CDS AVAILABLE THIS WEEK
Death of a Gunfighter/Skullduggery - Oliver Nelson - La-La Land
Ghostbusters: Frozen Empire - Dario Marianelli - Sony (import)
Navy Seals - Sylvester Levay - La-La Land
IN THEATERS TODAY
The Absence of Eden - Oliver Coates
Arcadian - Kristen Gundred, Josh Martin
Civil War - Geoff Barrow, Ben Salisbury
Don't Tell Mom - The Babysitter's Dead - Jonathan Scott Friedman
Food, Inc. 2 - Mark Adler
The Long Game - Hanan Townshend
The Old Oak - George Fenton
Sasquatch Sunset - The Octopus Project
Sting - Anna Drubich
COMING SOON
May 17
One Day - Anne Nikitin, Jessica Jones, Tim Morrish - Silva
THIS WEEK IN FILM MUSIC HISTORY
April 12 - Russell Garcia born (1916)
April 12 - Edwin Astley born (1922)
April 12 - Ronald Stein born (1930)
April 12 - Herbie Hancock born (1940)
April 12 - David Raksin begins recording his score for Right Cross (1950)
April 12 - Herbert Gronemeyer born (1956)
April 12 - Andy Garcia born (1956)
April 12 - Miklos Rozsa begins recording his score to Lust For Life (1956)
April 12 - Lisa Gerrard born (1961)
April 12 - Elmer Bernstein begins recording his score for Rampage (1963)
April 12 - Jerry Goldsmith begins recording his score for One Little Indian (1973)
April 12 - Georg Haentzschel died (1992)
April 12 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Shattered Mirror” (1996)
April 12 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “The Changing Face of Evil” (1999)
April 12 - Richard Shores died (2001)
April 12 - Bruce Broughton begins recording his score to Eloise at the Plaza (2003)
April 13 - Vladimir Cosma born (1940)
April 13 - Bill Conti born (1942)
April 13 - John Addison wins his only Oscar, for Tom Jones's score (1964)
April 13 - Joel J. Richard born (1976)
April 13 - Howard Shore begins recording his score for Sliver (1993)
April 13 - John Williams begins recording his score for Minority Report (2002)
April 13 - Teo Usuelli died (2009)
April 14 - Jack Shaindlin born (1909)
April 14 - Ali Akbar Khan born (1922)
April 14 - Shorty Rogers born (1924)
April 14 - A.C. Newman born (1968)
April 14 - John Barry wins his third Oscar, for The Lion in Winter score (1969)
April 14 - Win Butler born (1980)
April 14 - Georges Delerue wins his only Oscar, for A Little Romance's score; David Shire wins song Oscar for Norma Rae's "It Goes Like It Goes" (1980)
April 14 - Elisabeth Lutyens died (1983)
April 14 - Jay Chattaway records his score for the Star Trek: Enterprise episode “E2 (2004)
April 15 - Gert Wilden born (1917)
April 15 - Michael Kamen born (1948)
April 15 - Dick Maas born (1951)
April 15 - Carlo Crivelli born (1953)
April 15 - Bernard Herrmann begins recording his score for A Hatful of Rain (1957)
April 15 - John Williams records his replacement score for the Land of the Giants pilot episode “The Crash” (1968)
April 15 - Francis Lai wins his only Oscar, for Love Story’s score (1971)
April 15 - John Greenwood died (1975)
April 15 - Jerry Goldsmith begins recording his score for Parts 1 & 2 of Masada (1980)
April 15 - John Williams records his score for the Amazing Stories episode "Ghost Train" (1985)
April 15 - Tim McIntire died (1986)
April 15 - Arthur Morton died (2000)
April 15 - Dennis McCarthy records his score for the Enterprise episode “Cogenitor” (2003)
April 15 - Les Reed died (2019)
April 15 - Lee Konitz died (2020)
April 16 - Charles Chaplin born (1889)
April 16 - Warren Barker born (1923)
April 16 - Henry Mancini born (1924)
April 16 - Perry Botkin Jr. born (1933)
April 16 - Chaz Jankel born (1952)
April 16 - David Raksin records his score for Pat and Mike (1952)
April 16 - Alex North begins recording his score for Cheyenne Autumn (1964)
April 16 - Jerry Goldsmith begins recording his score for The Detective (1968)
April 16 - Basil Poledouris begins recording his score to Quigley Down Under (1990)
April 16 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Frame of Mind” (1993)
