The latest releases from Music Box are a CD featuring music from three films scored by Philippe Sarde and directed by Pierre Granier-Deferre -- ADIEU POULET (The French Detective), L'AMI DE VINCENT and L'ETOILE DU NORD; Philippe Rombi's score for the new thriller BOITE NOIRE; and a remastered reissue of the score for the 1982 comedy DEUX HEURES MOINS LE QUART AVANT JESUS CHRIST, composed by Jean Yanne and Raymond Allesandrini.
The latest soundtrack release from Quartet is a re-release of their two-disc edition of Jerry Goldsmith's Oscar-nominated score for BASIC INSTINCT.
I think the best thing about this week in movie music is that though I'd never heard of composer Jongnic Bontemps until now, he has two movies opening in Los Angeles theaters this week, Last Night in Rozzie and My Name Is Pauli Murray.
The Academy of Television Arts and Sciences has announced this year's winners in the Creative Arts Emmys, including the following music categories:
OUTSTANDING MUSIC COMPOSITION FOR A LIMITED OR ANTHOLOGY SERIES, MOVIE OR SPECIAL (ORIGINAL DRAMATIC SCORE)
THE QUEEN'S GAMBIT: "End Game" - Carlos Rafael Rivera
OUTSTANDING MUSIC COMPOSITION FOR A SERIES (ORIGINAL DRAMATIC SCORE)
THE MANDALORIAN: "Chapter 16: The Rescue" - Ludwig Grandson
OUTSTANDING MUSIC COMPOSITION FOR A DOCUMENTARY SERIES OR SPECIAL (ORIGINAL DRAMATIC SCORE)
DAVID ATTENBOROUGH: A LIFE ON OUR PLANET - Steven Price
OUTSTANDING ORIGINAL MAIN TITLE THEME MUSIC
THE FLIGHT ATTENDANT - Blake Neely
OUTSTANDING ORIGINAL MUSIC AND LYRICS
WANDAVISION: Breaking the Fourth Wall - "Agatha All Along" - Kristen Anderson-Lopez, Robert Lopez
OUTSTANDING MUSIC DIRECTION
BO BURNHAM: INSIDE - Bo Burnham
OUTSTANDING MUSIC SUPERVISION
I MAY DESTROY YOU: Ego Death - Ciara Elwis, Matt Biffa
CDS AVAILABLE THIS WEEK
Basic Instinct (re-release) - Jerry Goldsmith - Quartet
The Bra - Cyril Morin - Saimel
The David Spear Collection Vol. 2 - David Spear - Dragon's Domain
Meetings with Remarkable Men - Laurence Rosenthal, Thomas De Hartmann - Dragon's Domain
Stripes - Elmer Bernstein - La-La Land
Webs and Other Wonders - John Scott - Dragon's Domain
IN THEATERS TODAY
Azor - Paul Courlet
Best Sellers - Paul Leonard-Morgan
Blue Bayou - Roger Suen
Copshop - Clinton Shorter
Cry Macho - Mark Mancina
The Eyes of Tammy Faye - Theodore Shapiro
The Killing of Kenneth Chamberlain - Garrett Beelow, King Luck
Lady of the Manor - Craig Wedren, Bo Boddie
Last Night in Rozzie - Jongnic Bontemps
My Name Is Pauli Murray - Jongnic Bontemps
The Nowhere Inn - St. Vincent
Prisoners of the Ghostland - Joseph Trapanese
The Starling - Benjamin Wallfisch
Without Getting Killed or Caught - Guy Clark, Verlon Thompson
COMING SOON
October 1
Glory - James Horner - La-La Land
No Time to Die - Hans Zimmer - Decca
October 15
Halloween Kills - John Carpenter, Cody Carpenter, Daniel Davies - Sacred Bones
November 19
Without Remorse - Jonsi - Krunk
Date Unknown
Adieu Poulet/L'ami de Vincent/L'etoile du Nord - Philippe Sarde - Music Box
Boite Noire - Philippe Rombi - Music Box
Deux Heures Moins Le Quart Avant Jesus Christ (remastered reissue) - Jean Yanne, Raymond Alessandrini - Music Box
Man of God - Zbigniew Preisner - Caldera
The Time Traveler - Stanley Myers - Notefornote
THIS WEEK IN FILM MUSIC HISTORY
September 17 - Franz Grothe born (1908)
September 17 - Elmer Bernstein begins recording his score for Guns of the Magnificent Seven (1968)
