Intrada plans to release one new two-disc set next week.
La-La Land has announced a tentative schedule of releases for the next several weeks.
On April 9, they plan to release the score for the 2019 indie THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT, starring newly minted Oscar nominee Sam Elliott with music by Joe Kraemer (The Way of the Gun, Jack Reacher, Mission: Impossible - Rogue Nation). That day they will also release John Williams' SAVING PRIVATE RYAN on vinyl.
On April 23, they will release Gil Melle's previously unreleased score to director Michael Winner's 1977 demonic horror thriller THE SENTINEL, as part of their recent partnership with Universal.
On May 14, they plan to release Dario Marianelli's score for the recent Transformers prequel BUMBLEBEE, and a two-disc set titled THE QUINN MARTIN COLLECTION VOL 1., featuring music from many of the TV productions from the 60s/70s small-screen icon, which included Barnaby Jones, Cannon, The F.B.I., The Fugitive, The Invaders, The Streets of San Francisco, Twelve O'Clock High, and the anthology series Quinn Martin's Tales of the Unexpected, as well as several movies-of-the-week (his only theatrical feature was The Mephisto Waltz). Composers represented on this set will be Bruce Broughton, Jerry Goldsmith, Dave Grusin, John Parker, Nelson Riddle, Lalo Schifrin, David Shire, Duane Tatro and Patrick Williams.
On May 28 they will release another score from their Universal partnership, Harold Faltermeyer's music for the comedy-mystery sequel, FLETCH LIVES.
CDS AVAILABLE THIS WEEK
Dr. Seuss' The Grinch - Danny Elfman - Backlot
Dumbo - Danny Elfman - Disney
Halt and Catch Fire: Volume 2 - Paul Haslinger - Lakeshore
I'l Never Forget What's 'Isname - Francis Lai - Quartet
Our Planet - Steven Price - Decca (import)
Us - Michael Abels - Backlot
Violin Concerto - Danny Elfman - Sony
IN THEATERS TODAY
The Best of Enemies - Marcelo Zarvos
The Brink - Ilan Isakov, Dan Teicher
The Chaperone - Marcelo Zarvos - Score CD on Sony
High Life - Stuart A. Staples - Score CD due April 12 on Milan
Pet Sematary - Christopher Young
Peterloo - Gary Yershon
Shazam! - Benjamin Wallfisch - Score CD due May 10 on WaterTower
Storm Boy - Alan John
COMING SOON
April 12
The Curse of La Llorna - Joseph Bishara - WaterTower [CD-R]
Hellboy - Benjamin Wallfisch - Sony (import)
High Life - Stuart Staples - Milan
The Man Who Killed Hitler and Then the Bigfoot - Joe Kraemer - La-La Land
April 19
Under the Silver Lake - Disasterpeace - Milan
April 26
Gorath - Kan Ishii - Cinema-Kan (import)
Knife + Heart - M83 - Mute
The Last Days of Planet Earth - Isao Tomita - Cinema-Kan (import)
Red Snow - Yas-Kaz - Rambling (import)
The Sentinel - Gil Melle - La-La Land
The Son - Nathan Barr - Varese Sarabande
May 10
Being Rose - Brian Ralson - Notefornote
First to the Moon: The Journey of Apollo 8 - Alexander Bornstein - Notefornote
Shazam! - Benjamin Wallfisch - WaterTower
May 17
Bumblebee - Dario Marianelli - La-La Land
The Quinn Martin Collection: Vol. 1 - Bruce Broughton, Jerry Goldsmith, Dave Grusin, John Parker, Nelson Riddle, Lalo Schifrin, David Shire, Duane Tatro, Patrick Williams - La-La Land
May 31
Fletch Lives - Harold Faltermeyer - La-La Land
June 14
Dragged Across Concrete - Jeff Herriott, S. Craig Zahler - Lakeshore
Date Unknown
The Clowns - Nino Rota - Quartet
The History of Eternity - Zbigniew Preisner - Caldera
Hunter Killer - Trevor Morris - Rambling (import)
Laurette/Rashomon/Death of a Salesman - Elmer Bernstein, Laurence Rosenthal, Alex North - Kritzerland
Lean on Pete - James Edward Barker - Rambling (import)
976-Evil II - Chuck Cirino - Dragon's Domain
The Paul Chihara Collection vol. 2 - Paul Chihara - Dragon's Domain
