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Our founder, Lukas Kendall, is seeking Indiegogo funding to help finance a "proof-of-concept" short film that he hopes to expand into his feature directorial debut, a science-fiction thriller titled Sky Fighter. For those who'd like to help out the-guy-without-whom-no-one-would-be-reading-this-site, please follow this link.

The latest release from Intrada is a remastered version of Jerry Goldsmith's exciting score for the 1985 Disney-produced dinosaur adventure BABY: SECRET OF THE LOST LEGEND.


Avengers: Infinity War - Alan Silvestri - Hollywood
Baby: Secret of the Lost Legend - Jerry Goldsmith - Intrada Special Collection
Deadpool 2 - Tyler Bates - Sony  
The Doctor from India - Rachel Grimes - Temporary Residence (import)
On Chesil Beach - Dan Jones - Decca (import)
 - Andrew Lockington - Rambling (import)
Sgt. Stubby: An American Hero
 - Patrick Doyle - Varese Sarabande 
The Verdict/The Seven-Ups/M*A*S*H [tv] - Johnny Mandel - Kritzerland


Always at the Carlyle - Earl Rose
Angels Wear White - Zi Wen
Book Club - Peter Nashel
Dark Crimes - Richard Patrick
Deadpool 2 - Tyler Bates - Score CD on Sony
Filmworker - Luke Jennings, David Ben Shannon
First Reformed - Lustmord
The Gardener - Luc St. Pierre
On Chesil Beach - Dan Jones - Score CD on Decca (import)
Pope Francis - A Man of His Word - Laurent Petitgand
Show Dogs - Heitor Pereira
Welcome to the Men's Group - Dan Radlauer


May 25
Cobra Kai - Zach Robinson, Leo Birenberg - La-La Land
Crisis on Earth-X - Blake Neely, Nathaniel Blume, Daniel Chan, Sherri Chung - La-La Land
Jim Henson's The Storyteller
 - Rachel Portman - Varese Sarabande
Killer Klowns from Outer Space: Reimagined
 - John Massari - Varese Sarabande
La Sorciere
 - Norbert Glanzberg - Disques CineMusique
The Little Prince and the Eight-Headed Dragon - Akira Ifukube - Cinema-Kan (import)

The Snake and the Silver-Haired Witch - Shinsuke Kikuche - Cinema-Kan (import)

Solo: A Star Wars Story
 - John Powell - Disney
June 1 
Alias Grace - Mychael Danna, Jeff Danna - Lakeshore
The Captain - Martin Todsharow - Sony (import)
Jackals - Anton Sanko - Notefornote
Lost in Space 
- Christopher Lennertz - Lakeshore
 - Craig Safan - Varese Sarabande
Wilson's Heart
 - Christopher Young - Varese Sarabande
June 8 
- Colin Stetson - Milan
McQueen - Michael Nyman - Nyman (import)
7 Days in Entebbe - Rodrigo Amarante - Lakeshore
Star Trek: Discovery, Chapter 2 
- Jeff Russo - Lakeshore
The Yakuza Papers
- Tokiashi Tsuishima - Cinema-Kan (import)
June 15
Incredibles 2 - Michael Giacchino - Disney
Jurassic World: Fallen Kingdom - Michael Giacchino - Backlot
June 22
Annihiliation - Geoff Barrow, Ben Salisbury - Lakeshore
Under the Silver Lake - Disasterpeace - Milan
June 29
Fahrenheit 451 - Matteo Zingales, Antony Partos - Milan
Sicario: Day of the Soldado - Hildur Gudnadottir - Varese Sarabande
July 6
Don't Worry, He Won't Get Far on Foot - Danny Elfman - Sony
July 20
1922 - Mike Patton - Ipecac (import)
Date Unknown
Amore e Liberta Masaniello
 - Marco Werba - Rosetta
Asesinos Inocentes
 - Pablo Cervantes - Rosetta
 - Debbie Wiseman - Silva
El Cuaderno De Sara
 - Julio De La Rosa - Rosetta
Fellini's Casanova
 - Nino Rota - Music Box
Half Light
 - Brett Rosenberg - Rosetta
Keoma/Il Cacciatore di Squali 
- Guido & Maurizio DeAngelis - CSC
The Kronos Files
 - various - Kronos
The Man with Bogart's Face
 - George Duning - Kritzerland
The Mark Snow Collection vol. 2: Femme Fatales
 - Mark Snow - Dragon's Domain
Raul - Diritto di Uccidere
 - Andrea Morricone - Kronos
Solamente Nero
 - Stelvio Cipriani - CSC
Viking - Dean Valentine - Kronos
 - Merrill Jenson - Dragon's Domain


