The latest release from Intrada is a re-issue of Bruce Broughton's re-recording of Miklos Rozsa's Oscar-nominated score for JULIUS CAESAR, the 1953 film version of Shakespeare's play directed by Joseph L. Mankiewicz starring Marlon Brando, James Mason, Louis Calhern, Greer Garson, John Gielgud and Deborah Kerr.
Intrada's Kickstarter campaign to raise enough money to re-record two never-released Jerry Goldsmith scores, BLACK PATCH and THE MAN, has proved a success, and the label hopes to have the resulting CD out in June of next year.
Varese Sarabande is expected to announce two new limited edition CD Club releases today.
CDS AVAILABLE THIS WEEK
Julius Caesar (re-recording/re-issue) - Miklos Rozsa - Intrada
IN THEATERS TODAY
Behemoth - Alexander Arntzen
Candyman - Robert A.A. Lowe
The Colony - Lorenz Dangel
Death Rider in the House of Vampires - Glenn Danzig
Defining Moments - Alain Mayrand
499 - Pablo Mondragon
Final Set - Delphine Malaussena
The Magnificent Meyersons - Daniel McCormick
No Man of God - Clarice Jensen
On Broadway - Joel Goodman
Wildland - Frederikke Hoffmeier
COMING SOON
September 3
Forsaken Themes from Fantastic Films, Vol. 1: Tears in Rain - various - Perseverance
October 1
No Time to Die - Hans Zimmer - Decca
November 19
Without Remorse - Jonsi - Krunk
Date Unknown
Est - Davide Caprelli - Kronos
Private Peaceful - Rachel Portman - Kronos
Still Life (re-release) - Rachel Portman - Kronos
THIS WEEK IN FILM MUSIC HISTORY
August 27 - Eric Coates born (1886)
August 27 - Sonny Sharrock born (1940)
August 27 - Miles Goodman born (1949)
August 27 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "Nothing Ever Happens in Linvale" (1963)
August 27 - Dimitri Tiomkin begins recording his score to 36 Hours (1964)
August 27 - Harry Geller records his score for the Land of the Giants episode “The Golden Cage” (1968)
August 27 - Jerry Fielding records his score for the Mission: Impossible episode “The Execution” (1968)
August 27 - John Williams begins recording his score for 1941 (1979)
August 27 - Geoffrey Burgon begins recording his score for The Dogs of War (1980)
August 27 - Johnny Mandel records his score for the Amazing Stories episode "One for the Road" (1985)
August 27 - Craig Safan begins recording his score for Remo Williams: the Adventure Begins (1985)
August 27 - Jay Chattaway records his score for the Star Trek: Voyager episode “Night” (1998)
August 27 - John Altman wins the Emmy for RKO 281; Joseph LoDuca wins for the Xena: Warrior Princess episode “Fallen Angel;” W.G. Snuffy Walden wins for The West Wing main title theme (2000)
August 28 - Ustad Vilayat Khan born (1928)
August 28 - Annette Focks born (1964)
August 28 - Duane Tatro’s score for The Invaders episode “Valley of the Shadow” is recorded (1967)
August 28 – Laurence Rosenthal wins his third consecutive Emmy, for The Bourne Identity; Lee Holdridge wins his first Emmy, for the Beauty and the Beast pilot score (1988)
August 28 - Bruce Broughton wins his sixth Emmy, for Glory & Honor; Christophe Beck wins the Emmy for his Buffy the Vampire Slayer episode score “Becoming: Part 1” (1998)
August 28 - Richard Hartley wins the Emmy for his Alice in Wonderland score; Carl Johnson wins for the Invasion America episode score “Final Mission;” Martin Davich wins for his main title to Trinity (1999)
August 29 - Anthony Adverse released in theaters (1936)
August 29 - Miklos Rozsa begins recording his score for The Miniver Story (1950)
August 29 - Victor Young begins recording his score to The Tall Men (1955)
August 29 - Fred Steiner's score for the Star Trek episode "Charlie X" is recorded (1966)
August 29 - James Horner begins recording his score for Gorky Park (1983)
August 29 - John Williams begins recording his score for The River (1984)
August 30 - Conrad Salinger born (1901)
August 30 - Luis Bacalov born (1933)
August 30 - John Phillips born (1935)
August 30 - Axel Stordahl died (1963)
August 30 - Sol Kaplan's score for the Star Trek episode "The Doomsday Machine" is recorded (1967)
