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Intrada plans to release one new CD next week.


Varese Sarabande has announced two new, expanded CD Club releases -- a Deluxe Edition of John Williams' score for Alan J. Pakula's 1990 film version of Scott Turow's best-selling legal mystery PRESUMED INNOCENT, starring Harrison Ford, Raul Julia and Bonnie Bedelia; and a "Tumescent Edition" of John Powell's score for the first in the Robert Ludlum-based Jason Bourne action franchise, THE BOURNE IDENTITY, starring Matt Damon and directed by Doug Limon.

Varese has also re-released Tangerine Dream's score for the original 1984 film version of FIRESTARTER.


CDS AVAILABLE THIS WEEK

Acqua E Sapone
 - Fabio Liberatori - Beat
Anastasio Mio Fratello
 - Piero Piccioni - Beat
The Bourne Identity: The Tumescent Edition
- John Powell - Varese Sarabande CD Club
Firestarter [re-release] - Tangerine Dream - Varese Sarabande
The Power of the Dog 
- Jonny Greenwood - Lakeshore
Presumed Innocent: The Deluxe Edition - John Williams - Varese Sarabande CD Club
Top Gun: Maverick [songs, score]
- Lorne Balfe, Harold Faltermeyer, Lady Gaga, Hans Zimmer - Interscope 


IN THEATERS TODAY

A Chiara - Dan Romer, Benh Zeitlin
The Bob's Burgers Movie - Tim Davies
Digger - Michalis Moschoutis
18 1/2 - Luis Guerra
Fire in the Mountains - Arnaud van Vliet
The Janes - Max Avery Lichtenstein
Top Gun: Maverick - Lorne Balfe, Harold Faltermeyer, Lady Gaga, Hans Zimmer - Song & Score CD on Interscope


COMING SOON

June 3
Violin Concerto No. 2 & Selected Film Themes - John Williams - Deutsche Grammophon
June 10
Ted K - Blanck Mass - Sacred Bones
June 17
The Velvet Queen (La panthere des neiges) - Nick Cave, Warren Ellis - Invada 
July 1
The Northman - Robin Carolan, Sebastian Gainsborough - Sacred Bones
July 22
Clark - Mikael Akerfeldt - Inside Out
Date Unknown
Blood on the Crown
 - Laurent Eyquem - Kronos
Farewell Gulsary
 - Andre Matthias - Kronos
The Green Planet
 - Benji Merrison, Will Slater - Silva
I gabbiani volano bassi 
- Roberto Pregadio, Carlo Cristallini - CSC
La donna della calda terra 
- Carlo Savina - CSC
Storia e preistoria - Piero Umiliani - Kronos   