April 17 - Jan Hammer born (1948)
April 17 - David Bell born (1954)
April 17 - Recording sessions begin for Bronislau Kaper's score for The Power and the Prize (1956)
April 17 - Ernest Gold wins his only Oscar, for the Exodus score (1961)
April 17 - Elmer Bernstein begins recording his score for Summer and Smoke (1961)
April 17 - Philippe Sarde begins recording his score for The Tenant (1976)
April 17 - John Williams begins recording his score for Stanley & Iris (1989)
April 17 - Jerry Goldsmith begins recording his score for Dennis the Menace (1993)
April 17 - Paul Baillargeon records his score for the Enterprise episode “Vox Sola” (2002)
April 18 - Alois Melichar born (1896)
April 18 - Miklos Rozsa born (1907)
April 18 - Tony Mottola born (1918)
April 18 - Buxton Orr born (1924)
April 18 - Mike Vickers born (1941)
April 18 - Kings Row released in theaters (1942)
April 18 - Andrew Powell born (1949)
April 18 - Ed Plumb died (1958)
April 18 - Maurice Jarre wins his second Oscar, for Doctor Zhivago's score; presumably decides to stick with this David Lean kid (1966)
April 18 - Jerry Goldsmith begins recording his score for Players (1979)
April 18 - Dave Grusin begins recording his score for The Goonies (1985)
April 18 - John Debney records his score for the Star Trek: Deep Space Nine episode “Progress” (1993)
April 18 - Mike Leander died (1996)
April 18 - Recording sessions begin for Marco Beltrami’s score for Red Eye (2005)
April 18 - Robert O. Ragland died (2012)
DID THEY MENTION THE MUSIC?
THE ANIMAL KINGDOM - Andrea Laszlo De Simone
"All the while, director Cailley crafts one wannabe-enchanting image of the mutants after another, often shrouded in mist or foliage, his camera soaring and twirling about with a look-at-me self-consciousness that’s enhanced by the score’s plaintive guitar. No matter a finale that almost delivers the emotional payoff to which the proceedings have been building, it’s a ponderously prestige-y take on a Marvel adventure."
Nick Schager, The Daily Beast
"While 'The Animal Kingdom' tells a gripping story about acceptance and respect for the natural world, sometimes the movie sinks under the weight of its ambition as it tries to do too much with the limited runtime of a single movie. Since 'The Animal Kingdom' is stretching its script in every possible direction, the movie suffers from a tonal dissonance at times. For instance, the story is often presented as a family-friendly fantastical adventure, where the music is uplifting, and the goal is to wrap things up with a positive message. Nevertheless, 'The Animal Kingdom' also tries to lean into the body horror derived from the mutation, with a couple of stomach-turning scenes that are wonderful in themselves but feel out of place with the whole."
Marco Vito Oddo, Collider
THE BEAST - Bertrand Bonello, Anna Bonello
"'The Beast' may not add up to a cogent or thoroughgoing critique of all the ideas it invokes, but it’s such a luxurious cinematic experience; it’s created with such elan and attack, and the musical score amplifies its throb of fear."
Peter Bradshaw, The Guardian
"This is also, in essence, an apt description of 'The Beast.' The musical compositions (by Bonello and his daughter Anna Bonello) and the soundtrack, filled with captivating classics, create a rhythmic intensity that binds its disparate stories of love and loneliness into something piercing and complete. The camera follows its characters through hallways and around winding corners until they find each other, in circumstances both exuberant and tragic. All this culminates in one of the most terrifying moments of anguish ever put to film, courtesy of Seydoux’s pained and deeply vulnerable performance, which is sure to burn its way into the audience’s subconscious and live with them long after. It echoes, like an intimate experience from some other lifetime, but one that feels impossible to shake."