August 30 - Emil Newman died (1984)
August 30 - Bruce Broughton wins his fifth Emmy, for O Pioneers!; Bruce Babcock wins for the Matlock episode score “The Strangler” (1992)
August 30 - Jerry Goldsmith begins recording his replacement score for The River Wild (1994)
August 30 - Bernardo Bonezzi died (2012)
August 31 - Recording sessions begin for Bronislau Kaper's score for The Swan (1955)
August 31 - Alexander Courage's score for the Star Trek episode "The Naked Time" is recorded (1966)
August 31 - Robert Drasnin records his score for the Lost in Space episode "Forbidden World" (1966)
August 31 - Walter Scharf records his final Mission: Impossible score, for the episode “The Bank” (1967)
August 31 - Jeff Russo born (1969)
August 31 - Lalo Schifrin records his score for the Mission: Impossible episode “The Killer” (1970)
August 31 - Joel McNeely begins recording his score for Iron Will (1993)
September 1 - Franz Waxman begins recording his score for Sunset Blvd. (1949)
September 1 - Victor Young begins recording his score for Strategic Air Command (1954)
September 1 - Gil Melle begins recording his score for The Organization (1971)
September 1 - Jerry Goldsmith begins recording his score for Magic (1978)
September 1 - Ludwig Goransson born (1984)
September 1 - Marc Donahue died (2002)
September 1 - Erich Kunzel died (2009)
September 2 - Armando Trovajoli born (1917)
September 2 - Hugo Montenegro born (1925)
September 2 - Emil Richards born (1932)
September 2 - Steve Porcaro born (1957)
September 2 - Alex Heffes born (1971)
September 2 - Tadeusz Baird died (1981)
September 2 - Clifton Parker died (1989)
DID THEY MENTION THE MUSIC?
BECKETT - Ryuichi Sakamoto
"'Beckett' takes a welcome step back from the pace and volume that today’s thrillers consider baseline. The story and chase never stop moving, but not at breakneck speed. Filomarino lets in the beauty of Greece. He pauses to appreciate a one-eyed cat. Oscar winner Ryuichi Sakamoto‘s superb, tactile, stress-inducing music is a muted 'internal' score reflecting the protagonist’s state of mind."
Michael Ordona, Los Angeles Times
"Which isn’t to suggest there’s nothing to enjoy about that pattern, nor how it reflects Beckett’s gnawing feelings of guilt, helplessness, and isolation. For one thing, 'Beckett' looks and sounds divine, even on a Netflix platform that tends to flatten the life out of every image. 'Suspiria' and 'Memoria' cinematographer Sayombhu Mukdeeprom shoots the movie with a fall crispness so bracing that you can feel a chill in the air, while Ryuichi Sakamoto’s score -- if a far cry from his most memorable work -- flushes the movie with horn squelches of raw menace."
David Ehrlich, IndieWire
"The only Beckett crew member who seems to understand the vibe a wrong-man film needs is composer Ryuichi Sakamoto ('The Last Emperor' and 'Merry Christmas Mr. Lawrence'), whose shrieking strings and off-kilter combination of cymbals and toms builds anxiety. The other moving parts are too substandard to sustain the wanted suspense, to the point where even a protest turned ugly and Beckett leaping off a building to stop a moving car isn’t enough to resuscitate the film. 'Beckett''s lead actor is a dull performer spinning a duller web, and he’s the wrong man to deliver this flawed, unruly plot."
Robert Daniels, Polygon
"The last half-hour of so of the movie becomes a mess of conflicting political interests and convoluted plotting, with a villain whose both-sides ideological stance deflates the paranoid vibe rather than enhancing it. Worse, the film fails to capitalize on the intriguing early suggestion (intensified by jarring strings on the score) that Beckett’s sense of self-preservation isn’t reactive so much as motivated by a morally murky side of his personality. 'Beckett' abandons this more complex possibility, opting instead to weave and then anticlimactically unravel a web around its titular protagonist. It leaves you pining for an on-the-run thriller that doesn’t run from its most interesting elements."
