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The latest CD from Intrada is a re-release of their out-of-print edition of Jerry Goldsmith's score for the 1973 Disney comedy-Western ONE LITTLE INDIAN.

Varese Sarabande has announced three new soundtracks in their limited edition CD series of contemporary scores -- two new scores by Jeff Beal (House of Cards, Rome), for the Netflix psychological drama series GYPSY (starring Naomi Watts and Billy Crudup) and for director Oliver Stone's multi-part documentary THE PUTIN INTERVIEWS; and the soundtrack to the Netflix thriller SHIMMER LAKE (which recieves a limited L.A. theatrical release this week), composed by Joseph Trapanese (Straight Outta Compton, Oblivion).

The latest release from Kritzerland is the score for the 2017 documentary BETTING ON ZERO, composed by Pete Anthony, who is best known as an orchestrator-conductor who has worked with such top film music names as Carig Armstrong, Chris Bacon, Tyler Bates, Christophe Beck, Marco Beltrami, Teddy Castellucci, John Debney, Danny Elfman, John Frizzell, Ludwig Goransson, James Horner, James Newton Howard, Mark Isham, Abel Korzeniowski, Alan Menken, Mark Mothersbaugh, John Ottman, John Paesano, John Powell, Steven Price, Marc Shaiman, Clinton Shorter, Theodore Shapiro, Christopher Young and Hans Zimmer -- so pretty much everyone in contemporary film scoring.  


The Basil Poledouris Collection vol. 2 - Basil Poledouris - Dragon's Domain
Genius - Lorne Balfe - Milan
Gypsy - Jeff Beal - Varese Sarabande
Io, Emmanuelle
 - Gianni Ferrio - Quartet
The Jazz from U.N.C.L.E. - Live in Concert
- various - Arena
 - Piero Piccioni - Quartet
Les As de La Jungle 
- Olivier Cussac - Music Box
One Little Indian - Jerry Goldsmith - Intrada Special Collection
The Putin Interviews - Jeff Beal - Varese Sarabande
Shimmer Lake - Joseph Trapanese - Varese Sarabande
Sky Pirates 
- Brian May - Dragon's Domain
Transformers: The Last Knight
 - Steve Jablonsky - La-La Land
Tulip Fever - Danny Elfman - Sony [U.S. release - CD-R]


Armed Response - Elia Cmiral
Atomic Blonde - Tyler Bates - Soundtrack CD on Backlot with 3 score cues
Birthright: A War Story - Joel Futterman, Ira Levin
Brigsby Bear - David Wingo
Bronx Gothic - Ian Hultquist
The Conway Curve - Brian Satterwhite
Detroit - James Newton Howard
The Emoji Movie - Patrick Doyle - Score CD due Aug. 4 on Sony (import)
A Family Man - Mark Isham
From the Land of the Moon - Daniel Pemberton - Score CD Mal De Pierres on Sony (import)
Imperfections - David Singer
An Inconvenient Sequel: Truth to Power - Jeff Beal
The Last Face - Hans Zimmer
The Leisure Seeker - Carlo Virzi
Menashe - Aaron Martin
Person to Person - Brian McOmber, Scott Fetzer
Shimmer Lake - Joseph Trapanese - Limited edition score CD on Varese Sarabande
Strange Weather - Sharon Van Etten
The Untamed - Igor Figueroa, Fernando Heftye


August 4 
The Emoji Movie - Patrick Doyle - Sony (import)
Fargo: Season 3 - Jeff Russo - Sony (import)
Robin Hood
 - George Bruns - Disney
War for the Planet of the Apes 
- Michael Giacchino - Sony
August 11
The Glass Castle 
- Joel P. West - Milan
Good Time - Oneohtrix Point Never - Warp
August 18
The Hitman's Bodyguard
 - Atli Orvarsson - Milan
August 25
The Dark Tower - Tom Holkenborg - Sony
The Handmaid's Tale - Adam Taylor - Lakeshore
Hellraiser - Christopher Young - Lakeshore
September 1
Bushwick - Aesop Rock - Lakeshore
Castlevania - Trevor Morris - Lakeshore
Popeye - Harry Nilsson, Tom Pierson - Varese Sarabande
Wind River 
- Nick Cave, Warren Ellis - Lakeshore
September 8
Bunyan & Babe - Zoe Poledouris-Roche, Angel Roche Jr. - Notefornote
Twin Peaks: The Event Series - Angelo Badalamenti - Rhino
September 15
Mr. Robot vol. 3 - Mac Quayle - Lakeshore
Woodshock - Peter Raeburn - Milan
Date Unknown
Betting on Zero
- Pete Anthony - Kritzerland
Il Relitto - Angelo Francesco Lavagnino - Alhambra
Roma Violenta
 - Guido & Maurizio De Angelis - Beat