Siddhant Adlakha, Polygon
"Léa Seydoux and George MacKay play thwarted lovers over three different lifetimes in 'The Beast,' but I wouldn’t describe Bertrand Bonello’s unsettling feature as a romance. It tries out different genres, from period drama to science fiction, but it’s closest in spirit to a horror movie. This is acknowledged by the opening scene, in which Seydoux steps out onto a green-screen set to enact being threatened by a monster that will be added in post. An off-screen voice guides her through the blocking and directs her to her mark. Can she pretend to be afraid of something that isn’t there? She can, and she does, producing a show of animal panic as an ominous score strikes up and the camera closes in to capture her wild eyes. The power of her fear makes it an eerie sight, even knowing there’s no actual threat -- an idea that 'The Beast' echoes and remixes as it leaps from period to period and mode to mode, flinging its characters together in different doomed scenarios."
Alison Willmore, New York
FEMME - Adam Janota Bzowski
"Scouring the web for sex videos of outed masc 'straight' boys, Jules begins concocting a plan. If he can get Preston on camera, maybe he can finally find closure, find a way to make good on the taunting line that first egged this loutish guy into senseless violence. Pulsing with Adam Janota Bzowski’s drone-like synth score, lit by James Rhodes’ neon-tinged cinematography and cut with flair by Selina Macarthur, that scene is but one moment when 'Femme' firmly establishes itself as a bold self-assured debut."
Manuel Betancourt, Los Angeles Times
"The role reversal in which the dividing line separating the 'big man' from the 'little bitch' is erased becomes entirely predictable, not helped by messy writing of a pivotal scene that sees Aphrodite return to the stage. The whole denouement is clumsy, right down to the use of agitated handheld camera to mirror the violence of the early assault. With the thriller element fumbled, the outcome is robbed of impact, and too much of the work is left to Adam Janota Bzowski’s moody electronic score to provide some emotional weight."
David Rooney, The Hollywood Reporter
GODZILLA X KONG: THE NEW EMPIRE - Tom Holkenborg, Antonio Di Iorio
"When you multiply Godzilla by Kong, what do you get? When Wingard’s doing the math, it’s an earnest, wacky, hectic ride that often feels like being thrashed about in an Imax seat. There’s a decidedly 1980s-inspired vibe to the tone and style, from the hot pinks and greens and synthy score by Tom Holkenborg and Antonio Di Iorio, to the narrative that follows a journey into a fantastical underworld. There’s also a heavy emphasis on crystals as both plot device and aesthetic, offering this film a retro feel."
Katie Walsh, Los Angeles Times
"Trapper’s yacht rock vibe also provides this movie the only excuse it needs to indulge in some light and well-handled '80s fetishization, which helps 'G x K' harken back to the nostalgic color grade that Wingard previously brought to 'The Guest' (another tongue-in-cheek throwback starring Dan Stevens). Tom Holkenborg and Antonio Di Iorio’s synth-driven score paves the way for an adventure flecked with Kiss music cues, airships with neon pink vapor trails, and so many shimmering quartz crystals that Hollow Earth starts to resemble the banner photo of a culty Facebook wellness group."
David Ehrlich, IndieWire
"Unfortunately, the film barely gets to the chorus of the song before Tom Holkenborg and Antonio Di Iorio’s score takes over for the rest of the sequence, denying audiences a really special soundtrack moment. The previous film, 'Godzilla vs. Kong,' already gave us the straightforward version of the Hollow Earth trip! Let us rock out with Dan Stevens this time!"
Liz Shannon Miller, Consequence
"Wingard is also just patently Wingard, so he continues to impose his trademark neon colors and synth-wave music stylings onto this genre, even though it doesn’t necessarily warrant them or need them. He also loves himself a big comedic ‘70s throwback music needle drop, so cue some disco-y Kiss and Badfinger. Not because the movie necessarily calls for it tonally, but hey, it’s cool music, and he’s the director (*shrug* emoji again)."