Roxana Hadadi, The Onion AV Club
"Filomarino has served regularly as second unit director on the features of Luca Guadagnino, who takes lead producer credit here and shares his key tech collaborators, notably DP Sayombhu Mukdeeprom and editor Walter Fasano. But even with a score by Ryuichi Sakamoto that mixes orchestral passages with jagged ambient distortion and bursts of unsettling percussion, 'Beckett' is all chase, no pace. Its scenic locations from Delphi to Athens make it a decent choice to kick off the Locarno Film Festival with a Piazza Grande screening, but it’s unlikely to stand out from the streaming pack when it bows on Netflix Aug. 13."
David Rooney, The Hollywood Reporter
DEMONIC - Ola Strandh
"The movie’s one effectively creepy element is the score. Ola Strandh, who has mostly worked on video games like 'The Division 2' in the past, creates a haunting electronic soundtrack that underlines the entire movie. His music does most of the heavy lifting for the movie’s best attempts at horror, and his careful mix of electronic instrumentation and quiet strings is the only thing that makes sense out of the movie’s themes (to be generous) -- of digital ghosts haunting the real world."
Austin Goslin, Polygon
"For all of its lackluster holy leanings, 'Demonic' still achieves an air of abject horror, aided in no small part by Ola Strandh’s electro-exorcism score. The demon’s design is also consistently terrifying, whether it is enveloped in a neon-soaked backlight or morphing into unpredictable and increasingly abominable versions of itself. Yet despite the long arm of Catholicism and broader fear of God having a strong hold over most demonic possession horror offerings in existence, 'Demonic' is not cunning enough in its execution to justify its scarce scrutiny over an incredibly powerful -- and ironically sinful -- institution."
Natalia Keogan, Paste Magazine
EMA - Nicolas Jaar
"Bernal, restrained in both his words and how he holds his body, imbues Gastón with an imperiousness that points to the man’s attempts to mask his guilt behind a stone face. Di Girolamo, meanwhile, is all movement. Even in close-up, the actress captures the perpetual jitteriness of her character’s being. For Ema, dancing becomes an outlet for her contradictory feelings of defiance and grief. The film’s music, both diegetic and extratextual, is by experimental electronic composer Nicolas Jaar, whose soundtrack combines ambient longueurs with brittle, frantic footwork -- a sound that juts in and out of rhythm and force on skeletal beats and warm tone pulses. The music perfectly fits Ema’s own underground style of dance, a manifestation of a human uncontrollably eating herself from the inside out."
Jake Cole, Slant Magazine
"Di Girolamo is a real discovery. She and Bernal sell the couple’s co-dependent relationship with cruel gusto, throwing horrifying but funny taunts at each other. ‘You are a human condom’, she tells him, jabbing at his anxieties around impotence; ‘Polo loved you and you left him’ is the gist of what he spits back, zeroing in on her feelings of failure as a mum. Nicolas Jaar’s lovely Brian Eno-y score is a soothing antidote to these acidic moments."
Phil De Semlyen, Time Out
"For his part, Larraín doesn’t concern himself with plot. Instead, he’s following a character and a mood, shrouding both in sex and mystery. The little story exposition he does provide happens in the first 15 minutes as Ema and her troupe dance beneath an animated neon solar whose cinematography points toward Gaspar Noé, whose shooting matches a music video, who’s backed by Nicolas Jaar’s infectious pounding score as shots of Ema’s domestic disputes with Gastón and her visits with the social worker intercut. Dependent upon these purely impressionistic segments, 'Ema' isn’t an easy watch. And the outlandish plan to retrieve Polo lying at the film’s heart, leaves the audience no easy answers or coherent train of events."