THIS WEEK IN FILM MUSIC HISTORY

May 27 - Rene Koering born (1940)
May 27 - Franz Waxman begins recording his score for Botany Bay (1952)
May 27 - Angelo Milli born (1975)
May 27 - James Horner records his score for Tummy Trouble (1989)
May 27 - Derek Scott died (2006)
May 28 - Victor Young begins recording his score for I Walk Alone (1947)
May 28 - Vertigo is released in theaters (1958)
May 28 - Maurice Jarre begins recording his score for The Island at the Top of the World (1974)
May 28 - Fred Karlin wins the Emmy for The Autobiography of Miss Jane Pittman; Morton Stevens wins for the Hawaii Five-O episode score “Hookman” (1974)
May 28 - Maurice Jarre records his score for Posse (1975)
May 28 - Maurice Jarre begins recording his score for Solar Crisis (1990)
May 28 - Tony Ashton died (2001)
May 28 - Johnny Keating died (2015)
May 28 - Lennie Niehaus died (2020)
May 29 - Erich Wolfgang Korngold born (1897)
May 29 - Masaru Sato born (1928)
May 29 - Vyacheslav Ovchinnikov born (1936)
May 29 - David McHugh born (1941)
May 29 - Danny Elfman born (1953)
May 29 - Ed Alton born (1955)
May 29 - Deborah Mollison born (1958)
May 29 - J.J. Johnson begins recording his score for Cleopatra Jones (1973)
May 29 - Maurice Jarre begins recording his score for Shogun (1980)
May 29 - Simon Brint died (2011)
May 30 - Michael Small born (1939)
May 30 - Lalo Schifrin begins recording his score for Golden Needles (1974)
May 30 - Devendra Banhart born (1981)
May 31 - Rene Cloerec born (1911)
May 31 - Akira Ifukube born (1914)
May 31 - Mario Migliardi born (1919)
May 31 - Clint Eastwood born (1930)
May 31 - Jerry Goldsmith records his score for Studs Lonigan (1960)
May 31 - Giovanni Fusco died (1968)
May 31 - Lalo Schifrin begins recording his score for The Concorde…Airport ’79 (1979)
May 31 - Maurice Jarre begins recording his unused score for The River Wild (1994)
June 1 - Werner Janssen born (1899)
June 1 - Frank Cordell born (1918)
June 1 - Nelson Riddle born (1921)
June 1 - Tom Bahler born (1943)
June 1 - Konstantin Wecker born (1947)
June 1 - Barry Adamson born (1958)
June 1 - John Williams begins recording his score for Close Encounters of the Third Kind (1977)
June 1 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Emissary" (1989)
June 1 - John Debney begins recording his score for Hocus Pocus (1993)
June 2 - Frederic Devreese born (1929)
June 2 - Marvin Hamlisch born (1944)
June 2 - David Dundas born (1945)
June 2 - Alex North begins recording his score to Les Miserables (1952)
June 2 - Patrick Williams begins recording his replacement score for Used Cars (1980)
June 2 - Bill Conti begins recording his score for Cohen & Tate (1988)
June 2 - Recording sessions begin for Danny Elfman’s score to Big Top Pee-Wee (1988)
June 2 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Duet” (1993)

DID THEY MENTION THE MUSIC?

ANAÏS IN LOVE - Nicola Piovani

"Cockblocked by this unknown woman, Anaïs ends the affair and resolves to get acquainted with Emilie instead. Having convinced herself, after reading Emilie’s collected works, that they are true kindred spirits, Anaïs abandons all other responsibilities -- including her job and her doting, cancer-stricken mother (Anne Canovas) -- to stalk the older woman at an elite literary convention in the countryside, gradually ingratiating herself with a zeal that brings to mind an adorable, espadrille-wearing Alex Forrest. Is she borderline psychotic or simply flailing for human connection? Bourgeois-Tacquet resists making the call. The film’s sunny, wistful tone never wavers, the sweet strings of Nicola Piovani’s score carry on apace, while Noé Bach’s warm, hazy-afternoon lensing consistently casts our heroine’s exploits, quite literally, in the best possible light."
 
Guy Lodge, Variety
 
DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS - Danny Elfman
 
"Also amping up the sense of fun is Danny Elfman’s delirious score and some (we hope knowingly) cheesy dialogue. And the much-publicised cameos -- yes, there are plenty -- should thrill comic-book lovers used to seeing random heroes pop up in one-issue storylines."
 
Hannah Flint, Time Out London 

"The powers of Doctor Strange (as manifested in his first film and subsequent appearances in other Marvel projects) allow filmmakers to create M.C. Escher–esque kaleidoscopes of collapsing reality, and Raimi absolutely takes advantage of the opportunities to send everyone and everything on screen helter-skelter. There’s a memorably trippy montage of Dr. Strange and America falling through universe after universe, with different styles of architecture, cinematography (by John Mathieson, 'Detective Pikachu'), and even the physical makeup of the characters themselves. 'Multiverse of Madness' is at its best in those all-too-rare moments when that madness comes through, with Danny Elfman’s spot-on score offering just the right support to both the heroics and the trippiness."
 
Alonso Duralde, The Wrap 
 
"There’s still more: occult rites and ancient runes, high-altitude sanctums and acid-washed visuals, plus a bevy of out-there cameos that Raimi uses to poke fun at the elasticity of the multiverse. (It’s hardly a spoiler to note that it wouldn’t be a Raimi film if his favorite muse, Bruce Campbell, didn’t turn up in a scene or two.) There are also some deliciously pustular visions, including a few zombie- and wraith-like denizens who wouldn’t look out of place in Raimi’s 'Evil Dead' movies. If Scott Derrickson, the director of 2016’s 'Doctor Strange,' teased out the altered states and Far East mysticism in Steve Ditko and Stan Lee’s original comic books, then Raimi has found in this sequel a surprisingly accommodating vehicle for his ecstatic love of horror filmmaking (to say nothing of a darkly exultant score by Danny Elfman)."
 