September 17 - Lalo Schifrin records his score for the Mission: Impossible episode “The Contender” (1968)
September 17 - Billy Goldenberg wins the Emmy for his King score; Jimmie Haskell wins for See How She Runs (1978)
September 17 - John Barry begins recording his score for The Black Hole (1979)
September 17 - Stephen Barton born (1982)
September 17 - Basil Poledouris wins his only Emmy, for Lonesome Dove Part 4: The Return; Joel Rosenbaum wins his second Emmy, for the Falcon Crest episode score “Dust to Dust”; Lee Holdridge wins his second Emmy, for Beauty and the Beast’s original song “The First Time I Loved Forever” (1989)
September 17 - James Horner begins recording his score for Extreme Close-Up (1990)
September 17 - Georges Delerue begins recording his score for American Friends (1990)
September 17 - Jay Chattaway records his score for the Enterprise episode “Carbon Creek” (2002)
September 17 - Joel Hirschhorn died (2005)
September 18 - Pablo Sorozabal born (1897)
September 18 - Adam Walacinski born (1928)
September 18 - Dee Barton born (1937)
September 18 - Vince Tempera born (1946)
September 18 - A Streetcar Named Desire is released (1951)
September 18 - Dimitri Tiomkin begins recording his score for Wild Is the Wind (1957)
September 18 - John Powell born (1963)
September 18 - Duane Tatro’s score for The Invaders episode “The Spores” is recorded (1967)
September 18 - Robert Drasnin records his first Mission: Impossible score, for the episode “The Slave” (1967)
September 18 - Jack Pleis records his score for The Wild Wild West episode “The Night of the Samurai” (1967)
September 18 - Alva Noto born (1969)
September 18 - Leonard Rosenman begins recording his score for Hide in Plain Sight (1979)
September 18 - Thomas Newman records his score for the Amazing Stories episode "Santa '85" (1985)
September 18 - Fred Steiner records his score for the Amazing Stories episode "Life on Death Row" (1986)
September 18 - Herbert Spencer died (1992)
September 18 - Arthur B. Rubinstein begins recording his score for Nick of Time (1995)
September 18 - Jay Chattaway records his score for the Star Trek: Voyager episode “Drive” (2000)
September 19 - Arthur Benjamin born (1893)
September 19 - Paul Williams born (1940)
September 19 - Vladimir Horunzhy born (1949)
September 19 - Daniel Lanois born (1951)
September 19 - Nile Rodgers born (1952)
September 19 - Johann Johannsson born (1969)
September 19 - Joel McNeely wins the Emmy for The Young Indiana Jones Chronicles episode “Young Indiana Jones and the Scandal of 1920;” Patrick Williams wins his third Emmy, for Danielle Steel’s Jewels; Dennis McCarthy wins for his Star Trek: Deep Space Nine main title theme (1993)
September 19 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “The Search - Part 1” (1994)
September 19 - Jerry Goldsmith begins recording his score for Powder (1995)
September 19 - Willie Hutch died (2005)
September 20 - Frank DeVol born (1911)
September 20 - Frank Comstock born (1922)
September 20 - James Bernard born (1925)
September 20 - John Dankworth born (1927)
September 20 - Mychael Danna born (1958)
September 20 - Fred Steiner's scores to the Star Trek episodes "The Corbomite Maneuver," "Balance of Terror," and "What Are Little Girls Made Of?" are recorded (1966)
September 20 - Sidney Cutner died (1971)
September 20 - John Williams begins recording his score for The Poseidon Adventure (1972)
September 20 - Jack Marshall died (1973)