May 18 - Meredith Willson born (1902)
May 18 - Recording sessions begin for Cyril Mockridge’s score to The Luck of the Irish (1948)
May 18 - Rick Wakeman born (1949)
May 18 - Mark Mothersbaugh born (1950)
May 18 - Jacques Morelenbaum born (1954)
May 18 - Reinhold Heil born (1954)
May 18 - James Horner begins recording his score for Testament (1983)
May 18 - Ron Jones records his score for the Star Trek: The Next Generation episode "Menage a Troi" (1990)
May 18 - Kevin Gilbert died (1996)
May 18 - Albert Sendrey died (2003)
May 19 - Irving Gertz born (1915)
May 19 - Anton Garcia Abril born (1933)
May 19 - Tom Scott born (1948)
May 19 - Bert Shefter records his score for The Great Jesse James Raid (1953)
May 19 - James L. Venable born (1967)
May 19 - Kyle Eastwood born (1968)
May 19 - Earle Hagen wins the Emmy for his score for the I Spy episode “Laya” (1968)
May 19 - Jerry Goldsmith wins his second Emmy, for QB VII Parts 1 & 2; Billy Goldenberg wins for the Benjamin Franklin episode “The Rebel” (1975)
May 19 - James Horner begins recording his score for Titanic (1997)
May 19 - Edwin Astley died (1998)
May 19 - Hans Posegga died (2002)
May 20 - Zbigniew Preisner born (1955)
May 20 - Jerry Goldsmith wins his first Emmy, for The Red Pony; Charles Fox wins an Emmy for his Love, American Style music (1973)
May 20 - Lyn Murray died (1989)
May 21 - Kevin Shields born (1963)
May 21 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Inner Light” (1992)
May 21 - Fiorenzo Carpi died (1997)
May 21 - Frank Comstock died (2013)
May 22 - Roger Bellon born (1953)
May 22 - Iva Davies born (1955)
May 22 - Richard Rodgers wins the Outstanding Music Emmy for Winston Churchill – The Valiant Years (1962)
May 22 - John Sponsler born (1965)
May 22 - Laurence Rosenthal wins the Emmy for his score to Michelangelo: The Last Giant (1966)
May 22 - James Horner begins recording his score for Unlawful Entry (1992)
May 23 - Michel Colombier born (1939)
May 23 - William Stromberg born (1964)
May 23 - Tom Tykwer born (1965)
May 23 - Jimmy McHugh died (1969)
May 23 - George Bruns died (1983)
May 23 - Recording sessions begin on Patrick Doyle’s score for Dead Again (1991)
May 23 - James Horner begins recording his score for Searching for Bobby Fischer (1993)
May 23 - Kenyon Emrys-Roberts died (1998)
May 23 - Recording sessions begin for John Ottman's score for The Invasion (2007)
May 24 - Sadao Bekku born (1922)
May 24 - Bob Dylan born (1941)
May 24 - Waddy Wachtel born (1947)
May 24 - Franz Waxman begins recording his score for Sorry, Wrong Number (1948)
May 24 - Pierre van Dormael born (1952)
May 24 - David Ferguson born (1953)
May 24 - Jerry Fielding begins recording his score for Shirts/Skins (1973)
May 24 - Duke Ellington died (1974)
May 24 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “In Theory” (1991)