Justin Chang, Los Angeles Times

"As the film goes on, it starts to embrace these Raimi-isms until the third act unleashes some of the director's most recognizable visual quirks in all their glory. It's silly, it's gory, it's a little 'Evil Dead,' a little 'Darkman,' and it's refreshingly cornball in a way that Marvel rarely is. It might be Raimi copping on his own directorial flairs within a Marvel movie -- but at least he does it with style. Paired with Danny Elfman's fizzy score, Raimi elevates 'Multiverse of Madness' from the bridge-building bit of IP it so transparently is. While he doesn't quite elevate it to the 'madness' that the film promises, he does, for a few brief, shining moments, show the kids how those superhero movies could be done."
 
Hoai-Tran Bui, Slashfilm.com 

"In this movie, tentacles roil, specters scream, skeletons taunt, and eldritch hands seek, grasp, and pull. Goofy body-horror deaths -- a tasting menu’s worth -- play to delighted gasps. There are at least two moments where characters look straight out of the screen and make eye contact with the audience. The camera swoops across scenes, delivers POV shots from the oddest of entities, and transitions from sequence to sequence via occasionally dreamlike leaps. Particularly memorable is an entire magical duel accomplished through animated musical notes, underscored (ho ho) by the work of composer Danny Elfman."
 
Susana Polo, Polygon.com 

"It’s weird that so many Sam Raimi fans were hoping for a return to his horror auteur form considering (1) we’ve seen a bunch of skilled indie filmmakers squish their vision into the Marvel frame for a big paycheck and (2) Raimi is known to the wider film-watching public as the guy that made the original Spider-Man trilogy. It’s weirder still that the horror fans were kinda right to be hopeful: The second and third acts are full of horror imagery, jump scares and a Bruce Campbell cameo (and fellow Raimi collaborator Danny Elfman does the score). One of my favorite things about the first' Doctor Strange' was that the introduction of magic into the MCU meant exciting psychedelic visuals. Multiverse of Madness alternates between being comparatively rudimentary and going past the original into the macabre. The later parts of the movie are sweet: There’s a zombie sorcerer with a cape made of ghouls. Part of me considers that an instant recommendation. Another visually and sonically captivating scene sees Strange fight yet another alternate version of himself. They enchant musical instruments and written musical notes, fighting with them while the score and sound direction sync up to punctuate it. It’s a cool audiovisual presentation that stands out from the literal gray background."
 
Kevin Fox Jr., Paste Magazine 

FIRESTARTER - John Carpenter, Cody Carpenter, Daniel Davies

"In another highlight, John Carpenter and his son/bandmate Cody wrote the score for the new 'Firestarter,' a reflection of Carpenter’s willingness to work on movies as long as he can just do the fun parts, then back to watching basketball. (This Blumhouse production also shares quite a few behind-the-scenes personnel with the rebooted 'Halloween' franchise, further explaining the Carpenters’ presence on the project.) No matter how hard other people may try, no one can compose an uncanny-yet-catchy synth line like the man himself. Much as with Greyeyes, this movie probably doesn’t deserve John Carpenter, but it does benefit from his involvement."
 
Katie Rife, The Onion AV Club 

"Nothing here really works. Even a surprisingly flat score from horror master John Carpenter (who was originally slated to direct the '84 version) can't save 'Firestarter' from being a colossal misfire."
 
Richard Whittaker, The Austin Chronicle 

"The Blumhouse model is to keep budgets low, but they usually hire directors and productions teams who can hide the corners being cut with clever filmmaking choices. Not this time. 'Firestarter' just looks cheap -- in most ways, cheaper than the 1984 version -- with no memorable craft elements or decisions outside of a cool, ‘80s score from John Carpenter, Cody Carpenter, and Daniel Davies. The score deserved a movie that knew how to use it more effectively and with tighter visual language. Everything here is close-up, boring coverage in flatly written dialogue scenes, and the action is even worse. It’s often hard to decipher what the hell is happening when things are supposed to be getting intense and director Keith Thomas does a miserable job with geography (largely because of the close-up, reverse shot structure that never puts two people in a frame in a room)."
 