Robert Daniels, The Playlist
"The film’s narrative, a darkly sensual fable of motherhood and the modern family, is also imbued with a sense of the surreal. It opens with an extended montage introducing the puzzling quandary with which the film is concerned. Ema, a dancer, and her husband Gastón (Gael García Bernal), a choreographer 12 years her senior, have recently been relieved of their adopted son, Polo, after an arson incident that resulted in the horrific disfigurement of Ema’s sister. The questions of where Polo is now, whether or not Ema and Gastón 'gave him back,' and who is to blame in this ugly situation roils the tension between the couple. This opening salvo of interpersonal conflict is set against one of Gastón’s modern dance pieces, in which bodies rhythmically pulsate to the beat of composer Nicolas Jaar’s Caribbean-inflected score, backlit by glowing red and blue orbs."
Kate Walsh, Los Angeles Times
"But Ema, played by Mariana Di Girolamo in the kind of unforgettably self-possessed breakthrough performance that could forge her to this role forever, isn’t quite as free as she seems. The details are fuzzy. Something about a son that’s no longer under her custody. A social worker speaks to Ema in a way that feels… unusually heated. 'Surely he’s been adopted by another mom who’s better than you!' she yells. Larráin repeatedly and frustratingly interrupts our first extended glimpse of Ema in her element -- she bobbles around with the rest of her dance troupe against the backdrop of a solar flare as Nicolas Jaar’s warm ambient score pulsates over the soundtrack — with expository cut-aways to fights she’s had with her choreographer husband, Gastón (a great, petulant Gael García Bernal). The sequence refuses any sort of rhythm; it’s as if we’re inside Ema’s head and subject to all the thoughts that are taking her out of the moment."
David Ehrlich, IndieWire
"Ema is inextricable from impulse. When we meet her (Mariana Di Girolamo) in Pablo Larraín’s latest film, she is kinetic -- leading her husband Gaston’s (Gael Garcia Bernal) dance troupe, the loose center of a mass of bodies paroxysming to Nicolas Jaar’s teeming, steaming EDM, the big wall behind them a video of a broiling, looming star in close-up -- and she rarely stops moving thereafter."
Dom Sinacola, Paste Magazine
"The key rewards of 'Ema' are its slinky visuals. Longtime Larrain cinematography collaborator Sergio Armstrong’s camera snakes around the actors with mesmerizing grace when it’s not locked in monotonous face-forward close shots. And there’s impressive scope in dance interludes staged at various points around the city, capturing choreographer Jose Vidal’s carnal moves with tremendous energy -- in vast industrial spaces, by the port, on basketball courts or nestled in the densely populated hills among a maze of apartment blocks. Nicolas Jaar’s inventive score is used to interesting, if sometimes overly portentous effect, often sounding like it’s been slowed down and filtered through dense fog."
David Rooney, The Hollywood Reporter
FEAR STREET, PART TWO: 1978 - Marco Beltrami, Brandon Roberts
"At least the hacking is top-notch. One of the most cohesive elements to the series remains its visceral sound design, and whenever an axe blade forces itself into someone’s face it’s incredibly rich; built up by slick editing and in-your-face cinematography, Tommy’s baseball swings and downward hack insta-kills make the abrupt violence unsettling on its own. It all pairs nicely with the excellent score too, this time by Marco Beltrami and Brandon Roberts, which elevates the intensity with a demonic chorus and frantic horn section. "
Nick Allen, RogerEbert.com
"With the character work and cast so strong, it’s baffling that Janiak allows an aural undercutting of it all. Brandon Roberts and longtime Wes Craven collaborator Marco Beltrami serve a thrilling score that swells along with the rising stakes. But indulgent needle-dropping in the first film becomes downright distracting in the second. Camp Nightwing is a Crystal Lake analog (or Crystal Lake itself) where Captain & Tenille compete with the dialogue and even death for the viewers’ attention. The soundtrack itself is righteous; there’s Foghat, there’s The Buzzcocks, and even a little Neil Diamond, as a treat. But immediately following the first big sequence of danger, Cat Stevens’ 'The First Cut Is The Deepest' wafts in and commands attention mere minutes before Blue Oyster Cult warns not to fear the reaper. This continues throughout the narrative, wherein great songs elbow their way into the frame before the viewer can finish the emotional beat that came before it -- this works for comedic effect, but not so much when someone the audience cares about is suffering. It’s almost as if the nostalgic callbacks compete with the story itself, dragging it along from scare to scare. It’s less style over substance, for both exist plenty here; it’s more style against substance. An audience should be allowed to take in hard-earned story beats and compelling performances before David Bowie bursts in like the Kool-Aid Man to shuffle them onto the next storyboard panel. It’s not too loud (that could be chalked up to a wonky home audio system, after all); it’s too intrusive. Janiak works so hard to evoke a feeling and speak in the language of youth that she interrupts her own performers’ attempts to do the very same. It might be a nitpick, but it’s consistent enough to impact the story and neuter some of its greatest moments, moments that the filmmaking team clearly worked hard to earn."