A Simple Favor - Theodore Shapiro - Rambling (import)
Terra Willy: Unexplored Planet - Olivier Cussac - Music Box
THIS WEEK IN FILM MUSIC HISTORY
April 5 - Bernhard Kaun born (1899)
April 5 - Michael Galasso born (1949)
April 5 - Leo Erdody died (1949)
April 5 - Bent Aserud born (1950)
April 5 - Robert B. & Richard M. Sherman win Oscars for Mary Poppins' score and song "Chim Chim Cher-ee" (1965)
April 5 - Dave Grusin begins recording his score for The Friends of Eddie Coyle (1973)
April 5 - Pharrell Williams born (1973)
April 5 - John Morris begins recording his score for Yellowbeard (1983)
April 5 - Ron Jones records his score for the Star Trek: The Next Generation episode "Skin of Evil" (1988)
April 5 - James Horner begins recording his score for Patriot Games (1992)
April 5 - Jerry Goldsmith begins recording his score for First Knight (1995)
April 5 - Jay Chattaway records his score for the Enterprise episode “Detained” (2002)
April 5 - Richard LaSalle died (2015)
April 6 - Gerry Mulligan born (1927)
April 6 - Andre Previn born (1929)
April 6 - Patrick Doyle born (1953)
April 6 - Christopher Franke born (1953)
April 6 - John Green begins recording Leonard Rosenman's score for The Cobweb (1955)
April 6 - Normand Corbeil born (1956)
April 6 - Dimitri Tiomkin wins his fourth and final Oscar, for the Old Man and the Sea score (1959)
April 6 - Johnny Mandel begins recording his score for The Sandpiper (1965)
April 6 - Born Free opens in Los Angeles (1966)
April 6 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Icarus Factor" (1989)
April 6 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “The Storyteller” (1993)
April 7 - Herbert Spencer born (1905)
April 7 - Percy Faith born (1908)
April 7 - Ravi Shankar born (1920)
April 7 - Gino Marinuzzi Jr. born (1920)
April 7 - Ikuma Dan born (1924)
April 7 - Roger Webb born (1934)
April 7 - James Di Pasquale born (1941)
April 7 - Charles Strouse begins recording his unused score for The Molly Maguires (1969)
April 7 - Laurence Rosenthal begins recording his score for the Logan's Run pilot (1977)
April 7 - Nathan Lanier born (1978)
April 7 - Kenyon Hopkins died (1983)
April 7 - Fred Steiner records his score for the Twilight Zone episode “A Day in Beaumont” (1986)
April 7 - Elliot Kaplan records his score for the Twilight Zone episode “The Last Defender of Camelot” (1986)
April 8 - Victor Schertzinger born (1888)
April 8 - Paul Sawtell and Bert Shefter record their score for The Cosmic Man (1958)
April 8 - Julian Lennon born (1963)
April 8 - From Russia With Love opens in New York (1964)
April 8 - Eric Rogers died (1981)
April 8 - Keegan DeWitt born (1982)
April 8 - James Horner begins recording his score for The Pagemaster (1994)
April 9 - Miklos Rozsa begins recording his score to Diane (1955)
April 9 - Toshiyuki Honda born (1957)
April 9 - Miklos Rozsa begins recording his score to The Seventh Sin (1957)
April 9 - Arthur Benjamin died (1960)
April 9 - Recording sessions begin for Krzystof Komeda’s score for Rosemary’s Baby (1968)
April 9 - Elmer Bernstein begins recording his score to The Gypsy Moths (1969)
April 9 - Giorgio Moroder wins his first Oscar, for his Midnight Express score (1979)
April 9 - Herbert Don Woods records his score for the Buck Rogers in the 25th Century episode “The Dorian Secret” (1981)
April 9 - Bill Conti wins his first Oscar, for The Right Stuff score; Michel Legrand wins his third Oscar, for Yentl's song score (1984)
April 9 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Perfect Mate” (1992)
April 10 - Dusan Radic born (1929)
April 10 - Claude Bolling born (1930)
April 10 - Denny Zeitlin born (1938)
April 10 - Shirley Walker born (1945)
April 10 - Peter Bernstein born (1951)
