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Intrada is expecting to announce one new CD next week.

Quartet has announced three new releases -- the first-ever release of Ennio Morricone's score for the 1964 Italian crime comedy I DUE EVASI DI SING SING; Fernando Velazquez' score for the TV series PATRIA; and the score for the new comedy THE MAN IN THE HAT, starring the great Ciaran Hinds, and composed by Oscar winner Stephen Warbeck (Shakespeare in Love, Billy Elliot), which should be no surprise because the film was co-written and co-directed by Oscar winner Stephen Warbeck. 

Varese Sarabande is planning to announce two new limited edition CD Club releases today.

Dragon's Domain has announced three new upcoming releases -- Dennis McCarthy's score for the film verson of Charles Busch's stage comedy DIE, MOMMIE, DIE!, starring Busch himself, Jason Priestley, Frances Conroy, Philip Baker Hall and Stark Sands; the score for the 1986 horror comedy KILLER PARTY, composed by John Beal (The Funhouse); and THE LEE HOLDRIDGE COLLECTION VOL. 2, featuring the composer's unused score for the 1999 drama Africa, starring Greg Wise, Patrick Bergin and Elizabeth Berkeley, and his music for the South African juvenile drama e'Lollipop, released in the U.S. as Forever Young, Forever Free.

The latest Grammy winners in the film music-related categories are:

JOKER - Hildur Guonadottir


"NO TIME TO DIE" from No Time to Die - Billie Eilish O'Connell, Finneas O'Connell

This last award must certainly be the first time a James Bond song has won a Grammy seven months before the film has even been released.

For those who missed Monday morning's announcement, this year's Oscar nominees in the music categories are

DA 5 BLOODS – Terence Blanchard
MANK – Trent Reznor, Atticus Ross
MINARI – Emile Mosseri
NEWS OF THE WORLD – James Newton Howard
SOUL – Trent Reznor, Atticus Ross, Jon Batiste
“FIGHT FOR YOU” – Judas and the Black Messiah – Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas
“HEAR MY VOICE” – The Trial of the Chicago 7 – Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite
“HUSAVIK” – Eurovision Song Contest: The Story of Fire Saga – Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Goransson
“IO SI (SEEN)” – The Life Ahead (La Vita Davanti a Se) – Music by Diane Warren; Lyric by Diane Warren and Laura Pausini
“SPEAK NOW” – One Night in Miami… - Music and Lyric by Leslie Odom, Jr. and Sam Ashworth 
Normally nominations morning is my favorite day of the year, but having only seen two of the films (Emma and Onward) thanks to the pandemic closure of L.A. theaters, it was a melancholy event for me. The last movie year when I'd seen fewer films was 1974, when I'd only seen Young Frankenstein (I was 13, and most of that year's big Oscar movies were R-rated, and I was too squeamish to see The Towering Inferno.) 

Since theaters have begun re-opening in Los Angeles for the first time in a year, I am returning this part of the column to its traditional format.

The Courier - Abel Korzeniowski

March 26
Bersaglio Mobile
 - Ivan Vandor - Digitmovies

Ed ora...raccomanda l'anima a dio!
 - Franco Bixio - Digitmovies
Friday the 13th Part VIII: Jason Takes Manhattan - Fred Mollin - La-La Land
The Tattooed Torah - Daniel Alcheh - Notefornote
The Time Tunnel: Volume One - Robert Drasnin, Lyn Murray, Paul Sawtell, John Williams - La-La Land
April 2
Die, Mommie, Die!
- Dennis McCarthy - Dragon's Domain
Killer Party
- John Beal - Dragon's Domain
The Lee Holdridge Collection, Vol. 2
- Lee Holdridge - Dragon's Domain
Date Unknown
The Bear (re-issue)
 - Philippe Sarde - Music Box
50 States of Fright
 - Christopher Young - Notefornote
I due evasi di Sing Sing
- Ennio Morricone - Quartet
I Malamondo
 - Ennio Morricone - Sugar/CAM

The Man in the Hat
- Stephen Warbeck - Quartet
Metti lo diavolo tuo ne lo mio inferno/Leva lo diavolo tu dal...convento/Racconti niente vestiti
 - Stelvio Cipriani - Digitmovies 
Mondo Cane
 - Riz Ortolani - Sugar/CAM
My Name Is Nobody
 - Ennio Morricone - Beat
- Fernando Velazquez - Quartet
The Serpent (re-issue) 
- Ennio Morricone - Music Box
Vamos a Matar Companeros
 - Ennio Morricone - Beat