Anya Stanley, The Playlist
FEAR STREET PART THREE: 1666 - Marco Beltrami, Anna Drubich, Marcus Trumpp
"The third and final film in Leigh Janiak’s 'Fear Street' series, adapted from R.L. Stine’s books, skews the farthest from the established genre conventions of the former two installments. The excessive period-specific needle drops are replaced by a bucolic violin score. (At least at first.)"
Toussaint Egan, Polygon
HOW IT ENDS - Ryan Miller
"Shot entirely during the Covid-19 pandemic throughout empty Los Angeles streets, with strict safety protocols in place (you can often see physical social-distancing between the characters, even Lister-Jones and Spaeny), 'How It Ends' is perhaps the first one of those fiercely independent, low-budget pandemic-centric movies most of us suspected to see at Sundance in a couple of years’ time. Beating everyone to the punch, Lister-Jones and Wein perhaps don’t take Covid-19 head-on or inhabit 2020’s skin-crawling misery with their sometimes monotonously whimsical tone and atmosphere, accompanied by Ryan Miller’s fanciful score. But to their credit, they do acutely hit on the comedic nihilism this universally-shared experience brought about, even though their film falls short on laughs."
Tomris Laffly, Variety
IN THE SAME BREATH - Nathan Halpern
"A two-week annual congress meeting was a bad time to announce the spread of a new SARS-like virus, so it wasn’t until Jan. 20 that state news media conceded the risk of contagion. Three days later, Wuhan, a city of 11 million people, went into lockdown, with hospitals immediately overflowing and ambulances being turned away. Wang and co-editor Michael Shade assemble these establishing chapters into a propulsive, often deeply distressing narrative, enhanced by a score from Nathan Halpern that’s alternately mournful and suspenseful."
David Rooney, The Hollywood Reporter
THE MEANING OF HITLER - Alexander Kliment
"Just when 'The Meaning of Hitler' seems as if it’s going full Chris Marker, the directors back away from the purely inquisitive approach, acknowledging the trappings of their material in a reasonable query: 'Is it possible to make a film like this without contributing to the Nazi cinematic universe?' The answer falls into a grey area, and it’s not always a satisfying place to linger, but there’s a fundamental intrigue to watching them search for the right tone. Set to a jittery score by Alex Kliment and edited with the jaunty cues of a global espionage thriller, 'The Meaning of Hitler' feels both dangerous and essential even when it amounts to more questions than answers."
Eric Kohn, IndieWire
NAKED SINGULARITY - Brendan Angelides
"The sense of place in the New York City locations, on the other hand, is sharply etched in DP Andrij Parekh’s spiffy visuals, with a pleasing pop-noir feel to the many night scenes. Brendan Angelides’ energizing score also helps keep things moving. But the brisk pacing and capable cast still can’t quite mask a certain routine feel in a movie without much heart. 'This is our chance,' says one of the protagonists of the multimillion-dollar heist. But somehow, the stakes never acquire much urgency."