July 28 - Carmen Dragon born (1914)
July 28 - Ray Ellis born (1923)
July 28 - Brian May born (1934)
July 28 - Recording sessions begin for Frederick Hollander’s score for Disputed Passage (1939)
July 28 - Richard Hartley born (1944)
July 28 - On the Waterfront opens in New York (1954)
July 28 - Robert Drasnin records his score for the Mission: Impossible episode “Butterfly” (1970)
July 28 - Leonard Rosenman begins recording his adaptation score for Bound for Glory (1976)
July 28 - Basil Poledouris records his score for The House of God (1980)
July 28 - Laurence Rosenthal records his score for Proud Men (1987)
July 29 - Mikis Theodorakis born (1925)
July 29 - Gian Piero Reverberi born (1939)
July 29 - Michael Holm born (1943)
July 29 - Bronislau Kaper begins recording his score for Quentin Durward (1955)
July 29 - Lalo Schifrin begins recording his score for The Venetian Affair (1967)
July 29 - Lee Holdridge records his score for The Explorers: A Century of Discovery (1988)
July 29 - Doug Timm died (1989)
July 29 - Giorgio Gaslini died (2014)
July 30 - Guenther Kauer born (1921)
July 30 - Antoine Duhamel born (1925)
July 30 - David Sanborn born (1945)
July 30 - Alexina Louie born (1949)
July 30 - Recording sessions begin for Frederick Hollander’s score for Remember the Night (1949)
July 30 - Peter Knight died (1985)
July 30 - Richard Band begins recording his score for Zone Troopers (1985)
July 31 - Barry De Vorzon born (1934)
July 31 - Michael Wolff born (1952)
July 31 - Lionel Newman begins recording his score for The Last Wagon (1956)
July 31 - John 5 born as John Lowery (1971)
July 31 - Richard Band records his score for The Alchemist (1981)
July 31 - Lennie Niehaus records his score for the Amazing Stories episode “Vanessa in the Garden” (1985)
August 1 - Walter Scharf born (1910)
August 1 - Jerome Moross born (1913)
August 1 - Lionel Bart born (1930)
August 1 - Paddy Moloney born (1938)
August 1 - Dean Wareham born (1963)
August 1 - Paul Sawtell died (1971)
August 1 - Arthur B. Rubinstein records his score for the Amazing Stories episode "Remote Control Man" (1985)
August 2 - Carlo Savina born (1919)
August 2 - Joe Harnell born (1924)
August 2 - Phillip Lambro born (1935)
August 2 - Arthur Kempel born (1945)
August 2 - Dimitri Tiomkin begins recording his score for Gunfight at the OK Corral (1956)
August 2 - Recording sessions begin on Leigh Harline’s score for No Down Payment (1957)
August 2 - Lalo Schifrin records his score for the Mission: Impossible episode “The Miracle” (1971)
August 2 - Muir Mathieson died (1975)
August 2 - Irwin Bazelon died (1995)
August 3 - Louis Gruenberg born (1884)
August 3 - David Buttolph born (1902)
August 3 - Robert Emmett Dolan born (1906)
August 3 - Ira Newborn begins recording his score for The Naked Gun: From the Files of Police Squad! (1988)
August 3 - Alfred Schnittke died (1998)
August 3 - Warren Barker died (2006)