THE DAUGHTER - Mark Bradshaw

"The film opens and closes with two gunshots -- both deliberate, both impactful -- which bookend the disclosure of long-held confidences that bind together two families at opposite ends of an economically depressed Australian logging town. Themes of hardship, disloyalty and loss are augmented by some exquisite cinematography by Andrew Commis -- the stunning beauty of the landscape in stark contrast to the ugly affairs that unfold within its claustrophobic confines -- and Mark Bradshaw’s haunting, evocative score, which is often expertly used in place of dialogue."
Nikki Baughan, The List
"Dealing with some poorly written scenes, like a preposterously scripted shouting match between Hedvig and her mother, Charlotte (Miranda Otto), in the middle of one of the former’s high school classes, Young is also by and large outmatched by her co-stars. Meant to be 'The Daughter''s most empathetic character, Young’s Hedvig comes off as merely emo. Throw in an unremittingly melancholy soundtrack that doubles down on the film’s relentlessly bleak tone and you have a work too often straining for a tragic gravity that its ultimately melodramatic characters never earn."
Oleg Ivanov, Slant Magazine

"It’s a shame, because the performances are uniformly affecting, particularly by Ewen Leslie as Oliver, whose decency makes the pain he endures all the more wrenching. Or it would, if you believed any of it; Oliver’s total rejection of his beloved Hedvig late in the piece feels particularly contrived. Whereas a film like Hirokazu Koreeda’s 'Like Father Like Son' (2013) -- another portrait of unraveling paternal identity -- started with the twist and then teased out its implications, 'The Daughter' spends most of its time following a recessive character who possesses information we’re not privy to, and the whole thing manages to be both remote and unsubtle simultaneously. Likewise Mark Bradshaw’s oppressive, insistently underlining score -- which says it all, then says it again."
Harry Windsor, The Hollywood Reporter

DON'T KNOCK TWICE - James Edward Barker, Steve Moore
"From here, the jump scares and bumps in the night begin in earnest, and while James has a talent for the traditional methods of goosing an audience, his real facility is in laying the focus squarely on the fractured relationship between parent and child. Drawing influence from ’70s giallo and arthouse auteurs of the era like Nicolas Roeg, he repeatedly zooms in (figuratively and literally) on the space between the two, using eerie synths and protracted close-ups of their faces to suggest the real horror is to be found in the wary and worrying nature of the mother-daughter bond. Since the dialogue is wanting, he lets his two lead actors tell another story with just expressions and gestures, and it works, for a while. It’s hard to find someone with the energy to out-intense a spitfire like Sackhoff, but Boynton rises to the occasion, giving as good as she gets in an almost completely unspoken battle of wills. It’s easy to imagine the superior (and scarier) film that would come from a simple ghost story, were James allowed to simply employ these two actors and this setup, and go where his muse took him."
Alex McLevy, The Onion AV Club

"To convey this, the filmmakers set a relentlessly sour mood. A near-constant electric drone buzzes on the soundtrack, and Adam Frisch’s cinematography is perpetually underlit, even in late morning. Jess lives in a massive but drearily undecorated house with her husband, Ben (Richard Mylan), and the charmless couple strain for wit."
Henry Stewart, Slant Magazine
"Director James -- previously responsible for the acclaimed if little-seen 'The Machine' -- effectively orchestrates the horror tropes including jump scares; spooky, dim lighting; an unnerving electronic musical score; and a minor character (Pooneh Hajimohammadi) who has a strange affinity for detecting spectral forces. But the genre conventions are less interesting than the interpersonal dynamics between mother and daughter, with Sackhoff and Boynton delivering fierce, emotionally committed performances. They deserved a better movie."
Frank Scheck, Hollywood Reporter

A GOOD AMERICAN - Christopher Slaski, Guy Farley

"The movie is slow, quiet, and infuriating, as Binney and his small group are undermined by Gen. Michael Hayden’s NSA and inept private contractors. Binney’s nerds discover what could’ve been known, but their report is quashed, their computers are confiscated and they’re detained by armed enforcers. By design or by accident, Moser’s film evokes Netflix’s 'House of Cards', with sweeping helicopter-level views of Washington accompanied by gloomy horns and strings. The paranoia is further enabled by the actor playing a young Binney in reenactments (his government security career started in 1965) resembling CIA contractor/leaker Edward Snowden. Binney’s story makes clear, though, that the treacherous interlock of conspiracy and incompetence is all too real, and hardly confined to our present government."
Daphne Howland, Village Voice
"This also diminishes the claim by Binney and others who maintain (thanks to their own subsequent analysis) that ThinThread could have foreseen the events of 9/11 by combing through the data the NSA possessed in early 2001. That’s an explosive bombshell if true. 'A Good American,' however, never ventures outside its small sphere of talking heads (Binney and friends) to verify it. That alone makes their assertion seem somewhat dubious. And Moser’s many aesthetic devices, from ominous music and CGI graphics to dramatic reenactments and archival news footage -- which strive to push buttons with a manipulative insistence -- only seed the ground for further skepticism."
Nick Schager, Variety