Brian Tallerico, RogerEbert.com 
 
"That can’t be said about the disorientingly hazy shallow-focus photography, which reflects a sense of paranoia building up within the characters, if to a distracting extent. And once 'Firestarter' decides to get up and go, it never shakes off the timidity of its style and pacing. Similarly inert is the film’s score by John Carpenter, Cody Carpenter, and Daniel Davies. John Carpenter was attached to direct the 1984 film before he was let go from the project due to 'The Thing' underperforming at the box office, and for those who’ve always wondered just what his 'Firestarter' might have looked like, the flavorless soundscape doesn’t give a single clue."
 
Rocco T. Thompson, Slant Magazine 
 
"I have not read the King novel, but this film feels less like an adaptation of the novel and more like a remake of the feature film. I swear, there were some lines of dialogue that were ripped from the 1984 film for this one. This film was tightened up from the original, getting rid of a good half-hour of the runtime, which was necessary. The 2022 version also upped the gore content -- just a little bit, enough to justify the R rating it received. And of course, the score by John and Cody Carpenter, simply can’t be beat."
 
Alyse Wax, Collider 

"The best one can probably say for the new 'Firestarter' is that it gives John Carpenter, who almost directed the original (before 'The Thing' flopped in theaters), an opportunity to write a score for the film he never made. (Cody Carpenter and Daniel A. Davies are credited as his co-composers.) It’s a decent score, and it sure sounds like an old-school John Carpenter riff, but it’s not so mind-blowingly amazing that it justifies the existence of the inert remake underneath it. It just happens to be one of the few burning embers in this pile of ashes."
 
William Bibbiani, The Wrap 

"Thomas, who previously made the effectively spooky low-budget ghost story 'The Vigil,' handles the horror parts of 'Firestarter' reasonably well. Whenever Charlie loses her cool (so to speak), her skin-melting fury is as gory and nightmarish as it should be. And the production has scored a coup in enlisting the legendary horror director and soundtrack composer John Carpenter to provide one of his hauntingly minimalist scores, co-written with his son Cody Carpenter and Daniel Davies."
 
Noel Murray, Los Angeles Times
 
"King’s tale, far from his best, made more sense as a 1970s hangover, a portrait of a family man feeling the side effects of a decade reshaped by hallucinogens and Watergate. To that end, it at least sounds era-appropriate: the throbbing synth score comes courtesy of none other than John Carpenter. Close your eyes and you can almost pretend you’re watching a proper King adaptation, like the killer-car classic Carpenter directed a lifetime ago."

A.A. Dowd, Empire

"The best thing that can be said about this new iteration of 'Firestarter' is that it at least gave us a new score by John Carpenter, Cody Carpenter, and Daniel A. Davies. The rest feels like a waste of a talented cast and crew that somehow, against all odds, makes the 1984 film seem like a staggering achievement in the realm of King adaptations."
 
Richard Newby, The Onion AV Club 

"One must ask why now? It’s usually hitting below the belt to blame a movie’s marketing. You should review the work at hand. But the ads for 'Firestarter' have tried to sell it as a superhero flick, and in its dialogue, the script acknowledges that bent. Everything else, from the score composed by John and Cody Carpenter, and Daniel Daviesi -- one of the few highlights -- to the engaging performance by Greyeyes, never really congeals with the artistically bankrupt, quick-fix work of trying to ramp this movie toward the mega-dollar superhero zeitgeist."
 
Robert Daniels, The Playlist 
 
"But these situational plot turns are very cut-and-dried kindling. The new 'Firestarter' is a mom-and-dad-and-feral-kid-undercover story that turns into a dad-and-daughter-on-the-run road movie, and the whole thing plays like 'Logan' done in the worst humdrum rhythmless made-for-streaming generic style, the lighting flat, the soundtrack heavy with John Carpenter’s old-school one-man-at-the-synthesizer horror music, because if you took that sound of processed dread away you wouldn’t have much else."
 