THE BENEFACTOR - Danny Bensi, Saunder Jurriaans

"Mostly, though, it’s the Richard Gere show and within Renzi’s scenario and sometimes even within single scenes, he is certainly given the latitude to swing from manic charming high to desperate angry low and back again. So the film’s best scenes are with Franny when he’s away from the wateriness of Olivia and Luke. Though even these moments can come marred by rather obvious soundtrack cuts, often related to Franny’s mercurial internal weather system -- 'My Girl' when he’s up, 'The Dark End of the Street' when he’s down. Elsewhere rising composers Danny Bensi and Saunder Jurriaans‘ orchestral score feels unusually anonymous."
Jessica Kiang, IndieWire
"Franny calls Olivia 'Poodles,' easily the worst nickname in the history of cinema. Not even Olivier in his prime could make 'Poodles' roll off the tongue with conviction nor ease, and Gere is saddled with saying it about 150 times. Far more problematic is Franny’s relationship with Mr. Poodles, which Renzi paints in hilarious 'wink-wink-nudge-nudge' homoerotic terms. The only suspense to be had in 'The Benefactor' is whether Franny will grab Dr. Luke and sex him up like Color Me Badd. For example, Franny’s morphine addiction is made explicit in a scene where Renzi puts Luke’s boxers-clad crotch and Franny’s face in the same frame. We think Franny’s going to proposition the nearly naked Luke; instead, he asks the doctor to write him an illegal prescription. Later, the two get high on Molly and end up spooning in bed. While Olivia places a frantic call to her husband, Franny’s arm snakes around Luke’s waist. Ominous music plays."
Odie Henderson,

THE 5TH WAVE - Henry Jackman
"It’s never a good sign when three prominent screenwriters each take a credited stab at adapting a best-seller, and Susannah Grant ('The Soloist'), Akiva Goldsman ('Winter’s Tale') and Jeff Pinkner ('The Amazing Spider-Man 2') so excessively telegraph each plot twist that the entire script may well have been written in Morse code. Any surprises that inattentive viewers might miss in the screenplay get put in blaring italics by composer Henry Jackman ('Captain America: The Winter Soldier'), whose score works itself into a lather at the slightest provocation."
Alonso Duralde, The Wrap
MISCONDUCT - Federico Jusid
"She’s an old girlfriend of Ben’s, and she offers him several varieties of forbidden fruit: the standard-issue carnal variety, and a file of e-mails that prove that her boss/boyfriend lied egregiously about a disastrous drug trial. The married Ben refuses to have sex with Emily (the scene in which he does so is accompanied by a shockingly kitschy musical theme, by Federico Jusid, that wouldn’t sound out of place in a 1990s Shannon Whirry softcore picture) but concocts a hare-brained scheme to bring down Denning using these highly-illegally-obtained e-mails. What could go wrong?"
Glenn Kenny,

"And they're not even the worst things in a picture which drags in brutal violence against women, coldly kinky sex, an improvised bit of Krazy Glue surgery and even a horror-movie choir chanting on the soundtrack -- without assembling anything that remotely resembles an entertaining, or even cogent story."
Stephen Whitty, Newark Star-Ledger

RABID DOGS - Laurent Eyquem
"The opening credits suggest a subsequent film more invested in deconstructing the archetypal particulars of pulp, as monochromatic reds abstractly bathe a surging sea of floating, sharpened knives and smoking guns. Additively, Laurent Eyquem’s delirious synth score provides a knowing gesture of generic tradition, echoing past work from stalwarts like John Carpenter and Goblin without simply replicating the same beats or movements. Unfortunately, Hannezo stages scenes, along with co-writers Yannick Dehan and Benjamin Rataud, for their most tiresome potential as settings for black eyes and spilt blood, which are amplified by a sound mix that registers each thud or blast with maximal impact. These sensorial investments merely sanction cheap thrills as a bedrock of genre filmmaking."
Clayton Dillard, Slant Magazine

RAMS - Atli Orvarsson
"Fresh off his bravura one-shot lensing of the Berlinale competition title 'Victoria,' d.p. Sturla Brandth Grovlen shows his mettle with striking, naturally lit widescreen cinematography. Perfectly paced cutting by Kristjan Lodmfjord allows the material to breathe, while gorgeous, melancholy music by Atli Ovarsson ('Hansel & Gretel: Witch Hunters') soars at key moments."
Alissa Simon, Variety

"Though there’s some tonal variation ('Siren' strikes the most humorously macabre attitude, while other panels are played relatively straight), in terms of packaging 'Southbound' aims more for consistency than for variety, despite its different creative teams. There’s a grungy nocturnal atmosphere to the widescreen cinematography by different lensers throughout; a synthy overall score by duo the Gifted (James Bairian, Louis Castle) provides additional glue. Performances are solid, tech/design contributions modest but resourceful."
Dennis Harvey, Variety

