A new Michael Mann thriller is always a sterling occasion to pour a drink, prepare to think sad thoughts, and settle in for a few hours of woozy existentialism broken by splatter. His new cybercrime picture 'Blackhat' boasts all his signature themes and curlicues: brooding nightscapes, heavy synthesizer washes that give way to swift and startling violence, a hero who’s an odds-on favorite in the God’s Loneliest Man contest. The formula can be intoxicating even in a slack piece of storytelling like 'Blackhat,' which is good enough to make you wish it were better. I found myself urging it forward, trimming scenes in my head, and recasting the lead with ... almost anyone."

David Edelstein, Vulture

"'Blackhat' is also one of the most visually unattractive movies I’ve ever seen. Seemingly shot on a shaky smartphone, Mann’s blurry, jerkily edited digital video is hard to read, especially during action sequences. I’m not sure what exactly happened during a chaotic fight in a Chinese restaurant between Hathaway and some goons working for the film’s Dr. Evil, except that Hathaway and Lien somehow manage to walk away from it. Beyond his mad computer skills, Hathaway is very good at throwing things: Fists, tables -- even a van at one point -- go flying through the air here. What’s more, the film is painfully loud, between a barrage of overamplified sound effects and a booming if unmemorable score (one of whose three composers has since disavowed his work on the film). There’s actually a scene where Hathaway and Lien can’t hear each other, and have to move to another location just to be understood."

Michael O'Sullivan, Washington Post

"For a film about hacking, it’s downright absurd how seldom computers appear onscreen. Instead, Hathaway’s preferred strategy in nearly every situation is to handle business 'IRL' -- offline and in-person -- while a typically Mannian electronic score sets audiences’ pulses racing. Though it’s the entire pretext for the film, there is virtually no evidence to suggest that the FBI actually needed Hathaway’s assistance as a hacker, but at least he seems a lot more comfortable using weapons than any of the agents he’s working for, which comes in handy near the end."

Peter Debruge, Variety

"It isn’t until an hour in, once the hit-and-miss business of setup is out of the way, that the movie hits its charged stride. In subways, seaports and city centers, the pulse-point cutting (by a quartet of editors) is both precise and unobtrusive, whether the scene is a chase or a conversation. The music (by a trio of composers) is variously churning, melodic and percussive, in every case a mood-heightening match for the visuals."

Sheri Linden, Hollywood Reporter

MANNY - Lorne Balfe

"There are sporadic scenes that break free from the rah-rah confines, like when Pacquiao returns home to survey the lands. Unfortunately, Gast and Moore too quickly hustle through the visits significance either to Pacquiao or the villagers, with sentimental music cues and Pacquiao's distant gaze standing in for insight. Later in the film, Filipinos stare at their TVs while Pacquiao fights, but are given no more agency than their excited faces suggest, used merely as human emojicons to reflect the current status of the boxer's career."

Clayton Dillard, Slant Magazine

PREDESTINATION - Peter Spierig

"As usual, Ethan Hawke brings a calm command to even the craziest of genre stories; in 'Predestination' the guy gets to run through all sorts of physical transformations, and he never misses a beat.  Australian actress Sarah Snook has no trouble keeping up with the veteran Hawke, and her performance(s) are reminscient of both Jodie Foster and Leonardo DiCaprio. (Bizarre compliment, sure, but not if you’ve seen the film.) Throw in some essential support / exposition work from the great Noah Taylor, a stellar musical score, and a truly impressive screenplay that somehow pulls some legitimate emotion out of some really strange places… there’s simply a whole lot to like about Predestination."

Scott Weinberg, Nerdist

"The Spierigs, Aussie siblings who previously cast Hawke in the reasonably clever vampire flick' Daybreakers,' counteract the talky density of their adapted material with plenty of sleek style. They’re operating in a mode that might fairly be described as budget Nolan, with Peter himself composing an urgent, imitation-Hans Zimmer score and the two filmmakers repurposing some famous sci-fi quotes as Memento-lite reminders."