Owen Gleiberman, Variety 
 
"Speaking of Christine, the 1983 film version was directed by John Carpenter, who was slated to direct the original 'Firestarter' until Universal got cold feet after the disappointing box-office of 'The Thing.' In a nicely poetic touch, Carpenter, along with his musical collaborators Cody Carpenter and Daniel Davies, has provided a terrifically spooky electronic music score for this effort -- perhaps its most distinguished element."
 
Frank Scheck, The Hollywood Reporter 
 
MONTANA STORY - Kevin Morby

“Montana Story” operates best as a ticking time bomb juxtaposed tonally from Kevin Morby’s plaintive melodic score. The siblings often veer close to laying out their true grievances, and the closer they arrive, the sharper the jagged, rugged landscape becomes, and the colder the skin-smearing wind sounds. Their ping-pong game of nasty words — at one point Erin alludes to Cal belonging in the lowest circle of Dante’s Hell, where the betrayers of special relationships reside — comes to a head during a bitter lightning storm that causes a power outage in the home. Richardson’s spontaneous overflow of emotions is a gut punch, while Teague’s slow emotional build to fall in a landfill of grief is acutely measured.
 
Robert Daniels, IndieWire 
 
"The story unfolds at a measured pace, alert to every unspoken feeling of the mostly taciturn characters, with Kevin Morby’s folky score and a handful of songs delicately coloring the mood."
 
David Rooney, The Hollywood Reporter 

THE NEXT TEN DAYS IN L.A.

Screeings of older films in Los Angeles-area theaters.

May 27
ARMY OF DARKNESS (Joseph LoDuca) [Landmark Westwood]
ARMY OF DARKNESS (Joseph LoDuca) [New Beverly]
BAMBOOZLED (Terence Blanchard) [Academy Museum]
BREWSTER MCCLOUD (Gene Page) [BrainDead Studios]
EASTERN PROMISES (Howard Shore) [Los Feliz 3]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
FULL METAL JACKET (Abigail Mead) [BrainDead Studios]
THE GODFATHER (Nino Rota) [Aero]
A HISTORY OF VIOLENCE (Howard Shore) [Los Feliz 3]
MULHOLLAND DRIVE (Angelo Badalamenti) [Nuart]
NO COUNTRY FOR OLD MEN (Carter Burwell) [New Beverly]
PONYO (Joe Hisaishi) [Academy Museum]
SPEED (Mark Mancina) [Nuart]
SPRING BREAKERS (Cliff Martinez, Skrillex) [Alamo Drafthouse]

May 28
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner) [New Beverly]
AN AMERICAN WEREWOLF IN LONDON (Elmer Bernstein) [New Beverly]
ARMY OF DARKNESS (Joseph LoDuca) [Landmark Westwood] 
BLACKKKLANSMAN (Terence Blanchard) [Academy Museum]
BOTTLE ROCKET (Mark Mothersbaugh) [BrainDead Studios]
DIE HARD (Michael Kamen) [New Beverly]
EXISTENZ (Howard Shore) [Los Feliz 3]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [Aero]
THE HAUNTING (Humphrey Searle), THE UNINVITED (Victor Young) [New Beverly]
JUSTINE (Jerry Goldsmith) [Los Feliz 3]
PORCO ROSSO (Joe Hisaishi) [Alamo Drafthouse]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SHOGUN ASSASSIN (W. Michael Lewis, Mark Lindsay) [Alamo Drafthouse] 
SUPERBAD (Lyle Workman) [BrainDead Studios]
TOUCH OF EVIL (Henry Mancini) [Los Feliz 3]
UP (Michael Giacchino) [Academy Museum]
VIDEODROME (Howard Shore) [Los Feliz 3]
THE WIZ (Charlies Smalls, Quincy Jones) [BrainDead Studios]