"In terms of anything that has to do with characterization, Chuck Hogan‘s script is punishingly rote. But as bombastic, shoot-‘em-up spectacle, '13 Hours' is a visceral, well-paced and often beautiful action-thriller. Handheld camerawork provides the guts and helicopter swoops the glory, while the 'Transformers'-esque cacophony of metal straining against metal and Lorne Balfe’s timpani-heavy score make the sextet’s bloody defenses of their strongholds feel urgent and acute."
Inkoo Kang, The Wrap
"Bay, as he often does, about half succeeds at what he attempts in '13 Hours.' The film is sleek and attractive, walled compounds and bombed-out cityscapes evocatively rendered with forlorn beauty and tingling menace. But when the central siege of the movie arrives, the filmmaking overshoots the intended chaotic vérité and winds up largely incoherent, the editing skipping crucial beats so that it’s nearly impossible to get our narrative bearings. Maybe that’s partly intentional -- battle is shocking and disorienting and nonlinear -- but spending so much time trying to figure out who is doing what, where, and why snatches us out of the film’s tenuous emotional undertow. '13 Hours' boasts many trappings of wrenching war cinema -- slow-motion shots of battle-worn men, a score that soars and keens with anger and ache, heroic death and manly grief -- but it’s all played at a blare, drowning out a story that bears more specific, perhaps more dispassionate, examination. Bay makes it difficult to leave his film without feeling something, even if that feeling is simply exhaustion. '13 Hours' intends to take it out of you, however it can, and on that measure, the film succeeds. But the air of unease or futility that Bay tries clumsily to graft onto the final scenes of '13 Hours,' which play like a version of 'Zero Dark Thirty''s masterfully unsettling ending, only with more dudes and more music, is little more than a conciliatory afterthought. If accurately re-creating the mechanics of the Benghazi attack is the singular goal of '13 Hours,' Bay simply over-embellishes. But if there is some grander motive, some urgent point or summation trying to be made here, however coded, the film is a fumble."
Richard Lawson, Vanity Fair

"'I feel like I’m in a f****n’ horror movie' says one soldier, an hour after the ominous score and mounting paranoia have made that sensation more than clear to the audience. To Bay’s credit, the atmosphere is effective, and as the attack winds on into the early hours of September 12, he builds outrageous tension."
Russ Fischer, IndieWire
"With '13 Hours,' Michael Bay doesn’t so much wear his political heart on his sleeve as use it to beat his audience into submission. His dramatic retelling of the 2012 terrorist attack on US diplomats in Benghazi, Libya plays like an extended Republican Party election broadcast, complete with relentless handheld camera carnage and beating jungle drum soundtrack."
Nick Baughan, The List
"Of course, a Michael Bay Bengahzi movie was a terrible idea, a comic mismatch of filmmaker and material, but that doesn’t mean it couldn’t have worked. Plenty of directors, creators with craft and integrity and respect for the stories they were telling, made films we wouldn’t expect (Scorsese’s 'Hugo,' Soderbergh’s 'Haywire,' Lynch’s 'The Straight Story') by adapting their style to the project at hand. Instead, Bay leaned in on his customary affectations. There’s one key moment worth drilling down on: the climactic death of a main character, caused by an incoming mortar. How does Bay visualize that moment? Via some sorta Mortar Cam, a CG shot attached to the incoming projectile, following it all the way down from the heavens to its target. That’s the movie in a nutshell, because even when dramatizing the tragic death of a protagonist, the filmmaker can’t resist a 'cool shot' -- or, even worse, a bit of self-homage (a similar shot was key visual in not only 'Pearl Harbor,' but also 'Transformers'). And all the sad pianos and teary-eyed reactions and scorched family portraits floating through the debris like the feather in 'Forrest Gump' merely serve to underscore the fact that Bay took that moment, and he cheapened it into whiz-bang 'Bayhem.'" 
Jason Bailey, Flavorwire