September 20 - Laurence Rosenthal wins his second consecutive Emmy, for Anastasia: The Mystery of Anna; Joel Rosenbaum wins his first Emmy, for the Knots Landing episode “Cement the Relationship” (1987)
September 20 - John Williams begins recording his score for Schindler’s List (1993)
September 21 - Chico Hamilton born (1921)
September 21 - Herbert Stothart begins recording his score for Son of Lassie (1944)
September 21 - Mason Daring born (1949)
September 21 - Herman Stein records his score for the Lost in Space episode "There Were Giants in the Earth" (1965)
September 21 - Walter Scharf records his score for the Mission: Impossible episode “Old Man Out” (1966)
September 21 - Pete King died (1982)
September 21 - Laurence Rosenthal wins the first of three consecutive Emmys, for Peter the Great; Arthur B. Rubinstein wins the Emmy for his Scarecrow and Mrs. King episode score “We’re Off to See the Wizard” (1986)
September 21 - Recording sessions begin on James Newton Howard’s score for Alive (1992)
September 21 - Gene Forrell died (2005)
September 21 - Geoffrey Burgon died (2010)
September 21 - Roman Vlad died (2013)
September 22 - Robert Mellin born (1902)
September 22 - Chuck Wild born (1946)
September 22 - Nick Cave born (1957)
September 22 - Harry Geller’s score for The Wild Wild West episode “The Night of the Bottomless Pit” is recorded (1966)
September 22 - Samuel Matlovsky's score for the Star Trek episode "I, Mudd" is recorded (1967)
September 22 - Tuomas Kantelinen born (1969)
September 22 - Charles Previn died (1973)
September 22 - Jack Shaindlin died (1978)
September 22 – John Addison wins his only Emmy, for the Murder, She Wrote episode “The Murder of Sherlock Holmes;” Allyn Ferguson wins his only Emmy, for Camille (1985)
September 22 - Pat Metheny records his score for the Amazing Stories episode "Grandpa's Ghost" (1985)
September 22 - J.A.C. Redford records his score for the Twilight Zone episode “What Are Friends For?” (1986)
September 22 - John Williams begins recording his score for Home Alone (1990)
September 22 - Konrad Elfers died (1996)
September 22 - Lenny Stack died (2019)
September 23 - Clifford Vaughan born (1893)
September 23 - Gino Paoli born (1934)
September 23 - Lionel Newman begins recording his score for North to Alaska (1960)
September 23 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “The Life Work of Juan Diaz” (1964)
September 23 - Jerry Fielding records his score for the Mission: Impossible episode “The Cardinal” (1968)
September 23 - Richard Hazard records his first Mission: Impossible score, for “Commandante” (1969)
September 23 - Dave Grusin begins recording his score to The Yakuza (1974)
September 23 - Craig Safan records his score for the Amazing Stories episode "The Main Attraction" (1985)
September 23 - Dennis McCarthy records his score for the Star Trek: Enterprise episode “Shockwave, Part II” (2004)
September 23 - Malcolm Arnold died (2006)
DID THEY MENTION THE MUSIC?
THE BOY BEHIND THE DOOR - Anton Sanko
"The child actors are very good, the pacing adept, Anton Sanko’s score judicious. The overall effect is a rock-solid if not quite imaginatively memorable exercise in entrapment peril à la 'Don’t Breathe' or Shudder’s own recent add 'Caveat.' No matter what Charbonier and Powell do next, you can bet it’s going to have more than a handful of characters or settings -- and that they will be able to handle the increased scale just fine."