April 10 - Mark Oliver Everett born (1965)
April 10 - John Barry wins his first two Oscars, for the score and song Born Free (1967)
April 10 - Elmer Bernstein wins his only Oscar for, of all things, Thoroughly Modern Millie's score; Alfred Newman wins his final Oscar for Camelot's music adaptation (1968)
April 10 - Michel Legrand wins his second Oscar, for the Summer of '42 score; John Williams wins his first Oscar, for Fiddler on the Roof's music adaptation; Isaac Hayes wins his only Oscar for the song "Theme From 'Shaft'" (1972)
April 10 - Nino Rota died (1979)
April 10 - John Morris begins recording his score for The In-Laws (1979)
April 10 - Toshiro Mayuzumi died (1997)
April 10 - Recording sessions begin for John Ottman’s score to Superman Returns (2006)
April 10 - Gianni Marchetti died (2012)
April 11 - Koichi Sugiyama born (1931)
April 11 - Herbert Stothart begins recording his score to Dragon Seed (1944)
April 11 - Caleb Sampson born (1953)
April 11 - Edwin Wendler born (1975)
April 11 - John Williams wins his fourth Oscar, for E.T. The Extra-Terrestrial's score; Jack Nitzsche wins his only Oscar, for An Officer and a Gentleman's song "Up Where We Belong"; Henry Mancini wins his fourth and final Oscar, for Victor/Victoria's song score (1983)
April 11 - Ryuichi Sakamoto, David Byrne, Cong Su win Oscars for their Last Emperor score (1988)
DID THEY MENTION THE MUSIC?
AN ACTOR PREPARES - Tony Morales
"The script co-authored by Clark and Thomas Moffett is so sophomoric in its punchlines that it often feels like the extended draft of a failed sitcom pilot, with the picturesque B-roll of passing landscapes edited in to pad out the running time. Tony Morales’ score has the awkward task of goosing the audience with sudden comedic bursts, as if to fill in for the nonexistent laugh track. You can almost hear the soundtrack exclaiming, 'Ooh, their tire blew out, and here comes a passing car! Better catch it!' I was reminded of the laughable music cues in Andrzej Bartkowiak’s pitiful screen adaptation of 'Doom,' continuously amping up the viewer only to arrive at a dead end."
Matt Fagerholm, RogerEbert.com
THE ARDENNES - Hendrik Willemins
"All the while, the industrial locations, shot in a sickly-looking pallor by cinematographer Robrecht Heyvaert, and the electronic score, a sort of brutalist pulse composed by Hendrik Willemins, convey a strong sense that things won’t end well for these hardscrabble Flemings. And indeed, for their last act, co-writers Pront and Perceval move the action to the mountains, where Kenny’s former cellmate Stef (Jan Bijvoet, more memorable as the ailing anthropologist in last year’s 'Embrace of the Serpent') pledges to help the brothers clean up the mess they’ve inevitably gotten themselves into. During this final stretch, Pront’s film amps up the body count (we glimpse the graphic dismemberment of a corpse) as well as a kind of anarchic humor (a pack of menacing ostriches appears during a late showdown), tapping into an unpredictable energy that might’ve benefited the earlier domestic material. Despite such flashes of promise, 'The Ardennes' can’t overcome what feels like a flawed conception -- it is, in essence, a plodding domestic soap trying to pass itself off as an adrenalized neo-noir."
Benjamin Mercer, Brooklyn Magazine
"If anything, 'The Ardennes' resembles Nicolas Winding Refn's visceral debut, 'Pusher' more than any recent Belgian films, right down to the chilly techno score. It's an accomplished piece of work, but it's also a bummer, not only because the only LGBT characters (Jan Bijvoet and Sam Louwyck) are psychopaths, but also because the last act is so unrelentingly grim. Suffice to say: Cain and Abel have nothing on these twisted cats."