"Scene after scene, the movie is an exhausting, pulverizing thing to experience, by turns immersive and continually disruptive. Every element of the filmmaking -- from the jittery, rapid-fire cutting to the intensely saturated hues of Dion Beebe’s digital lensing, from the cacophonous, bullet-riddled sound design to Lorne Balfe’s equally percussive score -- seems to push us out and pull us in with the same hectoring force. It’s a nail-biter and a head-scratcher rolled into one: The mind may initially race to keep up with logistics, but eventually one acknowledges the futility of trying to make sense of a situation that Bay himself hasn’t managed to clarify."
Justin Chang, Variety
"Indistinct as some of them are within the group setting, the actors do their tough and gruff stuff perfectly well, led by Krasinski and James Badge Dale. As very few would claim to know what Benghazi actually looks like, one can only presume that the vivid and evocative locations in Malta and Morocco serve their purpose very well, while production designer Jeffrey Beecroft's reproduction of the American compound appears accurate down to the smallest detail. All craft contributions are robust, while the musical score by Lorne Balfe achieves some weird and creepy effects."
Todd McCarthy, Hollywood Reporter


Screenings of older films, at the following L.A. movie theaters: AMPASAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianArclightLACMANew BeverlyNuartSilent Movie Theater and UCLA.

July 28
BARFLY (Jack Baran), REVERSAL OF FORTUNE (Mark Isham) [Cinematheque: Aero]
MANIAC (Jay Chattaway), THE LAST HOUSE ON THE LEFT (David Hess), CANNIBAL HOLOCAUST (Riz Ortolani) [Cinematheque: Egyptian]
SANTA SANGRE (Simon Boswell) [Nuart]
TOTAL RECALL (Jerry Goldsmith), THE RUNNING MAN (Harold Faltermeyer) [New Beverly]

July 29
LOVE IN THE AFTERNOON (Franz Waxman) [Silent Movie Theater]
THE VALLEY (OBSCURED BY CLOUDS) (Pink Floyd), MORE (Pink Floyd) [Cinematheque: Aero]
THE VILLAIN (Bill Justis) [New Beverly]

July 30
THE DRAUGHTSMAN'S CONTRACT (Michael Nyman), PROSPERO'S BOOKS (Michael Nyman) [Cinematheque: Egyptian]
WHERE'S POPPA? (Jack Elliott), FIRE SALE (Dave Grusin) [New Beverly]

July 31
WHERE'S POPPA? (Jack Elliott), FIRE SALE (Dave Grusin) [New Beverly]

August 1
SECRET HONOR (George Burt) [Silent Movie Theater]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [LACMA]

August 2
FFOLKES (Michael J. Lewis), THE WILD GEESE (Roy Budd) [New Beverly]

August 3
FFOLKES (Michael J. Lewis), THE WILD GEESE (Roy Budd) [New Beverly]

August 4
AKIRA (Shoji Yamashiro) [Nuart]
LE DEUXIEME SOUFFLE (Bernard Gerard) [Cinematheque: Egyptian]
MARTIN (Donald Rubenstein) [Silent Movie Theater]
PRIME CUT (Lalo Schifrin) [UCLA]
RYAN'S DAUGHTER (Maurice Jarre) [Cinematheque: Aero]
STAR TREK II: THE WRATH OF KHAN (James Horner), STAR TREK IV: THE VOYAGE HOME (Leonard Rosenman) [New Beverly]
THE TENANT (Philippe Sarde) [Silent Movie Theater]

August 5
BATMAN: MASK OF THE PHANTASM (Shirley Walker) [Silent Movie Theater]
GOLD OF THE SEVEN SAINTS (Howard Jackson) [New Beverly]
LE SAMOURAI (Francois de Roubaix) [Cinematheque: Egyptian]
LE SILENCE DE LA MER (Edgar Bischoff) [Cinematheque: Egyptian]
THE NIGHT OF THE HUNTER (Walter Schumann), CROSSFIRE (Roy Webb) [Cinematheque: Aero]
STAR TREK II: THE WRATH OF KHAN (James Horner), STAR TREK IV: THE VOYAGE HOME (Leonard Rosenman) [New Beverly]
XTRO (Harry Bromley Davenport) [New Beverly]

August 6
BABE: PIG IN THE CITY (Nigel Westlake) [New Beverly]
BARTON FINK (Carter Burwell) [Silent Movie Theater]
THE FRIENDS OF EDDIE COYLE (Dave Grusin), THE YAKUZA (Dave Grusin) [Cinematheque: Aero]
GOLD OF THE SEVEN SAINTS (Howard Jackson) [New Beverly]
LE CIRCLE ROUGE (Eric Demarsan) [Cinematheque: Egyptian]
TOMORROW (Irwin Stahl) [UCLA]
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