Dennis Harvey, Variety
BROKEN DIAMONDS - Keegan DeWitt, Dabney Morris
"Absentee parents, wacko siblings, dreams of escape, crazy high jinks, suicide attempts, snarky humor, repeated flashbacks to fragmented (and uniformly silent) childhood memories and climactic healing and reconciliation are all part of 'Broken Diamonds'' hackneyed stew, which director Sattler sets to a stream of plaintive singer-songwriter ballads and portentous orchestral arrangements. Not once does the film deviate from its stock narrative and formal template, thereby rendering everything twee, strained and unbelievable. Moreover, rather than taking Cindy’s mental health issues seriously, Waverly’s script conceives of her as simply a catalyst for comedic and/or sad chaos, as well as a device designed to facilitate Scott’s transformation."
Nick Schager, Variety
THE EAST - Gino Taihuttu
"Cinematographer Lennart Verstegen captures the equatorial green hell of Indonesia’s tropical rain forests – from which Sukarno’s ghostlike partisans mount their attacks on the Dutch troops -- with a stifling palette of verdant chaos, while the director’s brother Gino Taihuttu layers on a suitably arresting score full of discordant electronic themes that serve to unnerve and succeed all too well. 'The East' is an unrelenting condemnation of the Netherlands’ misguided attempt to return its colonial outreach to a time long gone while hitting most (if not all) of the 'doomed war' niche genre movie tropes without ever actually teetering into cliche. That’s an ever-tricky move that Taihuttu aces."
Marc Savlov, The Austin Chronicle
MATERNA - Andrew Orkin
"'Materna' wisely doesn’t try to neatly resolve its multifaceted tensions, and Sheil, Abdullina, Burdge and especially Eshete’s performances are attuned to the material’s fundamental air of incompleteness and instability. Yet despite a diverse Andrew Orkin score, the forlorn and minimalist tone struck throughout proves too uniform, thanks in part to cinematography that -- in each segment -- segues similarly between intense close-ups and remote compositions in which figures are spied in dark, empty spaces or constricting doorways. The film is formally beautiful almost to a fault, giving it a schematic quality that’s at odds with its roiling emotions."
Nick Schager, Variety
MIDNIGHT IN THE SWITCHGRASS - Liam Westbrook, Robin Stout
"In his directorial debut, Emmett is seemingly looking to replicate an ersatz 'True Detective,' complete with grungy color palette, somber string music, and hokey narration. But without any sort of genuine introspection into what makes cops or killers tick, 'Midnight in the Switchgrass' is ultimately indistinguishable from any of the scores of cheap VOD action thrillers that Emmett is notoriously known for producing (many of which feature Willis)."
Mark Hanson, Slant Magazine
"Women disappear nearly every day in this small western Florida city. The victims fit similar profiles: young, white and usually sex workers. Early in the film, a man comes across a lifeless, haphazardly discarded body in a random field. The police show up and discover that it’s one of the women who recently went missing. In the following scene, the killer’s next target, Tracey Lee (Caitlin Carmichael), stumbles out of a motel room and walks through a gas station, where a trucker tries to accost her. She fights back before another trucker, Peter (Lukas Haas), saves her life. It’s clear from the dramatic music, his shifty eyes and the slow, menacing motion of the camera that Peter can’t be trusted either."
Loviya Gyarkye, The Hollywood Reporter
MISHA AND THE WOLVES - Nick Foster
"Jane Daniel, the publisher who got the whole ball rolling, shares her experience of encountering Misha's story, and, frankly, seeing dollar signs. Her publishing operation was tiny and Misha's wolf pack could put her over the edge. Daniel doesn't seem particularly reliable and Hobkinson makes big choices with ominous melodramatic music cues, and piercing closeups of Jane's eyes, casting her as a villain, or maybe a victim, you're not sure. Either way, these choices are in service of misdirection. Later in the film, there are multiple scenes of an elderly Belgian genealogist (and Holocaust survivor herself) poring through old telephone books and dusty records, searching for clues to Misha's real identity. It's painstaking work, and it may not be as interesting visually as those sentimental re-enactments, for example, but the detective work is where the story really takes off, as these individuals who care about truth fact-check the narrative. Catfishing the audience (essentially) is the least interesting approach for this material."