Kathy Fennessy, The Stranger
"Robrecht Heyvaert’s wintry cinematography augments the grim ambience of the locations; the movie is hardly a tourism ad for the Ardennes region. A techno score sometimes evokes a less bass-y John Carpenter track but more often just acts to signal empty edginess."
Ben Kenigsberg, Variety
I AM NOT YOUR NEGRO - Alexei Aigui
"Peck, who is chairman of the French state film school La Fémis, has a European sensibility and overview (just like Baldwin, who fled to Paris and died in Saint-Paul de Vence on the French Riviera.) His photographer’s eye for contrast and striking images is aided and abetted by Alexei Aigui's nuanced score."
Deborah Young, The Hollywood Reporter
JIM: THE JAMES FOLEY STORY - Dan Romer, Saul Simon MacWilliams, Osei Essed
"It’s during these sequences that Oakes’ film comes perilously close to laying its valorization of Foley on a bit too thick. One of the journalists held captive with Foley calls him a force of 'pure good,' but it isn’t necessary to buttress that impression with sentimental twinkling music and lighting that suggests that the almighty is smiling down on Foley. Thankfully, Oakes mostly allows the facts and talking-head remembrances to speak for themselves, without excessive stylistic adornment. Especially useful in that regard are the interviews with some of Foley’s colleagues from his time in Libya and Syria, who illuminate the challenges they face daily in such conflict zones -- most poignantly, that helpless sense of running up against the limits of journalistic distance, unable to intervene and help their subjects in troubled times, a limitation Foley tried to transcend in his own ways. 'Jim: The James Foley Story' is more than just a tribute to a fallen journalist. It’s a deeply moving testament to a man who dared to face the worst of humanity and somehow managed to maintain his sense of empathy in spite of it all."
Kenji Fujishima, The Onion AV Club
"Tech credits are sound throughout, with Clair Popkin’s bright, steady camerawork sharply defining the world of neutral New England suburbia in which Foley could never quite settle. A plaintive, piano-heavy score, however, is overly instructive of feelings that -- given the voices and views at hand -- hardly need to be forced, straining for an inspirational key as interviewees agree that Foley 'ended up free.' Closing-credits ballad 'The Empty Chair' -- custom-composed by docmakers’ favorite J. Ralph and crooned by Sting -- is more stickily emotive than anything in the film that precedes it, and considerably less personal."
Guy Lodge, Variety
A MAN CALLED OVE - Gaute Storaas
"Assembly is crisp, with clean, widescreen lensing by Goran Hallberg ('The 100-Year-Old Man Who Climbed Out the Window and Disappeared') that’s always a pleasure to watch. The only bone to pick is with Gaute Storaas’ score, which is sometimes too insistently sentimental."
Alissa Simon, Variety
"The playful martial surge of Gaute Storaas’ orchestral score suits the character’s martinet maneuvers. But like the movie as a whole, the music eventually gives way to more platitudinous strains, driving home the lesson that 'no one can do it alone.'"
Sheri Linden, The Hollywood Reporter
13TH - Jason Moran
"There is an understandable anger to this film-making, but DuVernay, who is best known as the director of 'Selma,' but cut her teeth as a documentarian, never allows it to cloud the clarity of her message. It’s an approach that reminded me of the fierce intelligence of Charles Ferguson’s 'No End in Sight' and 'Inside Job.' Leaning on eloquent talking-head interviews and well-sourced archive material, she draws a defined through-line from the abolition of slavery, through the chain gang labour that replaced it, through segregation and 'the mythology of black criminality', to the war on crime and the war on drugs to the rise in mass incarceration and the big business of prisons. The words are so piercing and acute that we hardly need the stirring score that swirls in the background. The ever-present music is the one poorly judged element of the film. It clutters up a picture that is already densely packed with ideas and information."