March 19 - Jean Weiner born (1896)
March 19 - Dimitri Tiomkin wins Oscars for High Noon’s score and song (1953)
March 19 - Jeff Alexander begins recording his score to Escape from Fort Bravo (1953)
March 19 - Anthony Marinelli born (1959)
March 19 - Joseph Mullendore records his score for the Land of the Giants episode “Shell Game” (1969)
March 19 - George Garvarentz died (1993)
March 19 - Alan Silvestri begins recording his score for The Mummy Returns (2001) 
March 19 - Velton Ray Bunch records his score for the Enterprise episode “Acquisition” (2002)
March 19 - Michel Legrand begins recording his score for The Other Side of the Wind (2018)
March 20 - Michel Magne born (1930)
March 20 - John Cameron born (1944)
March 20 - Miklos Rozsa wins his second Oscar, for A Double Life score (1948)
March 20 - Franz Waxman wins his second consecutive Best Score Oscar, for A Place in the Sun (1952)
March 20 - Elmer Bernstein begins recording his score for The Tin Star (1957)
March 20 - Amit Poznansky born (1974)
March 20 - Stu Phillips records his score for the Buck Rogers in the 25th Century episode “The Hand of Goral” (1981)
March 20 - Ray Cook died (1989)
March 20 - Georges Delerue died (1992)
March 20 - Johnny Pearson died (2011)
March 20 - Johnny Harris died (2020)
March 21 - Antony Hopkins born (1921)
March 21 - Gary Hughes born (1922)
March 21 - Mort Lindsey born (1923)
March 21 - Alfred Newman wins his seventh Oscar, his second for Score, for Love is a Many-Splendored Thing (1956)
March 21 - Joseph S. DeBeasi born (1960)
March 21 - Alex North begins recording his score for Spartacus (1960)
March 21 - Alexander Courage records his score for the Lost in Space episode "The Mechanical Men" (1967)
March 21 - Miklos Rozsa begins recording his score to The Green Berets (1968)
March 21 - John Williams wins his fifth Oscar, for his Schindler's List score (1994)
March 21 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Journey’s End “ (1994)
March 21 - Nicola Piovani wins his first Oscar, for Life Is Beautiful; Stephen Warbeck wins the final Comedy or Musical Score Oscar for Shakespeare in Love (1999)
March 22 - Stephen Sondheim born (1930)
March 22 - Angelo Badalamenti born (1937)
March 22 - Andrew Lloyd Webber born (1948)
March 22 - Goran Bregovic born (1950)
March 22 - Wally Badarou born (1955)
March 22 - Max Richter born (1966)
March 22 - Zeltia Montes born (1979)
March 22 - Miklos Rozsa begins recording his score for Time After Time (1979)
March 22 - Craig Safan begins recording his score for The Last Starfighter (1984)
March 22 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Time Squared” (1989)
March 22 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Lessons” (1993)
March 22 - Bebo Valdes died (2013)
March 22 - Scott Walker died (2019)
March 23 - Alan Blaikley born (1940)
March 23 - Michael Nyman born (1944)
March 23 - David Grisman born (1945)
March 23 - Trevor Jones born (1949)
March 23 - Aaron Copland wins his only Oscar, for The Heiress score (1950)
March 23 - Philip Judd born (1953)
March 23 - Richard Shores records his score for The Wild Wild West episode “The Night of the Burning Diamond” (1966)
March 23 - Damon Albarn born (1968)
March 23 - Lionel Newman re-records pre-existing Jerry Goldsmith cues for The Last Hard Men’s replacement score (1976)
March 23 - Hal Mooney died (1995)
March 23 - Michael Linn died (1995)
March 23 - James Horner begins recording his score for Braveheart (1995)
March 23 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Hard Time” (1996)
March 23 - James Horner wins his first and last Oscars, for Titanic's score and song; Anne Dudley wins the third Comedy or Musical Score Oscar, for The Full Monty (1998)
March 23 - Elliot Goldenthal wins his first Oscar, for the Frida score (2003)
March 24 - Michael Masser born (1941)
March 24 - Brian Easdale wins his only Oscar, for The Red Shoes score (1949)
March 24 - Alberto Colombo died (1954)
March 24 - Fred Steiner's score for the Star Trek episode "The City on the Edge of Forever" is recorded (1967)
March 24 - John Barry begins recording his score for The Deep (1977)
March 24 - Arthur B. Rubinstein begins recording his score for WarGames (1983)
March 24 - Ira Newborn begins recording his score for Ferris Bueller’s Day Off (1986)
March 24 - Alex North wins an Honorary Oscar, "in recognition of his brilliant artistry in the creation of memorable music for a host of distinguished motion pictures; " John Barry wins his fourth Oscar, for the Out of Africa score (1986)
March 24 - Gabriel Yared wins the Dramatic Score Oscar for The English Patient; Rachel Portman wins the second Comedy or Musical Score Oscar, for Emma (1997)
March 24 - John Barry wins his fifth and final Oscar, for the Dances With Wolves score; Stephen Sondheim wins his first Oscar, for the song "Sooner or Later" from Dick Tracy (1991)
March 24 - Gerard Schurmann died (2020)
March 25 - Riz Ortolani born (1926)
March 25 - Recording sessions begin for Frederick Hollander’s score for The Great McGinty (1940)
March 25 - Elton John born (1947)
March 25 - Bronislau Kaper wins his only Oscar, for the Lili score (1954)
March 25 - John Massari born (1957)
March 25 - Henry Mancini begins recording his score for 99 & 44/100 % Dead (1974)
March 25 - Ken Thorne begins recording his score for Superman II (1980)
March 25 - John Williams begins recording his score for E.T. The Extra-Terrestrial (1982)
March 25 - Maurice Jarre wins his third and final Oscar, for the A Passage to India score (1985)
March 25 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Royale" (1989)
March 25 - Luis Bacalov wins his only Oscar, for Il Postino; Alan Menken wins the first Comedy or Musical Score Oscar, as well as Best Song, for Pocahonatas (1996)
March 25 - Tan Dun wins his first score Oscar, for Crouching Tiger, Hidden Dragon (2001)