Sheila O'Malley, RogerEbert.com
PRAY AWAY - Laura Karpman, Nora Kroll-Ronsenbaum
"Finding flaws in a film of such importance seems trite, but to infer that 'Pray Away' is perfect would be a lie. However, apart from a score that occasionally imposes an insincere emotional response, certain talking points from evangelical Christian leaders speaking on homosexuality being -- possibly -- taken out of context, and the inherent acknowledgment of manipulation and subjectivity that accompany every documentary, 'Pray Away' sets out to make an impact, and the film deserves all of the praise that will presumably -- deservedly -- come its way."
Jonathan Christian, The Playlist
"Stolakis jumps between the many life stories in this tragedy with little focus, and lets them matter-of-fact. 'Pray Away' is exactly the kind of documentary it appears to be from the beginning, and that's part of the disappointing problem, even if it makes clear the harrowing details within. Slathered with a score that makes the sadness of each passage unmistakable, 'Pray Away' narrows its purpose to be simply informative; it is too artistically flat to have the emotional peaks that would give its own otherwise vital message some dynamic, or make it more impactful beyond its very subject matter. The nuance mostly comes here from the empathy it asks of the audience to accept the former messengers, in part because the documentary is not going to challenge them beyond making them recall their pain."
Nick Allen, RogerEbert.com
VIVO - Lin-Manuel Miranda, Alex Lacamoire
"The movie’s biggest selling point is Lin-Manuel Miranda, both as songwriter and as a vocal presence. But that creates a weird experience where Vivo raps about being hungry and scrappy on the streets, and it really just feels like an animated version of a 'Hamilton' outtake. While the music is gorgeous, and definitely one of the film’s highlights, hearing Miranda’s nasal voice come out of the adorable kinkajou is jarring. (It doesn’t help that Miranda has become a meme on TikTok, and for the very plugged-in, he’s been associated with a certain stigma since many of the memes make fun of him.)...Thankfully, by the time the film ends, the story shifts back to Marta and Andrés, and the final musical sequence is poignant. If more of the story focused on that romance and the power of music, Vivo would be a memorable experience, one similar to the emotional power of Pixar’s 'Coco,' which also focuses on music, long-lost lovers, and the next generation carrying on the torch. Even with gorgeous animated sequences and wonderful music, the film juggles too many shenanigans, detracting from the more powerful story at hand. Still, the ending harkens back to what made the movie shine in the first place, tying it all together in a beautifully bittersweet finale."
Petrana Radulovic, Polygon
"There are touches of Miranda magic that set 'Vivo' apart from most animated musicals. It’s a pleasure to hear his hyper-dexterous verbosity in the opening number. While there’s nothing in the score to make fans forget 'Hamilton,' there are a few songs with the uplifting gusto the composer brought to, say, 'In the Heights': 'One of a Kind' and the spoonbill duet 'Love’s Gonna Pick You Up' come to mind. The standout song is probably 'My Own Drum,' Gabi’s girl-power declaration of independence, performed with brio by Simo. Ironically, though, the song the entire story builds up to, 'Inside Your Heart (Para Marta),' does not turn out to be the home run the movie needs in the bottom of the ninth. 'Vivo' takes off with a cute kinkajou, some good music and some interesting visuals, but ultimately doesn’t stick the landing."
Michael Ordona, Los Angeles Times
WHO YOU THINK I AM - Ibrahim Maalouf
"The splitting of the story into distinct accounts is a mere stylistic excuse for Laurens to take up much more atemporal questions than the contradictory 'shipwreck and lifeboat' nature of internet hook-ups, as Claire tells her therapist, Catherine (Nicole Garcia). In many ways, social media in the novel is Laurens’s forced attempt to seem current, but while her writing fortunately overshadows the flatness of Facebook as a narrative device, the film brings the flatness of instant-messaging screens to the fore and scores it all with insistent piano music."