Rodrigo Perez, The Playlist
IMAGINARY - Sparks & Shadows (Composers: Omer Ben-Zvi, Kevin Lax, Alex Cote; "Chauncey Theme" by Bear McCreary)
"But as with any horror movie, most of this disaster could be overlooked if only the story was scary. Instead, that’s where its failures become most apparent. Imaginary doesn’t bring a single original idea to the horror genre. It’s entirely paint-by-numbers filmmaking that never even manages to create tension, let alone fear. Characters look under beds while the cloying score brings in a swell of strings to beg us to feel something. Chauncey moves on his own a time or two, and even transforms into a monstrous bear, but the scenes are lit so badly that the effect just looks cheap and underbaked rather than remotely terrifying. Watching sequences this rote is soul-crushing for a horror fan, and they make the moments where the movie slows down for its next attempt at a scare feel like they drag on for ages."
Austen Goslin, Polygon
LOVE LIES BLEEDING - Clint Mansell
"Part of that comes from the fact that Rose Glass hasn’t made a traditional modern noir. She’s made a film that doesn’t lean into tropes like the femme fatale as much as explode in a new direction, getting more surreal and unpredictable, like a steroid trip gone very wrong. Some of the narrative explosions of the final act will be way too much for some people, and I do think that Jackie’s character gets a bit lost in the haze of the narrative role she needs to play, although O’Brian is a real find, using her physical presence in a way that’s confident without being showy. Glass avoids the potential to go Refn-esque stylized too, edging into territory that could be called over-done but never crossing that line. She very intentionally keeps the film gritty, sweaty, and dirty, which greatly adds to the substance and the stakes. (Major credit to a phenomenal Clint Mansell score too.)"
Brian Talerico, RogerEbert.com
"As the walls close in on Jackie and Lou, Glass amps up the tension with tight, suffocating shots, propulsive editing and an absorbing score by Clint Mansell. At the center of it all is Jackie and Lou’s cacophonous romance, founded from the start on a foundation of Lou’s enabling and Jackie having an affair with Lou’s abusive brother-in-law. By all accounts, the gay Romeo and Juliet were doomed from the start. But in an irritatingly wish-fulfilling way, the film climaxes by building the fantasy sequences into one final, gigantic metaphor that’s too cloying to work in tandem with the nitty-gritty of the previous three-quarters. It comes off a bit like a gargantuan band-aid meant to avoid more tactfully confronting the film’s sensitive themes."
Brianna Zigler, Paste Magazine
"Above all, for reasons that are hard to describe without sending the reader to see the film, which I would emphatically do, 'Love Lies Bleeding' left me asking what Rose Glass will do next. Even when, in the second half, Glass occasionally seems to be pushing too hard for a visceral response (there’s a gross-out moment involving Ed Harris’ character that edges, intentionally or no, toward Grand Guignol), the viewer always feels herself to be in the deft hands of a truly cinematic filmmaker. The crime plot, if at times far-fetched, never feels thrown together as a mere pretext for the action scenes: The characters’ choices flow directly from who they are, and Glass knows how to use pacing, framing, and music (the thrumming score by Clint Mansell invokes both sci-fi and pulpy exploitation flicks) to lock in the audience’s attention. Wherever these two love-crazed lesbians’ poorly-thought-out plans take them, we’re along for the dizzying ride."
Dana Stevens, Slate.com
"Alas, given how sloppily much of it plays out, Glass makes clear that she cares less about lucid plotting than about her characters’ awful hairstyles (led by Harris’ bald-on-top, long-down-the-back eyesore) and Clint Mansell’s score of synthesizers, chimes, and horns. Additionally high on her list of priorities are copious lustful looks between Stewart and O’Brian, here envisioned as a modern-day Thelma and Louise-ish pair who are motivated by their desire for each other and to escape their miserable lots in life. Even crediting them with that generic goal, however, is rather generous, since 'Love Lies Bleeding' lacks the cogent narrative, concise characterizations, and shocking twists of the best dime-store stories."