BLIZZARD OF SOUILS - Lolita Ritmanis
"Although Valdis Celmins’s camera is more mobile than would have been possible in the era of the mid-century prestige pictures that Dreibergs emulates, 'Blizzard of Souls' has a traditional look. Its battle scenes are rendered with stately, lengthy takes, forgoing frantic pans, quick cuts, and shaky cam. Story, not style, is key to the way the film conveys wartime chaos. The director and crew are unafraid of the picturesque, lighting scenes so they resemble old-master canvases. Battle sequences are often swathed in snow, smoke, or mist, and partly bleached of color. The occasional reprieves, however, are invariably bathed in golden light. The breaks from battle are as sweet and plush as Latvian-American composer Lolita Ritmanis’s score."
Mark Jenkins, Slant Magazine

"The convincing tech package could stand its own against Hollywood productions, while the symphonic score by composer Lolita Ritmanis (an Emmy winner for 'Batman Beyond') anchors cinematographer Valdis Celmins’ epic sweep. Period photographs under the end credits prove the filmmakers’ care for historical detail. Aleksandrs Grins, whose novel (banned in the Soviet Union) was adapted, spent years serving as a Latvian Rifleman."
Alissa Simon, Variety
"This dimension is emphasized in Celmins’ exceptionally atmospheric cinematography and Lolita Ritmanis’ poignantly respectful score. Gatis Belogrudovs' concise editing never allows the tale to dawdle."
Deborah Young, The Hollywood Reporter 