Wendy Ide, The Observer
TWO LOVERS AND A BEAR - Jesse Zubot
"A film that tries ever-so-hard to be an emotional and spiritual journey steeped in romance and drama, 'Two Lovers' ends up more like a pretentious exercise in pseudo-spiritual surrealism, as if directed by someone who’s been to one too many Spiritual Healing classes. It certainly doesn’t help that we’ve been here before. Not close to the North Pole perhaps, or with a polar bear as badly timed comic relief, but with these two characters who are on the run from things and feelings we’ve seen in a million different daddy-issues driven pictures. With a retread script and a whole second half that seems to go nowhere until it gets to its predictable destination, it’s only in the accomplished performances where you’ll find the film’s only saving grace. The only other inventive element here, besides what DeHaan and Maslani pull out of their hats, is Jesse Zubot‘s menacing, leering score which never lingers for too long but manages to add nice, moody touches."
Nikola Grozdanovic, The Playist
"Nguyen dramatizes the escalating emotional stakes with flair, with the scene in which Lucy tells Roman she’s been accepted for her course far away, for example, staged with each of them seated on a separate, stationary snowmobile. In this way, physical contact between the two is impossible and they remain separate entities who have to deal with the revelations and their fears by themselves (the vehicle also provides a quick getaway for one of them). In the next shot, the two try to make love in a Spartanly furnished bedroom but are unable to, as -- or so it initially seems --their upcoming separation hangs like a dark cloud over the proceedings. But there is more at play here, which will only be revealed in a sequence set in the film’s second half that’s set inside a long-abandoned military installation in the middle of an icy nowhere that plays like a brusque and brutal emotional roller coaster that develops against what feels like the beginning of an eerie horror film (the ace soundscape and minimalist score point in that direction more than once). Not all audiences will be on board with all the revelations here, with the problems of the protagonists (as well as the sheriff) all so similar it feels rather convenient."
Boyd van Hoeij, The Hollywood Reporter
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, Arena Cinelounge, LACMA, Laemmle, New Beverly, Nuart and UCLA.
April 5
AKIRA (Yamashiro Shoji) [Nuart]
THE HATEFUL EIGHT (Ennio Morricone) [New Beverly]
THE MIDNIGHT STORY, MONKEY ON MY BACK (Paul Sawtell, Bert Shefter) [Cinematheque: Egyptian]
NAKED (Andrew Dickson), MEANTIME (Andrew Dickson) [Cinematheque: Aero]
SILENT RUNNING (Peter Schickele), THE INCREDIBLE 2-HEADED TRANSPLANT (John Barber) [New Beverly]
April 6
THE 'BURBS (Jerry Goldsmith) [New Beverly]
THE EAR (Svatopluk Havelka) [UCLA]
NATIONAL LAMPOON'S ANIMAL HOUSE (Elmer Bernstein) [New Beverly]
SECRETS & LIES (Andrew Dickson), VERA DRAKE (Andrew Dickson) [Cinematheque: Aero]
SEVEN BRIDES FOR SEVEN BROTHERS (Gene De Paul, Adolph Deutsch, Saul Chaplin) [Laemmle Ahrya Fine Arts]
SILENT RUNNING (Peter Schickele), THE INCREDIBLE 2-HEADED TRANSPLANT (John Barber) [New Beverly]
TOUCH OF EVIL (Henry Mancini), ELEVATOR TO THE GALLOWS (Miles Davis) [Cinematheque: Egyptian]
April 7
THE 'BURBS (Jerry Goldsmith) [New Beverly]
I WANT TO LIVE! (Johnny Mandel), CRY TOUGH (Laurindo Almeida) [Cinemathque: Egyptian]
LIFE IS SWEET (Rachel Portman), HIGH HOPES (Andrew Dickson) [Cinematheque: Aero]
THE VICTORS (Sol Kaplan) [New Beverly]
April 8
MAGNOLIA (Jon Brion) [New Beverly]
THE VICTORS (Sol Kaplan) [New Beverly]
April 9
THE REBEL ROUSERS (William Loose), PSYCH-OUT (Ronald Stein) [New Beverly]
WATERMELON MAN (Melvin Van Peebles) [LACMA]
April 10