May 29
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner) [New Beverly]
ALADDIN (Alan Menken) [Fine Arts]
BACK TO THE FUTURE PART II (Alan Silvestri) [Alamo Drafthouse]
DEAD RINGERS (Howard Shore) [Los Feliz 3]
THE DRIVER (Michael Small) [Nuart]
THE FLY (Howard Shore) [Los Feliz 3]
THE HAUNTING (Humphrey Searle), THE UNINVITED (Victor Young) [New Beverly] 
INTERSTELLAR (Hans Zimmer) [Academy Museum]
MARIO PUZO'S THE GODFATHER, CODA: THE DEATH OF MICHAEL CORLEONE (Carmine Coppola) [Aero]
MISTER LONELY (Justin Spaceman and the Sun City Girls) [BrainDead Studios]
PORCO ROSSO (Joe Hisaishi) [Alamo Drafthouse]
SMOKEY AND THE BANDIT (Bill Justis, Jerry Reed) [Fine Arts]
STRANGER THAN PARADISE (John Lurie) [Los Feliz 3]
VIRGIN STRIPPED BARE BY HER BACHELORS (Kil-sung Ok) [Los Feliz 3]

May 30
THE BEST YEARS OF OUR LIVES (Hugo Friedhofer) [Hollywood Legion]
CRIMES OF THE FUTURE [Los Feliz 3]
DARK STAR (John Carpenter) [Alamo Drafthouse]
DEATH WISH IV: THE CRACKDOWN (John Bisharat, Paul McCallum, Valentine McCallum) [Los Feliz 3]
DEMOLITION MAN (Elliot Goldenthal) [Nuart]
THE GODFATHER (Nino Rota) [Aero]
NIGHTMARES (Craig Safan), DEADTIME STORIES (Taj) [New Beverly]
SHOGUN ASSASSIN (W. Michael Lewis, Mark Lindsay) [Alamo Drafthouse]
SPRING BREAKERS (Cliff Martinez, Skrillex) [Alamo Drafthouse]

May 31
THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD (Nick Cave, Warren Ellis) [New Beverly]
BACK TO THE FUTURE PART II (Alan Silvestri)  [Alamo Drafthouse]
DARK STAR (John Carpenter)  [Alamo Drafthouse] 
LIKE YOU KNOW IT ALL (Yong-jin Jeong) [Los Feliz 3]
9 1/2 WEEKS (Jack Nitzsche) [Los Feliz 3]
STAR WARS (John Williams) [Academy Museum]
TOP OF THE HEAP (J.J. Johnson) [Alamo Drafthouse]
UNDER THE SILVER LAKE (Disasterpeace) [Nuart]

June 1
THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD (Nick Cave, Warren Ellis) [New Beverly]
DARK STAR (John Carpenter) [Alamo Drafthouse]
INHERENT VICE (Jonny Greenwood) [Nuart]
NIGHT ON EARTH (Tom Waits) [BrainDead Studios]
RATCATCHER (Rachel Portman), VAGABOND (Joanna Bruzdowicz) [Aero]
SALO, OR THE 120 DAYS OF SODOM (Ennio Morricone) [Los Feliz 3]
SMOKEY AND THE BANDIT (Bill Justic, Jerry Reed) [Laemmle Playhouse]
SPRING BREAKERS (Cliff Martinez, Skrillex) [Alamo Drafthouse]
THREADS [Los Feliz 3]

June 2
THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT (Guy Gross) [Laemmle Monica] [Laemmle NoHo] [Laemmle Playhouse]
THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD (Nick Cave, Warren Ellis) [New Beverly]
BASTARDS (Stuart A. Staples) [Los Feliz 3]
CHINATOWN (Jerry Goldsmith), SORCERER (Tangerine Dream) [Aero]
CRIMES OF PASSION (Rick Wakeman) [Nuart]
SHAME (Harry Escott) [Los Feliz 3]

June 3
COME AND SEE (Oleg Yanchenko), THE ASCENT (Alfred Schnittke) [Aero]
ELEPHANT [Los Feliz 3]
HALLOWEEN (John Carpenter) [Alamo Drafthouse] 
KILL BILL VOL. 2 (RZA, Robert Rodriguez) [New Beverly]
LOS OLVIDADOS (Rodolfo Halffter, Gustavo Pittaluga) [Los Feliz 3]
MAN OF THE WEST (Leigh Harline) [Los Feliz 3]
THE MIST (Mark Isham) [Los Feliz 3]
POLYESTER (Chris Stein, Michael Kamen) [New Beverly]
THE RAID (Mike Shinoda, Joseph Trapanese) [BrainDead Studios]
RUN, LOLA, RUN (Tom Tykwer, Johnny Klimek, Reinhold Heil) [BrainDead Studios]
STAR TREK II: THE WRATH OF KHAN (James Horner) [New Beverly]