BOOGIE - Adrian Younge, Ali Shaheed Muhammad 

"Boogie’s parents are also ill-drawn. His mother is as conscious of stereotypes as her son. When a college recruiter from Georgetown visits their home, she worries about how their apartment could look like a spa or a Chinese restaurant. The fiery Chee is one of the film’s few acting highlights. She balances two minds -- the shrewd businesswoman angling for her son’s future and the errant mother who’s physically abusing him -- with ease. In the family’s dinner scenes, she coldly dismisses Boogie’s father as a failure. And while Ali Shaheed Muhammad and Adrian Younge’s oddly brooding score distracts from the marital spat’s seriousness, Chee keeps us in the parental power struggle. That battle eventually sees her hiring Melvin (Mike Moh) to manage her son, though Melvin also has her on his mind, and Boogie’s father landing in jail again. To free his father, he must choose between playing in the Chinese Basketball Association or college."
Robert Daniels, IndieWire
"Huang, the author, chef, restaurateur and attorney whose autobiography 'Fresh Off the Boat' became an ABC sitcom, channels his own upbringing as a hip-hop-loving child of Taiwanese immigrants in 'Boogie' (he also co-stars, mirthlessly, as Boogie’s IBS-afflicted uncle). The film envisions Boogie as a melting pot unto himself, such that he’s equally comfortable among his racially mixed peers in the gym and classroom, and with his traditional parents, serving tea to his elders and, at one point, falling to his knees to formally apologize to his coach (Domenick Lombardozzi) and principal (Margaret Odette). Adrian Younge and Ali Shaheed Muhammad’s enveloping rap and R&B-laced score further accentuates Boogie’s of-two-worlds condition, as do cinematographer Brett Jutkiewicz’s pans through Queens’ Chinatown streets, and recurring detours to a fortune teller shop where Boogie’s mom and dad sought counsel shortly before their only child’s birth."
Nick Schager, Variety

CHAOS WALKING - Marco Beltrami, Brandon Roberts
"And even something as conceptual and different as Noise can only have so much impact when the story offers so little beyond chasing and being chased. 'Chaos Walking' is a sci-fi Western hybrid -- mixing agrarian communities and interstellar travel -- so there’s a lot of dudes on horseback shooting pew-pew laser rifles, to the accompaniment of a bombastically prosaic score by Marco Beltrami and Brandon Roberts."
Alonso Duralde, The Wrap

"Liman and editor Doc Crotzer keep things humming along efficiently enough, with a nudge from a big, muscular score by Marco Beltrami and Brandon Roberts. And in-demand action cinematographer Ben Seresin (he shot the upcoming Godzilla vs. Kong) takes advantage of the rolling green landscapes in terms of breadth and atmosphere. Maybe genre fans starved for large-scale sci-fi will find some appeal in the joyless journey. I couldn't get past the tiresome premise of men quite literally airing their insecurities."
David Rooney, The Hollywood Reporter

DRIVEWAYS - Jay Wadley
"This is a movie that’s impressively, if not stubbornly understated, where life stories come from select bits of precise dialogue, with lovingly rendered characters put into a collection of scenes that simply allow us to live with them. Proving after his incredible debut 'Spa Night' that he is still one of the most graceful American filmmakers in the game, Ahn has made the kind of movie that has the power to control your pulse, complete with a piano score (by Jay Wadley) that nearly inspires meditation while watching cinematographer Ki Jin Kim’s thoughtful images. I returned to 'Driveways' for a second viewing only a couple hours after first watching it, but the more accurate word would be that I escaped to it."
Nick Allen,
"Although 'Driveways' doesn’t offer much in the way of dramatic excitement, it rewards those willing to adjust to its low-key, laid-back rhythms, suggested by editor Katharine McQuerrey’s laconic pacing and Jay Wadley’s omnipresent piano-and-strings score, which takes its cue from French composer Erik Satie’s 'Trois Gymnopedies.' The cinematography looks a little grubby, but that’s part of the movie’s lo-fi charm -- a throwback to the early days of Sundance (where Ahn’s first film screened, whereas this one debuted in the Berlinale’s youth-focused Generation program)."
Peter Debruge, Variety
"The locations are well captured by cinematographer Ki Jin Kim, and the musical score by Jay Wadley is delicate and unobtrusive.  The filmmakers never underline the emotions they want to evoke, and yet by the end, audiences may be moved to tears by this tale of fractured lives that find just the right measure of repair."
Stephen Farber, The Hollywood Reporter
FUNNY BOY - Howard Shore
"Mehta skillfully navigates both the tender sequences and the more devastating ones. Aided by Howard Shore’s rousing musical score, she portrays a beautiful country ripped apart by social violence. Her film serves as an ode to those who either died or were forced into exile for having the courage to express their true identities. Mehta displays how one can overcome cultural clashes and how a little human kindness can change a young man’s life. She studies how family tradition may become a burden one has to overcome."
Alex Saveliev, Film Threat