SMILE, DIGGSTOWN (James Newton Howard) [New Beverly]
TOUCHEZ PAS AU GRISBI (Jean Wiener) [New Beverly]
April 11
BEETLEJUICE (Danny Elfman) [Laemmle NoHo]
BUFFY THE VAMPIRE SLAYER (Carter Burwell) [Cinematheque: Aero]
SMILE, DIGGSTOWN (James Newton Howard) [New Beverly]
April 12
CHOCOLAT (Abdullah Ibrahim), WHITE MATERIAL (Stuart Staples) [Cinematheque: Aero]
DIRTY HARRY (Lalo Schifrin), ESCAPE FROM ALCATRAZ (Jerry Fielding) [New Beverly]
DIRTY MARY CRAZY LARRY (Jimmie Haskell) [Nuart]
THE HATEFUL EIGHT (Ennio Morricone) [New Beverly]
TROPICAL MALADY [UCLA]
April 13
BEAU TRAVAIL (Charles Henry De Pierrefeu, Eran Tzur) [Cinematheque: Aero]
THE BLUES BROTHERS (Ira Newborn, Elmer Bernstein) [New Beverly]
DIRTY HARRY (Lalo Schifrin), ESCAPE FROM ALCATRAZ (Jerry Fielding) [New Beverly]
JURASSIC PARK (John Williams) [New Beverly]
NENETTE ET BONI (Tindersticks), 35 SHOTS OF RUM (Tindersticks) [Cinematheque: Aero]
April 14
BEN-HUR (Miklos Rozsa) [Laemmle Ahyra Fine Arts]
THE BRIDGE ON THE RIVER KWAI (Malcolm Arnold) [New Beverly]
JURASSIC PARK (John Williams) [New Beverly]
TROUBLE EVERY DAY (Tindersticks), LET THE SUNSHINE IN (Stuart A. Staples) [Cinematheque: Aero]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: The Covenant (tomandandy), The Band Wagon, La La Land (Hurwitz), Haute Cuisine (Yared), Music for Film (Sakamoto)
Read: Backflash and Flashfire, by Richard Stark
Seen: Point Blank, The Outfit, Us, Dumbo, Diane, The Aftermath, Five Feet Apart, Dames, Footlight Parade, Two for the Road, Charade
Watched: Mystery Science Theater 3000: Starcrash
I am always obsessed to a certain degree with the "Parker" crime novels by Richard Stark (aka Donald E. Westlake), and in the last couple weeks they've practically dominated my leisure time, as I read (for probably the third time) two of the later books in the series, Backflash and Flashfire (the latter filmed by Taylor Hackford as the underrated Parker, starring Jason Statham and Jennifer Lopez), and had the chance to see in the theater arguably the two best film versions of the books, Point Blank (based on The Hunter, with Lee Marvin as "Walker") and The Outfit (with Robert Duvall as "Earl Macklin" - Westlake himself considered this film to be the most faithful to the Parker character).
I happened to come across an interview with Westlake in The Onion AV Club from 2006 where he talks about the series, among other things. (He died on New Year's Eve, 2008; his final Parker novel, Dirty Money, was published in April of that year)
The British were doing [crime stories] first, but the British thing is a very different thing. There, the stories are about restoring a break in the fabric of society. The American thing has never been worrying about breaks in the fabric of society, but about people doing their job, whether it's police procedurals or criminals or whatever. Yeah, that is working-class. Although there's another thing -- years ago, there was a director who going to make a movie from a Richard Stark novel. It never happened, but in our discussions at one point he said, "You know, you write like a Frenchman." I said, "What does that mean?" He said, "In American mystery novels, the bank robber robs the bank to pay for the operation for the little girl in the wheelchair. In French novels, the bank robber robs banks because he robs banks. You write like a Frenchman." I said, "I'll take it."
A couple years ago I happened to see a 16mm print of The Outfit which turned out to be the edited-for-television version. The principal difference was that the film ended a few minutes early, implying that our heroes did not actually get away with their crime. Conversely, the trailer for the feature film, which can be seen on YouTube, actually ends with the final moments of the feature version.
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