David Rooney, The Hollywood Reporter
REMINISCENCE - Ramin Djawadi
"'Reminiscence,' like 'Westworld,' is made all the more frustrating because Joy has such an entrancingly filmic imagination. Even on the compressed timeline of a feature film, she displays a rare gift for rearranging today’s anxieties into desensitized tomorrows; the Florida she creates here is somehow even bleaker than the one we’re already familiar with (a quick jaunt to New Orleans furthers the illusion), and while 'Reminiscence' struggles to justify certain aspects of its tech, the movie paints a vivid picture of a future where there’s so little to look forward to that everyone keeps searching for happiness over their shoulders. Christopher Nolan’s influence would be oppressive even if not for the family connection -- just listen to a genius like Ramin Djawadi resigning himself to the fuzzy cheese guitars of the film’s ersatz Hans Zimmer score -- but Joy creates a more present sense of hopelessness than 'Tenet' ever did."
David Ehrlich, IndieWire
"'Reminiscence' has a sleek, moody look and a big brooding score by frequent Westworld composer Ramin Djawadi to propel the story in the absence of plot momentum. But as a bead on the necklace of time, it’s shoddy costume jewelry."
David Rooney, The Hollywood Reporter
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
August 27
THE EMOJI MOVIE (Patrick Doyle) [Alamo Drafthouse]
INGLOURIOUS BASTERDS [New Beverly]
LA CIENAGA, TEOREMA (Ennio Morricone) [Aero]
MIKEY AND NICKY (John Strauss) [Los Feliz 3]
THIS GUN FOR HIRE (David Buttolph), THE GLASS KEY (Victor Young) [New Beverly]
VIVA (Anna Biller) [Los Feliz 3]
WHO FRAMED ROGER RABBIT (Alan Silvestri) [Fairfax Cinema]
WILD STRAWBERRIES (Erik Nordgren) [Los Feliz 3]
August 28
ALICE [Fairfax Cinema]
THE DARK CRYSTAL (Trevor Jones) [New Beverly]
THE 5,000 FINGERS OF DR. T (Frederick Hollander) [Los Feliz 3]
HEAT (Elliot Goldenthal) [New Beverly]
HOUSE (Asei Kobayashi, Mikki Yoshino) [Los Feliz 3]
MANHUNTER (Michel Rubini, The Reds) [New Beverly]
MOMENTS LIKE THIS NEVER LAST (Brian DeGraw) [Fairfax Cinema]
MONSIEUR HULOT'S HOLIDAY (Alain Romans) [Aero]
PAPERHOUSE (Hans Zimmer) [Los Feliz 3]
THE REPLACEMENT KILLERS (Harry Gregson-Williams) [Los Feliz 3]
ZAZIE DANS LE METRO (Fiorenzo Carpi) [Fairfax Cinema]
August 29
BATMAN RETURNS (Danny Elfman) [Fairfax Cinema]
THE DARK CRYSTAL (Trevor Jones) [New Beverly]
DROP DEAD FRED (Randy Edelman) [Alamo Drafthouse]
FAT CITY (Marvin Hamlisch) [Los Feliz 3]
HARRY POTTER AND THE SORCERER'S STONE (John Williams) [Alamo Drafthouse]
HEAT (Elliot Goldenthal) [New Beverly]
HOUSE (Asei Kobayashi, Mikki Yoshino) [Los Feliz 3]
IKARIE XB 1 (Zdenek Liska) [Los Feliz 3]
LA PISCINE (Michel Legrand), THE SWIMMER (Marvin Hamlisch) [Aero]
PHANTOM LADY (Hans J. Salter) [Los Feliz 3]
PRETTY IN PINK (Michael Gore) [IPIC Westwood]
SPEED RACER (Michael Giacchino) [Fairfax Cinema]
August 30
TOTAL RECALL (Jerry Goldsmith) [Alamo Drafthouse]
August 31
THE BIG SLEEP (Max Steiner) [Laemmle Royal]