Diego Semerene, Slant Magazine
"The filmmaking adjusts accordingly, with jazz musician Ibrahim Maalouf’s hitherto spare, supple score steadily ramping things up to onze. But before that savory point of no return, 'Who You Think I Am' works in a lower key as a dry little comedy of manners, milking much mirth from generational conflict and changing codes of online etiquette. (Binoche’s expression of abject, panicked incomprehension when Alex asks for her 'insta' is a picture worth the price of admission alone.)"
Guy Lodge, Variety
"Previously best known for 2008’s 'Mark of An Angel,' which also dealt with a middle-aged woman suffering from mental health issues, Nebbou handles proceedings with in a confident and slick manner. He deploys Ibrahim Maalouf’s score with restraint before amping it up in the delicious final seconds. It’s a satisfying denouement to what has in effect been a 'catfishing' narrative told from the catfish’s own POV. Claire only grasps the seriousness of her sustained deceptions when she hears of a tragic development around the hour mark (its shattering impact boosted by a rare, vertiginous directorial flourish). This casts a darker hue over all that follows, including an extended sequence in which Dr. Bormans reads the story Claire has written based on her own recent experiences and the tale-with-in-a-tale is depicted onscreen."
Neil Young, The Hollywood Reporter
YAKUZA PRINCESS - Lucas Marcier, Fabiano Krieger
"Thanks to cinematographer Gustavo Hadba, 'Yakuza Princess' unfurls in a stylish neon-lit reality where each static frame is industriously designed to spy on the characters from behind windows and doors. The alluring effect of those elegant shots matches the intensity and brightness of the lights that coat the picture. But there’s only so much good will such a dazzling but overused aesthetic mandate can get you when the set pieces are sparse, the pumping of exposition relentless, and the music tritely mysterious."
Carlos Aguilar, IndieWire
"Lucas Marcier and Fabiano Krieger’s eclectic score mixes deep, droning human voices with the piercing twang of the Japanese shamisen to outstanding effect in several sequences. For the record, Rhys Meyers’ character finally gets a name in the film’s final scene, which points clearly toward a sequel."
Richard Kuipers, Variety
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
September 17
ALPHABET CITY (Nile Rodgers) [Los Feliz 3]
BLADE RUNNER (Vangelis) [New Beverly]
THE HAUNTING (Humphrey Searle) [Fairfax Cinema]
THE HAUNTING (Jerry Goldsmith) [Fairfax Cinema]
JACKIE BROWN [New Beverly]
THE MAN WHO FELL TO EARTH (John Phillips) [Los Feliz 3]
REBEL WITHOUT A CAUSE (Leonard Rosenman), HIGH SCHOOL CONFIDENTIAL! [New Beverly]
ROLLER BOOGIE (Bob Esty, Craig Safan) [Los Feliz 3]
TOKYO SONATA (Kazumasa Hashimoto) [Los Feliz 3]
September 18