ME BEFORE YOU - Craig Armstrong

"This is all to say, I cried at the end. Which is, of course, the whole point. Sharrack picks the perfect wistful final shot, Craig Armstrong’s score swells with ache and possibility, and everything is bathed in the golden light of bittersweet resolve. It’s potent stuff. I walked out of a screening on a drizzly May afternoon feeling just the right mix of heartened and sad, convinced of life’s fleeting beauty and longing for my own grand love affair. I also wanted to immediately head to the airport and get on a plane bound for England, even if life over there isn’t really as winsome, as warm and clever, as it so often seems up there on the shimmering screen."
Richard Lawson, Vanity Fair

"This is a film that’s oppressively cozy in a TV commercial way: The cinematography (by Remi Adefarasin, 'Pride and Prejudice and Zombies') calls to mind 'Mom Jeans' and every other “SNL” parody of ads aimed at women, while the score alternates between toothless love ballads and Craig Armstrong’s twinkly score, which sounds like the music that plays under the list of side effects in a 60-second spot for prescription medications.
Alonso Duralde, The Wrap
"Clarke is so engaging, in fact, that she winds up creating the lion’s share of whatever chemistry develops between her and Claflin, who’s far too emotionally stiff in the part -- likely tied into why the film can’t sell Will’s arc. But because the story is really out for Lou’s redemption, not Will’s, it’s appropriate that Clarke’s star is what shines brighter on the other side. One day we will perhaps see more films treat physical impairment as a fact of life instead of constant tears and plaintive piano chords. Until then, we’re stuck arguing the Kleenex-worthiness of 'Me Before You.'"
Andrew Lapin, Uproxx
"On a technical level, 'Sophie and the Rising Sun' is an attractive, low-budget package. Cinematographer Wolfgang Held communicates a separation of worlds (a shot with Salome arranging tea cups in the foreground, with a rack focus to Anne talking with a busybody neighbor in the background) in a way that the script struggles to delineate. And even if composer David Mansfield’s string-heavy score might come across as oppressive, it is pleasingly evocative and redolent of a bygone era."
Brian Stetler, Paste Magazine

"Old-fashioned craft contributions are of a piece with Greenwald’s taste for dignified sentimentality -- though Keith Reamer’s editing can feel a little bluntly tied. Like the metaphorically applied blossoms in Anne’s garden, the naturalistic palette of Wolfgang Held’s lensing blushes and wilts in time with the drama on screen. The ornate, rotating string motifs of David Mansfield’s score might strike some viewers as a tad heavy, though as an emotional conduit for characters not always very good at speaking their minds -- or hearts -- they’re classically effective."
Guy Lodge, Variety


"Helmed by Dave Green, this sequel follows in the footsteps of its predecessor by aping the aesthetics of producer Bay. Its computerized cinematography spinning and twirling about with gravity-defying abandon, its imagery boasting a lens-flaring sheen and its score a mixture of orchestral bombast and pop hits; 'Out of the Shadows' wholeheartedly duplicates Bay’s trademark sound and fury. The result is that its camera is only stationary when indulging in slow-motion or ogling Megan Fox, here most memorable for strutting through Grand Central in a skimpy Britney Spears-'Hit Me Baby One More Time'-esque get-up. The film’s whirligig visuals are so chaotic that, as in one hectic skirmish between the Turtles and some faceless ninja adversaries, the only coherent sight to emerge from its limb-flailing incoherence is -- fittingly -- that of a bad guy getting it in the crotch."
Nick Schager, The Playlist
"Elsewhere, the movie takes liberties with its baby’s first blockbuster approach, variously ripping off the 'Dark Knight' truck chase, the 'Avengers' alien invasion over Manhattan, and even, at one point, bits of the 'Mad Max: Fury Road' score. Even the Turtles’ most direct rebuke of the Michael Bay philosophy, in which they express their distaste for bullies, is jacked from the first 'Captain America.' This movie steals from the best, though not in a film-drunk Quentin Tarantino sort of way."
Jesse Hassenger, The Onion AV Club