EYES WIDE SHUT (Jocelyn Pook) [Los Feliz 3]
IKARIE XB 1 (Zdenek Liska) [Los Feliz 3]
THE LAST STARFIGHTER (Craig Safan) [Alamo Drafthouse]
September 1
BAD EDUCATION (Alberto Iglesias) [Los Feliz 3]
THE BIG SLEEP (Max Steiner) [Laemmle Playhouse]
BRAZIL (Michael Kamen) [Alamo Drafthouse]
THE NUTTY PROFESSOR (Walter Scharf) [Fairfax Cinema]
THE NUTTY PROFESSOR (David Newman) [Fairfax Cinema]
PAPERHOUSE (Hans Zimmer) [Los Feliz 3]
PRETTY IN PINK (Michael Gore) [IPIC Westwood]
SUNSET BLVD. (Franz Waxman), WHAT EVER HAPPENED TO BABY JANE? (Frank DeVol) [New Bev]
September 2
BAD EDUCATION (Alberto Iglesias) [Los Feliz 3]
GANJA & HESS (Sam Waymon) [Los Feliz 3]
HOUSE (Asei Kobayashi, Mikki Yoshino) [Aero]
STRIPES (Elmer Bernstein) [Laemmle Playhouse]
SUNSET BLVD. (Franz Waxman), WHAT EVER HAPPENED TO BABY JANE? (Frank DeVol) [New Bev]
September 3
A FISTFUL OF DOLLARS (Ennio Morricone) [Landmark Westwood]
FUNNY GAMES [1997] [Fairfax Cinema]
FUNNY GAMES [2007] [Fairfax Cinema]
ONCE UPON A TIME IN THE WEST (Ennio Morricone) [Aero]
RESERVOIR DOGS [New Beverly]
A STAR IS BORN (Ray Heindorf) [New Beverly]
13 GHOSTS (John Frizzell) [Los Feliz 3]
TO LIVE AND DIE IN L.A. (Wang Chung) [New Beverly]
September 4
BLADE RUNNER (Vangelis) [Los Feliz 3]
E.T. THE EXTRA-TERRESTRIAL (John Williams) [New Beverly]
THE FLY (Paul Sawtell, Bert Shefter) [Fairfax Cinema]
THE FLY (Howard Shore) [Fairfax Cinema]
FOR A FEW DOLLARS MORE (Ennio Morricone) [Landmark Westwood]
LOST HIGHWAY (Angelo Badalamenti) [Fairfax Cinema]
THE MUPPETS TAKE MANHATTAN (Jeff Moss, Ralph Burns) [Alamo Drafthouse]
THE RED BALLOON (Maurice Le Roux), SHERLOCK JR. [Los Feliz 3]
A STAR IS BORN (Ray Heindorf) [New Beverly]
STRANGERS ON A TRAIN (Dimitri Tiomkin) [Los Feliz 3]
THEY LIVE (John Carpenter, Alan Howarth) [New Beverly]
September 5
ANGEL (Craig Safan), VICE SQUAD, SAVAGE STREETS (Michael Lloyd, John D'Andrea) [New Beverly]
A BRIGHTER SUMMER DAY (Hongda Zhang) [Aero]
E.T. THE EXTRA-TERRESTRIAL (John Williams) [New Beverly]
THE GOOD, THE BAD AND THE UGLY (Ennio Morricone) [Landmark Westwood]
MOONSTRUCK (Dick Hyman) [Alamo Drafthouse]
THE THING (Ennio Morricone) [Fairfax Cinema]
THE THING FROM ANOTHER WORLD (Dimitri Tiomkin) [Fairfax Cinema]
TWINS (Georges Delerue, Randy Edelman) [Fairfax Cinema]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Star Trek: Discovery: Season Two (Russo), Piano Concerto in C. (Scott), The Sweet Body of Deborah (Orlandi)
Read: Deathbird Stories, by Harlan Ellison
Seen: Any Which Way You Can, Rumble Fish, Reminiscence, Demonic, Ema
Watched: Pigskin Troubles [1929]; Star Trek: Discovery ("Die Trying"); That Surprising Fiddler [1929]; Fosse/Verdon ("Glory"); A Bird in the Hand [1929]; At the Party [1929]; Harry Fox and His Six American Beauties [1929]; Die Another Day; These Dry Days [1929]; The Man Who Loved Cat Dancing; Jack White with the Montrealers [1929]; Get Shorty ("The Yips"); Dooley's the Name [1929]
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