AN AMERICAN TAIL (James Horner) [Los Feliz 3]
BRAM STOKER'S DRACULA (Wojciech Kilar) [Alamo Drafthouse]
CAT PEOPLE (Roy Webb) [Fairfax Cinema]
CAT PEOPLE (Giorgio Moroder) [Fairfax Cinema]
FRIDAY (Hidden Faces) [New Beverly]
THE GENERAL, SUPERCOP [Aero]
THE GRIFTERS (Elmer Bernstein) [Los Feliz 3]
JOE VS. THE VOLCANO (Georges Delerue) [Los Feliz 3]
THE MITCHELLS VS. THE MACHINES (Mark Mothersbaugh) [Aero]
REBEL WITHOUT A CAUSE (Leonard Rosenman), HIGH SCHOOL CONFIDENTIAL! [New Beverly]
SINGIN' IN THE RAIN (Nacio Herb Brown, Lennie Hayton) [New Beverly]
SKATETOWN, U.S.A (Miles Goodman) [Los Feliz 3]
WHITE PEOPLE (Teddy Castellucci) [Fairfax Cinema]
September 19
ADAPTATION (Carter Burwell) [Fairfax Cinema]
BARB & STAR GO TO VISTA DEL MAR (Christopher Lennertz, Dara Taylor) [Alamo Drafthouse]
BRIGHT FUTURE (Pacific 231) [Los Feliz 3]
CHUNGKING EXPRESS (Frankie Chan, Michael Galasso, Roel A. Garcia) [Los Feliz 3]
FLATLINERS (James Newton Howard) [Los Feliz 3]
IN THE MOOD FOR LOVE (Michael Galasso, Shigeru Umebayashi), THE HAND [Aero]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [IPIC Westwood]
THE NIGHT OF THE HUNTER (Walter Schumann) [Los Feliz 3]
REBEL WITHOUT A CAUSE (Leonard Rosenman), HIGH SCHOOL CONFIDENTIAL! [New Beverly]
SINGIN' IN THE RAIN (Nacio Herb Brown, Lennie Hayton) [New Beverly]
WANDA (Don Mullaney) [Aero]
THE WICKER MAN (Paul Giovanni) [Fairfax Cinema]
THE WICKER MAN (Angelo Badalementi) [Fairfax Cinema]
September 20
CHOPPING MALL (Chuck Cirino), NIGHT OF THE COMET (David Richard Campbell) [New Beverly]
CHUNGKING EXPRESS (Frankie Chan, Michael Galasso, Roel A. Garcia) [Los Feliz 3]
SERIAL MOM (Basil Poledouris) [Los Feliz 3]
TAXI DRIVER (Bernard Herrmann) [Alamo Drafthouse]
September 21
BRAM STOKER'S DRACULA (Wojciech Kilar) [Alamo Drafthouse]
THE DARJEELING LIMITED [Los Feliz 3]
THE LADY VANISHES (Louis Levy) [Los Feliz 3]
TERMINATOR 2: JUDGMENT DAY (Brad Fiedel) [New Beverly]
September 22
THE BABADOOK (Jed Kurzel) [Alamo Drafthouse]
CITIZEN KANE (Bernard Herrmann) [Laemmle Playhouse] [Laemmle Town Center]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [IPIC Westwood]
THE RING (Hans Zimmer) [Fairfax Cinema]
RINGU (Kenji Kawai) [Fairfax Cinema]
THE TAKING OF PELHAM ONE TWO THREE (David Shire) [Los Feliz 3]
TERMINATOR 2: JUDGMENT DAY (Brad Fiedel) [New Beverly]
THANK YOU AND GOOD NIGHT [Los Feliz 3]
September 23
DESERT HEARTS [Los Feliz 3]
THE TAKING OF PELHAM ONE TWO THREE (David Shire) [Los Feliz 3]
TERMINATOR 2: JUDGMENT DAY (Brad Fiedel) [New Beverly]
September 24
AS TEARS GO BY (Ting Nat Chung, Teddy Robin Kwan) [Los Feliz 3]
COLLATERAL (James Newton Howard) [New Beverly]
DOUBLE INDEMNITY (Miklos Rozsa), THE BIG SLEEP (Max Steiner) [New Beverly]
THE MANCHURIAN CANDIDATE (David Amram) [Fairfax Cinema]
THE MANCHURIAN CANDIDATE (Rachel Portman) [Fairfax Cinema]