A.A. Dowd, The Onion AV Club

"Faced with the challenge of such out-there material, the Spierig Brothers and their talented crew have set about realizing it with a meticulous level of craft that, in and of itself, compels a certain suspension of disbelief: From costume designer Wendy Cork’s period-specific creations and production designer Matthew Putland’s versatile array of sets to the subtle differences in color and lighting favored by d.p. Ben Nott, nearly every aspect of this decades-spanning saga has its own distinct feel even as the whole retains a strong sense of artistic unity. Particular visual standouts include the 1960s Space Corp. training facility, with its cool whites and blues, its retro-futuristic stylings and cloche hats, as well as the 1970s bar, a warmly lit vision that provides a strong visual and dramatic anchor for the otherwise mercurial proceedings. Peter Spierig’s score adds lovely notes of churning melancholy throughout."

Justin Chang, Variety

TAKEN 3 - Nathaniel Mechaly

"Neeson, who has brought his A-game to movies as silly as 'Non-Stop' and 'Unknown,' can’t seem to be bothered anymore; his smiley, sympathetic banter with Janssen represents some of his least convincing screen work, 'Battleship' included. Whitaker snaps rubber bands and plays with chess pieces (he’s the most tic-prone police inspector since Herbert Lom in the 'Pink Panther' movies), Grace pouts and frets, Scott twitches and glowers, and 'Taken 3' begins to feel like a cranked-out direct-to-DVD dud that somehow made its way to the big screen. It’s such an incompetent production that the film opens with what may be the cinema’s first unintentionally funny establishing shots (they’re swoopy and set to exaggerated doom music by Nathaniel Méchaly) and goes downhill from there."

Alonso Duralde, The Wrap

"Tech credits are serviceable if creatively impoverished. The L.A. locations recall countless images of the city caught onscreen, with lenser Eric Kress frequently using panoramic and helicopter shots of the city’s skyline as visual crutches. Nathaniel Mechaly’s ubiquitous score borders on schmaltzy."

Maggie Lee, Variety

VICE - Hybrid

"And while Jane gives a line like 'It's not every day one gets to meet his maker"' more oomph than it deserves, little of his efforts matter amid Miller's sledge-hammer aesthetics, with action scenes featuring a deafening, blaring score by Hybrid that would make Hanz Zimmer blush."

Clayton Dillard, Slant Magazine

"As a sci-fi film, 'Vice' is beholden to way too many influences to make much of its own mark; as a suspense thriller, it doesn’t really exhibit all that much energy; and as an action movie, it’s pretty much just a bunch of standard shootouts in which machine guns go off and stuntmen fall down. As a plain old movie, it’s saddled with way too many clunky exposition scenes, overripe line deliveries, and a few oddly ugly and misogynistic moments… and yet, taken as that 'failed TV pilot' concept, one may still find a few traces of dumb fun scattered here and there. The score (by Hybrid), for example, is pretty jaunty even when the movie is not. Science fiction aficionados can have fun playing 'spot the borrowed concept' game (which extends well beyond the three movies I mentioned earlier) and general movie geeks may appreciate the contributions from Johnathon Schaech (as the evil sidekick) and Don Harvey (as the outraged police captain), but unfortunately there’s not a whole lot in the 'silver lining' department where 'Vice' is concerned."

Scott Weinberg, Nerdist

THE NEXT TEN DAYS IN L.A.

Screenings of older films, at the following L.A. movie theaters: AMPAS, American Cinematheque: Aero, American Cinematheque: Egyptian, Arclight, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.