HORSE GIRL - Josiah Steinbrick, Jeremy Zuckerman

"Brie undergoes an impressive transformation, investing herself physically and emotionally into a character whose paranoia bursts to the surface in manic flashes. She lends Sarah an initially charming and sunny disposition, whether flirting with an unexpected suitor during her birthday party, lavishing tender attention on Willow, or implying years of friendship with Joan in the easy, early chemistry between her and Shannon. So the contrast is shocking once Brie begins mutating her heroine -- through random nosebleeds and lost time -- into someone progressively disconnected from her own body and only intermittently aware of her surroundings. Baena, who previously directed Brie in 'The Little Hours' and 'Joshy,' demarcates the phases of Sarah’s metamorphosis through the repetition of key images: Willow’s eye, water flowing down a drain, verdant tree branches seemingly floating in a blue sky. He also creates jarring transitions between dreams and reality, matching the film’s changing mood through the use of a score that moves from cheery to eccentrically experimental."
Roxana Hadadi, The Onion AV Club

"Odd occurrences pile up: nosebleeds, terrifying nightmares, sleepwalking, and a tendency for Sarah to become distracted by water and electricity. Their sudden morph into something far more sinister happens quickly, pushed along by a dinner with Darren that redefines the concept of a bad date. Yet Sarah’s descent into -- what? madness? instability? genetics? fantasy? something even more inexplicable? -- occurs rapidly, just as the script seems to be steadily building towards something less outlandish. A jittery, often grating score from Josiah Stenbrick and Jeremy Zuckerman teeters between the nightmarish and the cheesy, setting the aural scene for both a horror film and a quirky comedy. It never settles into either."
Kate Erbland, IndieWire

"The film is also directed by Baena, who has fashioned his own type of hangout movie. 'Joshy' was hanging out with the guys after Joshy's fiancée has killed herself; 'The Little Hours' was hanging out with some nuns in the Middle Ages. 'Horse Girl' has a similar ambling quality, following Sarah around through her day-to-day interests. There are numerous scenes, accompanied by a dreamy synth score, of her interacting with her favorite horse Willow, or watching her favorite supernatural crime show 'Purgatory,' or visiting her mother’s grave. There are also numerous instances of Sarah waking up somewhere random, or having dreams of two random people that she does not know. 'Horse Girl' blends these seemingly mundane details with her growing belief she's a clone of her grandmother, and a time traveler, and it makes for a slow change of what behavior is normal for Sarah, and what is not."
Nick Allen,
"At times, DP Sean McElwee’s photography can feel anonymously bland, but its prosaic register has a point, bedding even the most outrageous of Sarah’s visions and dreamstates into reality. Ryan Brown’s editing, too, does a fine job of sliding us invisibly from reality to unreality and back again, while Josiah Steinbrick and Jeremy Zuckerman’s elastic score, by turns menacing and comforting, often plays like an otherworldly counterpart to the sensible, down-to-earth imagery. But most of the credit for our intimate identification with the confusion and terror and occasional bliss of Sarah’s devolving condition has to go to Brie, who co-wrote the screenplay with Baena and whose totally inhabited performance grants us such uncomfortably close access to the lived experience of delusional paranoia."
Jessica Kiang, Variety

THE HUMAN FACTOR - Eugene Levitas
"The documentary’s style is classic talking-heads, interspersed with period color and black-and-white photos, frequently manipulated for a 3D effect. Music is maddeningly overused, pushing every twist and turn. Is a gently tinkling, melancholic piano really the accompaniment to use over the death of the bloody dictator Hafez al-Assad?"
Jay Weissberg, Variety


"The experience is like watching two different films.  The first portion features incredible performances by Espitia and Vazquez. They exude rapturous on-screen chemistry that makes you want to root for their relationship to last.  Juan Pablo Ramírez’s cinematography is simply gorgeous. Jay Wadley’s score is genuinely moving. Roxana Lojero’s set decoration, Sandra Cabriada’s production design and Brenda Gomez’s costumes are authentic to the era without descending into obvious clichés. As a viewer, I wanted to see the ending to the film those artists were making.  The other 'film' it ends with?  It’s simply not compelling at all."
Gregory Ellwood, The Playlist 
"As the two tiptoe toward courtship, 'I Carry You With Me' settles into a loose but intricate nonlinear structure, also becoming something of a genre-bender: In addition to drifting into the past (childhood flashbacks show Ivan giddily trying on a quinceañera dress and Gerardo being abused by a sadistic father), the film offers what we come to understand are vérité glimpses of the real-life, present-day Ivan and Gerardo (Ewing spent the past several years gathering footage of them, though to elaborate further would risk spoiling the story’s delicate suspense and emotional impact). The shifting among three time frames allows the filmmakers to minimize expository clunkiness while illuminating why these people make the choices they do. It also gives the film its scale, tone and texture; Ewing creates a mosaic of feeling, an enveloping atmosphere of yearning and nostalgia enhanced by the lush undertows of Jay Wadley’s affecting score."
Jon Frosch, The Hollywood Reporter 