Nick Schager, The Daily Beast
"Lou cracks that Jackie should picture herself as Popeye, all suddenly bulging veins and such, a goofy image that soon proves to be prescient. Jackie, when juiced up and put under pressure and high on love, does start popping veins and muscles. And then things get really nuts. Love is a drug for nearly every character we meet in 'Love Lies Bleeding,' one just as destructive and unpredictable as the one Jackie starts injecting far too often in her veins, which snap, crackle, and pop in ways that establish the film’s body horror bonafides and then send them to the moon. (Also snapping, crackling, and popping: Clint Mansell’s excellent score.)"
Kate Erbland, IndieWire
"Her stabs at Lynchian surrealism ('Lost Highway' seems to be a particularly strong influence) and Cronenbergian body horror contribute to the oozing sensation of rowdy unpredictability, but the use of cinematic shorthand too often feels like a shortcut. 'Love Lies Bleeding' reaches the pinnacle of its form when Glass trusts her own skillful vision to carry the day. She can send shivers up the spine from a single cutaway to a bloodied body or just a skin-crawling extended interaction with Lou’s obsessed admirer Daisy (Anna Baryshnikov in top form). Underlying it all is a propulsive score from Clint Mansell, bringing the same amount of sonic tension as he does to collaborations with Darren Aronofsky."
Marshall Shaffer, The Playlist
"'Love Lies Bleeding' is a bombastic twist on the crime drama genre with 1980s flourishes and an ominous score from composer Clint Mansell. Stewart proves to be a powerhouse performer in a role defined by sexuality, love, lust, anger, and connection. As Lou’s family becomes a stereotype of criminal activity, her sense of self gets lost in the mix, leading to a jaw-dropping ending."
Matthew Creith, The Wrap
"Maximalist horror-comedy has become such a mainstay of 21st-century indie cinema that a late-’80s-set lesbian romance that uses schlocky gore tinged with meta humor to figuratively explore the tumult of new love is hardly as outré as it would have seemed a decade ago. Rose Glass’s 'Love Lies Bleeding,' with its hyper-saturated, giallo-evoking cinematography and lapses into fantastical imagery, freely plays with the boundaries of realism. This hyper-stylization, accompanied by a steady score of growling synths, packs some punches, but that isn’t to say that we can’t see a fair portion of them coming. Many of 'Love Lies Bleeding''s maneuvers also feel overly familiar. The percolating charge of energy reflected in the saturated colors and ’80s synth riffs recalls the work of the Safdie brothers. A hallucinatory bodybuilding show suggests an intentional gender-flipped riff on Elijah Bynum’s 'Magazine Dreams.' And, of course, it’s difficult not to see the film, with its themes of freedom and rebellion in the context of a story about women fleeing all sorts of trauma, as being in conversation with Ridley Scott’s 'Thelma & Louise.'"
Pat Brown, Slant Magazine
"Written by Glass and fellow filmmaker Weronika Tofilska and set in the decade of too-muchness, the 1980s, the film casts Stewart as Lou, first seen up to her elbows in a blocked toilet at the gym where she doubles as manager and solo maintenance crew. The arresting opening images courtesy of ace cinematographer Ben Fordesman (who also shot 'Saint Maud') take in the urban spread of a New Mexico town and the blanket of stars above before closing in on the late-night fitness routines of a decidedly male clientele, all of this set to the propulsive sounds of Clint Mansell’s seductively punchy electronic score.
David Rooney, The Hollywood Reporter
RICKY STANICKY - Dave Palmer
"Even musically, the dissonance is distracting. A bit where a duck attempts to murder a dog is set to screeching electric guitar. A showdown with a suspicious mother-in-law is drowned out by clamorous jazz piano."