THE OUTSIDERS (Carmine Coppola) [Hollywood Legion]
RESERVOIR DOGS [New Beverly]
THE ROOM (Mladen Milicevic) [Landmark Westwood]
SERIAL MOM (Basil Poledouris) [Los Feliz 3]
SKATETOWN, U.S.A. (Miles Goodman) [Los Feliz 3]
TERMINAL ISLAND (Michael Andres) [Los Feliz 3]
TOP GUN (Harold Faltermeyer) [Aero]
September 25
THE BEAVER TRILOGY (Joel Iwatki, Denise Kaufman, Don Peake) [Fairfax Cinema]
DOUBLE INDEMNITY (Miklos Rozsa), THE BIG SLEEP (Max Steiner) [New Beverly]
KANSAS CITY BOMBER (Don Ellis) [Los Feliz 3]
THE KILLERS (Miklos Rozsa) [Fairfax Cinema]
THE KILLERS (John Williams) [Fairfax Cinema]
THE LONG GOODBYE (John Williams) [Los Feliz 3]
MULHOLLAND DRIVE (Angelo Badalamenti) [New Beverly]
THE ROOM (Mladen Milicevic) [Landmark Westwood]
THE WITCHES (Stanley Myers) [Los Feliz 3]
WHO FRAMED ROGER RABBIT (Alan Silvestri) [New Beverly]
September 26
BATMAN V. SUPERMAN: DAWN OF JUSTICE (Hans Zimmer, Tom Holkenborg) [Arena CineLounge]
BIRDS OF PREY: AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN (Daniel Pemberton) [Arena CineLounge]
CAPE FEAR (Bernard Herrmann) [Fairfax Cinema]
CAPE FEAR (Bernard Herrmann, Elmer Bernstein) [Fairfax Cinema]
CHUNGKING EXPRESS (Frankie Chan, Michael Galasso, Roel A. Garcia) [Aero]
DOUBLE INDEMNITY (Miklos Rozsa), THE BIG SLEEP (Max Steiner) [New Beverly]
EMPEROR OF THE NORTH (Frank DeVol) [Los Feliz 3]
HAPPY TOGETHER (Danny CHung) [Los Feliz 3]
MAN OF STEEL (Hans Zimmer) [Arena CineLounge]
THE OUTSIDERS (Carmine Coppola) [IPIC Westwood]
SISTERS (Bernard Herrmann) [Fairfax Cinema]
SUICIDE SQUAD (Steven Price) [Arena CineLounge]
WHO FRAMED ROGER RABBIT (Alan Silvestri) [New Beverly]
WONDER WOMAN (Rupert Gregson-Wiliams) [Arena CineLounge]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: William Shakespeare's The Merchant of Venice (Pook), Les Liaisons Dangereuses (Monk), Billie Holiday: Verve Silver Collection (Holliday), Ascenseur Pour L'Echaufaud (Davis), The Quintessential Billie Holiday: Volume 7 (1938-1939) (Holiday), Les Liaisons Dangereuses (Blakey), The Quintessential Billie Holiday: Volume 6 (1938) (Holiday), Des Femmes Disparaissent/Les Tricheurs (Blakey), Paris Blues (Ellington), Castle in the Sky (Hisaishi), Porco Rosso (Hisaishi), Kiki's Delivery Service (Hisaishi), Princess Mononoke (Hisaishi), Spirited Away (Hisaishi), Howl's Moving Castle (Hisaishi), Ponyo (Hisaishi), The Wind Rises (Hisaishi)
Read: Casino Royale, by Ian Fleming
Seen: Shaft [1971], Flag Day, CODA, Everybody's Talking About Jamie, Candyman [2021], Shang-Chi and the Legend of the Ten Rings, Malignant, Detour [1945]
Watched: Hangmen Also Die!; Twin Peaks ("The Stars Turn and a Time Presents Itself"); Hilda [1929]; Revival Day [1930]; Niagara Falls [1930]; Satires [1929]; Skyfall; Two Good Boys Gone Wrong [1929]; Carlena Diamond: Harpist Supreme [1929]
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