May 1
THE BANK DICK (Charls Previn), OBSERVE AND REPORT (Joseph Stephens) [New Beverly]
CINERAMA HOLIDAY (Morton Gould) [AMPAS]
DR. WHO AND THE DALEKS (Malcolm Lockyer) [Nuart]
KILL BILL VOL. 1 [New Beverly]
THE MAN WHO WOULD BE KING (Maurice Jarre), THE WIND AND THE LION (Jerry Goldsmith) [Cinematheque: Aero]
ROAR (Terence P. Minogue) [Silent Movie Theater]

May 2
THE BANK DICK (Charls Previn), OBSERVE AND REPORT (Joseph Stephens) [New Beverly]
MESSAGE FROM SPACE (Ken-Ichiro Morioka) [New Beverly]
ROAR (Terence P. Minogue) [Silent Movie Theater]
YOU CAN'T CHEAT AN HONEST MAN (Charles Previn)[New Beverly]

May 3
BARAKA (Michael Stearns), SAMSARA (Marcello De Francisi, Lisa Gerrard, Michael Stearns)[Cinemathqeue: Aero]
THE BOYS FROM FENGKUEI, THE GREEN, GREEN GRASS OF HOME [UCLA]
HOW TO MURDER YOUR WIFE (Neal Hefti), NOT WITH MY WIFE, YOU DON'T (John Williams) [New Beverly]
MESSAGE FROM SPACE (Ken-Ichiro Morioka) [New Beverly]
ROAR (Terence P. Minogue) [Silent Movie Theater]
SUPERMAN (John Williams), BATMAN (Danny Elfman) [Cinematheque: Egyptian]

May 4
HOW TO MURDER YOUR WIFE (Neal Hefti), NOT WITH MY WIFE, YOU DON'T (John Williams) [New Beverly]

May 5
CHINESE HERCULES, THE BLACK DRAGON [New Beverly]
THE BIG SLEEP (Max Steiner) [LACMA]
ROAR (Terence P. Minogue) [Silent Movie Theater]

May 6
TREASURE ISLAND (Natale Massara), THE LONG, HOT SUMMER (Alex North) [New Beverly]
THE WORLD'S END (Steven Price) [Arclight Hollywood]

May 7
CAFE LUMIERE [UCLA]
DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (Laurie Johnson), KIND HEARTS AND CORONETS (Ernest Irving) [Cinematheque: Egyptian]
THE LADY FROM SHANGHAI (Heinz Roemheld), THE STRANGER (Bronislau Kaper) [Cinematheque: Aero]
LOLA MONTES (Georges Auric) [AMPAS]
STRANGE BREW (Charles Fox) [Arclight Hollywood]
TREASURE ISLAND (Natale Massara), THE LONG, HOT SUMMER (Alex North) [New Beverly]
 
May 8
CARMEN JONES (Georges Bizet, Herschel Burke Gilbert), BIGGER THAN LIFE (David Raksin) [AMPAS]
CITIZEN KANE (Bernard Herrmann), THE MAGNIFICENT AMBERSONS (Bernard Herrmann) [Cinematheque: Aero]
THE CRAFT (Graeme Revell) [Nuart]
KILL BILL VOL. 1 (The RZA) [New Beverly]
ME AND ORSON WELLES, THE CAT'S MEOW [New Beverly]
PIRANHA (Pino Donaggio) [Silent Movie Theater]

May 9
THE CALL OF THE WILD (Alfred Newman), GOOD-BYE, MY LADY (Laurindo Almeida, George Field) [UCLA]
CHIMES AT MIDNIGHT (Angelo Francesco Lavagnino), OTHELLO [Cinematheque: Aero]
ME AND ORSON WELLES, THE CAT'S MEOW [New Beverly]
THE STRANGE CASE OF DR. JEKYLL AND MISS OSBOURNE (Bernard Parmegiani), THE BEAST [Cinematheque: Egyptian]

May 10
BLANCHE, IMMORAL TALES (Maurice Leroux) [Cinematheque: Egyptian]
BOEING BOEING (Neal Hefti), WHO WAS THAT LADY? (Andre Previn) [New Beverly]
HELLO, DOLLY (Jerry Herman, Lennie Hayton, Lionel Newman) [UCLA]
TOUCH OF EVIL (Henry Mancini), MAGICIAN: THE ASTONISHING LIFE AND WORK OF ORSON WELLES [Cinematheque: Aero]
THE WIZARD OF OZ (Herbert Stothart, Harold Arlen) [Cinematheque: Aero]