June 4
THE CLOCK (George Bassman) [Alamo Drafthouse]
COMBAT SHOCK (Ricky G) [Los Feliz 3]
EDGE OF TOMORROW (Christophe Beck) [BrainDead Studios]
AN ELEPHANT SITTING STILL (Hua Lun) [Aero]
FUNNY GAMES [Los Feliz 3]
THE KREUTZER SONATA (Nigel Holland) [Los Feliz 3]
PIECES [New Beverly]
PITCH PERFECT (Christophe Beck, Mark Kilian) [Alamo Drafthouse]
POLTERGEIST (Jerry Goldsmith) [New Beverly]
POLYESTER (Chris Stein, Michael Kamen) [New Beverly] 
THE RETURN (Andrey Dergachev), LEVIATHAN [Aero]
THE ROCK (Nick Glennie-Smith, Hans Zimmer) [BrainDead Studios]
TO SIR, WITH LOVE (Ron Grainer) [Regency Village]
TO WONG FOO, THANKS FOR EVERYTHING, JULIE NEWMAR (Rachel Portman) [Alamo Drafthouse]
UNCUT GEMS (Daniel Lopatin) [BrainDead Studios]
WINTER LIGHT [Los Feliz 3]

June 5
AU HASARD BALTHAZAR (Jean Wiener) [Los Feliz 3]
BEFORE MIDNIGHT (Graham Reynolds) [BrainDead Studios]
BEFORE SUNRISE (Fred Frith) [BrainDead Studios]
BEFORE SUNSET [BrainDead Studios]
BROKEBACK MOUNTAIN (Gustavo Santaolalla) [Fine Arts]
KIDS [Los Feliz 3]
PITCH PERFECT (Christophe Beck, Mark Kilian) [Alamo Drafthouse]
PIXOTE (John Neschling) [Los Feliz 3]
POLTERGEIST (Jerry Goldsmith) [New Beverly]
POLYESTER (Chris Stein, Michael Kamen) [New Beverly]  
SATANTANGO (Mihaly Vig) [Aero]
TO WONG FOO, THANKS FOR EVERYTHING, JULIE NEWMAR (Rachel Portman) [Alamo Drafthouse]
THE TRIBE [Los Feliz 3]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Fine Arts]


THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY

Heard: In the Line of Fire (Morricone); Cars 2 (Giacchino); This Island Earth (Stein, Salter, Mancini); Return of the Jedi (Williams); Inside Out (Giacchino); Mission to Mars (Morricone); Star Wars Episode I: The Phantom Menace (Williams); Incredibles 2 (Giacchino); The Martian (Gregson-Williams); Star Wars Episode II: Attack of the Clones (Williams); Star Wars Episode III: Revenge of the Sith (Williams); Star Wars: The Force Awakens (Williams); Star Wars: The Last Jedi (Williams); Star Wars: The Rise of Skywalker (Williams)

Read: Fall of a Cosmonaut, by Stuart M. Kaminsky

Seen: Doctor Strange in the Multiverse of Madness; Montana Story; Firestarter [2022]; King Kong vs. Godzilla; A.I. Artificial Intelligence; Ah, Sweet Mouse-tery of Life [1965]; The Sentinel [1977]; The Legacy; Dog Day Afternoon; The Unbearable Weight of Massive Talent; Men [2022]

Watched: Invasion of the Bee Girls; The Americans ("The Walk-In"); Star Trek ("And the Children Shall Lead"); Archer ("Gramercy, Halberd!"); Watchmen ("This Extraordinary Being"); You're the Worst ("Keys Open Doors"); The Predator; Barry ("Chapter 3: Make the Unsafe Choice"); Star Trek ("Is There In Truth No Beauty?"); Archer ("Auflösung"

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Today in Film Score History:
June 25
Carly Simon born (1945)
Maurice Jarre begins recording his score for The Mackintosh Man (1973)
Pascal Gaigne born (1958)
Victor Young begins recording his score for Shane (1952)
Wolfram de Marco born (1966)
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