Amy Nicholson, The New York Times
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
April 12
ASHES OF TIME (Frankie Chan, Roel A. Garcia) [BrainDead Studios]
BLUE (Zbigniew Preisner) [Alamo Drafthouse]
CLERKS [Alamo Drafthouse]
CRUMB (David Boeddinghaus) [Aero]
DAWN OF THE DEAD (Goblin) [Alamo Drafthouse]
THE HARDER THEY COME (Jimmy Cliff) [Academy Museum]
HOLIDAY, TOO MANY HUSBANDS (Frederick Hollander) [New Beverly]
HOUSE (Asei Kobayashi, Mikki Yoshino) [BrainDead Studios]
PRETTY WOMAN (James Newton Howard) [El Capitan]
THE PROFESSIONAL (Eric Serra) [New Beverly]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
SANS SOLEIL [Los Feliz 3]
SLAM (DJ Spooky) [Vidiots]
SYNECDOCHE, NEW YORK (Jon Brion) [Vidiots]
THE T.A.M.I. SHOW [Vista]
TRASH HUMPERS [Egyptian]
VERA (Arrigo Barnabe) [UCLA/Hammer]
April 13
BLUE GIANT (Hiromi Uehara) [Alamo Drafthouse]
BROTHER'S KEEPER (Molly Mason, Jay Ungar) [Los Feliz 3]
CLERKS [Alamo Drafthouse]
THE CRAFT (Graeme Revell) [New Beverly]
DAWN OF THE DEAD (Goblin) [Alamo Drafthouse]
THE FIRM (Dave Grusin) [Vidiots]
GIMME SHELTER [Egyptian]
HARLAN COUNTY, USA, AMERICAN DREAM [Aero]
JACKASS: THE MOVIE [Egyptian]
JASON AND THE ARGONAUTS (Bernard Herrmann) [New Beverly]
KIKI'S DELIVERY SERVICE (Joe Hisashi) [Vidiots]
LEVIATHAN, SWEETGRASS [Egyptian]
LITTLE MISS SUNSHINE (Mychael Danna) [El Capitan]
MANDY (Johann Johannsson) [Alamo Drafthouse]
MOTHRA (Yuji Koseki), THE H-MAN (Masaru Sato) [New Beverly]
MY HEART IS THAT ETERNAL ROSE (Ting Yat Chung) [BrainDead Studios]
PATHER PANCHALI (Ravi Shankar) [Vidiots]
SEASON OF THE WITCH (Steve Gorn) [Vidiots]
THE T.A.M.I. SHOW [Vista]
April 14
BLUE (Zbgniew Preisner) [Alamo Drafthouse]
CLERKS [Alamo Drafthouse]
HAPPY TOGETHER (Danny Chung) [BrainDead Studios]
IT'S A MAD, MAD, MAD, MAD WORLD (Ernest Gold) [Fine Arts]
JASON AND THE ARGONAUTS (Bernard Herrmann) [New Beverly]
JULIUS CAESAR (Miklos Rozsa) [Academy Museum]
LABYRINTH (Trevor Jones) [Alamo Drafthouse]
LILO & STITCH (Alan Silvestri) [Vidiots]
LUMUMBA: DEATH OF A PROPHET [Los Feliz 3]
A MATTER OF LIFE AND DEATH (Allan Gray) [Vidiots]
MOTHRA (Yuji Koseki), THE H-MAN (Masaru Sato) [New Beverly]
THE NEVERENDING STORY (Klaus Doldinger, Giorgio Moroder) [BrainDead Studios]
NIGHT OF THE JUGGLER (Artie Kane) [UCLA/Hammer]
PARADISE LOST: THE CHILD MURDERS AT ROBIN HOOD HILLS [Egyptian]
RICHARD PRYOR: LIVE IN CONCERT [Los Feliz 3]
SALESMAN [Los Feliz 3]
SAVED! (Christophe Beck) [Vidiots]
SELENA (Dave Grusin) [Alamo Drafthouse]
SHIRKERS (Ishai Adar) [Los Feliz 3]
TITICUT FOLLIES [Egyptian]
April 15
CANIBA [Los Feliz 3]
DAWN OF THE DEAD (Goblin) [Alamo Drafthouse]
ERASERHEAD (Peter Ivers) [Academy Museum]
KURT COBAIN: MONTAGE OF HECK (Jeff Danna) [Aero]
THE RAID: REDEMPTION (Mike Shinoda, Joseph Trapanese), THE RAID 2 (Joseph Trapanese, Aria Prayogi, Fajar Yuskemal) [New Beverly]