SHADOW IN THE CLOUD - Mahuia Bridgman-Cooper

"Before the parade of production company logos is even done, 'Shadow in the Cloud' begins with a great mystery -- why am I watching a WWII-era cartoon PSA about gremlins? Consider that Chekhov’s gremlin infomercial, accompanied by the next shots of the movie that show a revolver being packed away, and a suitcase with a sound hole being carried off. The year is 1943, and a woman named Maude Garrett walks on a foggy tarmac looking for an Allied war plane called 'The Fool’s Errand,' before we get to see her face and her hear voice. It’s a stoic Chloë Grace Moretz, with a British accent, and on assignment from a top secret mission. The men act like dogs as soon as they realize they have a 'dame' onboard -- most of them scramble to objectify her on the radio -- and she is designated to sit in the bottom turret, with the guys riding above. The synth score by Mahuia Bridgman-Cooper sets the pulse from the very beginning, signaling that you should strap in for a movie of modern genre tastes, and not so much an accurate period piece."
Nick Allen, 

"It would be lovely to say that Liang manages to overcome the inherent flaws in the material, but she does not. The special effects are video-game level, the performances are barely directed at all (the less we talk about Moretz’s dodgy accent, the better), and composer Mahuia Bridgman-Cooper scores the whole thing with a bafflingly incongruent ‘80s thriller-style synth score. Again, every choice is the wrong choice. "
Jason Bailey, The Playlist
"It’s a mix-and-match kind of film -- like a Universal horror movie invading a Warner Bros. wartime adventure, marrying a 1940s story with a decidedly 1980’s score by Mahuia Bridgman-Cooper -- but it all comes together. Even the script’s biggest WTF moment, involving the contents of Maude’s valise, gets a pass because it’s a bridge to some of the film’s most pulse-pounding moments."
Alonso Duralde, The Wrap 

"The film hinges on a very capable Moretz in the way that Steven Knight’s 'Locke' does on Tom Hardy as he sits in the driver’s seat of a car. But soon enough, 'Shadow in the Cloud' veers away from the oppressive tension of Maude’s confinement and into the terrain of ridiculous action predicated on impressive displays of upper-body strength. And as emphasized by some bizarre music choices, the shift is as jarring as it is audacious. Though the film leans into silliness partially to cheat itself out of a narrative corner created by Maude’s entrapment and the confluence of enemy forces, the commitment to absurdity remains thoroughly engaging."
Steven Scaife, Slant Magazine 
"It’s ridonkulous, but no more so than any of the stunts Vin Diesel has pulled in the 'Fast and Furious' movies. At a certain point, the unbelievability of it all becomes the fun -- consider the gape-mouthed reaction shot one soldier gives to Garrett’s incredible reentry to the fuselage -- as Liang layers on thrashing guitars and giallo-style electro-synth music from composer Mahuia Bridgman-Cooper for effect. Dudes have been doing this kind of crazy greenscreen nonsense for ages, and now it’s her turn to give it a go, so why hold back? With a fully committed Moretz to rely on, Liang’s free to shoot for the moon. She doesn’t even need to stick the landing, since dismantling this flying toy box and crashing it into the ground proves so much more gratifying."
Peter Debruge, Variety 

"Consequently, the crafts provides cohesion to the narrative’s confusion. While 'Wander Darkly' bears similar machinations to 'Eternal Sunshine,' especially with regards to Tamara Meem and Alex O’Flinn’s editing, which eases memories together through seamless transitions, Miele does away with the cold muted environment of Gondry’s classic. Instead, she relies on vibrant lighting and summer warmth in much of the film. Moreover, Alex Weston’s string and piano laden score retreats with the events like sand reversing in an hourglass."
Robert Daniels, The Playlist