"In the early scenes of the film, McDonagh shoots a lot of bright flat, tableaus, and accompanies them with corny horns-blaring Cop TV Show music. One gets to suspecting that he’s going to cough up something like a feature-length version of the video for the Beastie Boys’ 'Sabotage.' If only."
Glenn Kenny,

"Ergo, in addition to such retro touches as horizontal wipes and a funk-music score (which composer Lorne Balfe manages to squeeze in between Glen Campbell ballads), you can expect McDonagh’s cheeky pastiche to include references to American history, Greek mythology and fun facts about famous suicides. What it doesn’t contain much of is simple, sensitive humanity, instead treating mortality like a joke and serious substance abuse like just another quirky costume flourish (despite his studly Swedish physique, Skarsgard slouches through most of the movie half-soused). If there’s one thing that connects the protagonists in McDonagh’s three features to date, beyond their brazenly non-PC sensibilities, it’s a certain Zen-like ambivalence about whether they live or die."
Peter Debruge, Variety


Screenings of older films, at the following L.A. movie theaters: AMPASAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianArclightLACMALaemmleNew BeverlyNuart and UCLA.

May 18
FULL METAL JACKET (Abigail Mead) [Nuart]
THE GOOD, THE BAD AND THE UGLY (Ennio Morricone) [Cinematheque: Egyptian] 
THE VIRGIN SPRING (Erik Nordgren), THE DEVIL'S EYE [Cinematheque: Aero]

May 19
BARRY LYNDON (Leonard Rosenman) [Nuart]
THE ROOM (Mladen Milicevic) [Cinematheque: Egyptian]
WILD STRAWBERRIES (Erik Nordgren), A LESSON IN LOVE (Dag Wiren) [Cinematheque: Aero]

May 20
THE CONFORMIST (Georges Delerue) [Cinematheque: Egyptian]
EYES WIDE SHUT (Jocelyn Pook) [Nuart]
THE MAGIC FLUTE, SUMMER WITH MONIKA (Erik Nordgren) [Cinematheque: Aero]

May 21
THE DARK CRYSTAL (Trevor Jones) [Arclight Sherman Oaks]
RASHOMON (Fumio Hayasaka) [Arclight Hollywood]

May 22
BEN-HUR (Miklos Rozsa) [Arclight Culver City]
THE MAGICIAN (Erik Nordgren) [LACMA]
TOMMY (Pete Townsend) [Arclight Sherman Oaks]

May 24
HOCUS POCUS (John Debney), THE LORDS OF SALEM (John 5, Griffin Boice) [Cinematheque: Egyptian]
LAWRENCE OF ARABIA (Maurice Jarre) [Cinematheque: Aero]
STRIPES (Elmer Bernstein) [Laemmle NoHo]

May 25
LA JETEE (Trevor Duncan), MULHOLLAND DRIVE (Angelo Badalamenti) [Cinematheque: Egyptian]
LAWRENCE OF ARABIA (Maurice Jarre) [Cinematheque: Aero]
THE SHINING (Wendy Carlos, Rachel Elkind) [Nuart]

May 26
LAWRENCE OF ARABIA (Maurice Jarre) [Cinematheque: Aero]
THE POSTMAN ALWAYS RINGS TWICE (George Bassman) [Cinematheque: Egyptian]
SAVING PRIVATE RYAN (John Williams) [Cinematheque: Egyptian]
THE SOCIAL SECRETARY [Cinematheque: Egyptian]

May 27
LAWRENCE OF ARABIA (Maurice Jarre) [Cinematheque: Aero]
THE TEXAS CHAIN SAW MASSACRE (Wayne Bell, Tobe Hooper), THE TEXAS CHAINSAW MASSACRE PART 2 (Tobe Hooper, Jerry Lambert), LEATHERFACE: THE TEXAS CHAINSAW MASSACRE III (Jim Manzie, Patrick Regan) [Cinematheque: Egyptian]

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