Heard: Whip It (The Del Rubio Triplets) Two Mules for Sister Sara (Morricone), Slalom (Morricone), Tatie Danielle (Yared), The Seven-per-cent Solution (Addison), A Season in Hell (Jarre), The Order (Donaggio), Butterfly (Morricone), Mr. Mom (Holdridge), Battle of Neretva (Herrmann), The Sound of Music (Rodgers), Rocco and His Brothers (Rota), Shaker Loops/Phrygian Gates/Chamber Symphony (Adams), Max et les Ferrailleurs/Vincent, Francois, Paul et les autres (Sarde), Mellow Yellow/Wear Your Love Like Heaven (Donovan), The Don Is Dead (Goldsmith), Curse of the Golden Flower (Umebayashi), The Basil Poledouris Collection Vol. 4: The Blue Lagoon Piano Sketches (Poledouris), The Collector/David and Lisa (Jarre/Lawrence), The Thing (Morricone) The River (Williams), Endless Night (Herrmann), The Paul Chihara Collection Vol. 2 (Chihara), Fiorello (Bock), One Potato, Two Potato (Fried), Symphonies No. 4 & 5 (Beethoven), Sunrise (Kraemer), The Golden Voice of Deanna Durbin (Durbin), Leatherface: Texas Chainsaw Massacre III (Manzie)

Read: Nella, by John Godey

Seen: On Saturday I walked past one of my regular local theaters, the AMC Century City, and was not especially surprised to see the slowly fading posters that have been displayed there for several months, everything from Black Widow and No Time to Die to The Broken Hearts Gallery and The War with Grandpa. So I was quite surprised when, two days later, I discovered that the AMC Century City has just re-opened, and that the other local AMCs are scheduled to re-open today, with AMC Universal at CityWalk scheduled to screen Tenet in 70mm IMAX, the film I've looked forward to so much that I haven't even read any of the reviews yet (though sadly, none of my friends who've seen it in various formats -- traditional theater, drive-in, streaming -- gave it anything like a rave). I'd assumed that once theaters were re-opening I would immediately seek out my usual sparsely attended matinees and resume moviegoing, but I'm part of the age bracket scheduled to get the vaccine next in my area, and I feel like Quint after the Indianapolis sinking waiting those last few hours for the rescue ships to come -- no reason to start taunting the sharks. But I'm so desperate for theater-moviegoing again that if I manage to catch up on the recent movies and it's still playing, I'll even see The War with Grandpa. (Playing with Fire I would still happily skip, but that one came and went before the pandemic)

Watched: Big City Fantasy [1934]; Mirrors [1934]; Phil Spitalny and His Musical Queens [1934]; Don Redman & His Orchestra [1934]; At Home [1939]; Safe Conduct; House of Cards ("Chapter 67"); Happy Endings ("Why Can't You Read Me?"); Vaudeville with Herb Williams (1934); Vaudeville with Buster Shaver-Olive & George (1934); Duck Soup; Star Trek: Picard ("The Impossible Box"); Vaudeville with Al Trahan (1935); House of Cards ("Chapter 68"); All-Star Vaudeville [1934]
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Comments (4):Log in or register to post your own comments
How's the Don Redman flick? (I assume it's a short subject.) He's one of my American Songbook heroes for having written "Gee Baby, Ain't I Good to You?".

I've watched so many of those old Vitaphone shorts (which are all pretty wonderful in their way) lately that I don't even remember which one was Redman.

Wonderful indeed, and since this was a Vitaphone conclave I'll now gladly pull out the DVD and refresh my memory. Thnx!

The Vitaphone shorts I'm in the middle of right now are actually pretty painful -- compilations of scenes from silent serials, with the addition of really unfunny narration (the clips are great, though - I'd almost be tempted to watch then without the sound)

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Ear of the Month Contest
Today in Film Score History:
June 21
Arthur B. Rubinstein begins recording his score for Another Stakeout (1993)
Bert Kaempfert died (1980)
Chinatown released in Los Angeles and New York (1974)
Dario Marianelli born (1963)
Elmer Bernstein begins recording his score to 7 Women (1965)
Eumir Deodato born (1942)
Gerald Fried's score for the Star Trek episode "Catspaw" is recorded (1967)
Hilding Rosenberg born (1892)
John Ottman begins recording his score to Cellular (2004)
Kasper Winding born (1956)
Lalo Schifrin born (1932)
Nils Lofgren born (1951)
Paul Dunlap records his score for Hellgate (1952)
Philippe Sarde born (1948)
Piero Umiliani begins recording his score for Big Deal on Madonna Street (1958)
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