SELENA (Dave Grusin) [Alamo Drafthouse]
SPIDER-MAN (Danny Elfman) [Alamo Drafthouse]
THE WOLF OF WALL STREET [Vidiots]
April 16
THE BIG CHILL [Vidiots]
CAMERAPERSON [Aero]
DAWN OF THE DEAD (Goblin) [Alamo Drafthouse]
DAWSON CITY: FROZEN TIME (Alex Somers) [Los Feliz 3]
MANDY (Johann Johannsson) [Alamo Drafthouse]
THE RAID: REDEMPTION (Mike Shinoda, Joseph Trapanese), THE RAID 2 (Joseph Trapanese, Aria Prayogi, Fajar Yuskemal) [New Beverly]
SELENA (Dave Grusin) [Alamo Drafthouse]
SPIDER-MAN (Danny Elfman) [Alamo Drafthouse]
April 17
BRAZIL [Academy Museum]
BUCK AND THE PREACHER (Benny Carter), THOMASINE & BUSHROD (Coleridge-Taylor Perkinson) [New Beverly]
CLERKS [Alamo Drafthouse]
FALLEN ANGELS (Frankie Chan, Roel A. Garcia) [BrainDead Studios]
PULP FICTION [Alamo Drafthouse]
SPIDER-MAN (Danny Elfman) [Alamo Drafthouse]
TONGUES UNTIED (Alex Langford, Steve Langley, Marlon Riggs), BLACK IS...BLACK AIN'T [Los Feliz 3]
April 18
ALL THE BEAUTY AND THE BLOODSHED (Soundwalk Collevctive) [BrainDead Studios]
BUCK AND THE PREACHER (Benny Carter), THOMASINE & BUSHROD (Coleridge-Taylor Perkinson) [New Beverly]
PORKY'S (Paul Zaza, Carl Zittrer) [Vista]
STRONG ISLAND (Hildur Guonadottir, Craig Sutherland) [Aero]
THIS IS NOT A FILM [Los Feliz 3]
April 19
ADVENTURELAND (Yo La Tango) [Los Feliz 3]
ANGST (Klaus Schulze) [Alamo Drafthouse]
THE COLOR OF POMEGRANATES (Tigran Mansuryan) [Academy Museum]
DESPERADO (Los Lobos) [New Beverly]
FEAR AND LOATHING IN LAS VEGAS (Ray Cooper) [Alamo Drafthouse]
FRIGHT NIGHT (Brad Fiedel), NIGHT OF THE CREEPS (Barry DeVorzon) [New Beverly]
JONAS BROTHERS: THE 3D CONCERT EXPERIENCE [El Capitan]
KIKI'S DELIVERY SERVICE (Joe Hisaishi) [Vidiots]
LAST TANGO IN PARIS (Gato Barbieri) [Fine Arts]
MALLRATS (Ira Newborn) [Alamo Drafthouse]
ON THE WATERFRONT (Leonard Bernstein) [Aero]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
PORKY'S (Paul Zaza, Carl Zittrer) [Vista]
RESIDENT EVIL (Marco Beltrami, Marilyn Manson) [Vidiots]
April 20
THE BIG LEBOWSKI (Carter Burwell) [Alamo Drafthouse]
BLOOD IN, BLOOD OUT (Bill Conti) [Vidiots]
CHEECH & CHONG'S NICE DREAMS (Harry Betts) [New Beverly]
FAREWELL, MY LOVELY (David Shire) [Los Feliz 3]
FRIGHT NIGHT (Brad Fiedel), NIGHT OF THE CREEPS (Barry DeVorzon) [New Beverly]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [Fine Arts]
GREENER GRASS (Samuel Nobles) [Vidiots]
HANNAH MONTANA: THE MOVIE (John Debney) [El Capitan]
INHERENT VICE (Jonny Greenwood) [Alamo Drafthouse]
MALLRATS (Ira Newborn) [Alamo Drafthouse]
THE MUMMY, NOSFERATU [Fine Arts]
OROCHI [UCLA/Hammer]
A PLACE IN THE SUN (Franz Waxman) [Fine Arts]
A SHOT IN THE DARK (Henry Mancini) [Vista]
SKATEBOARD: THE MOVIE (Mark Snow) [Aero]
3:10 TO YUMA (George Duning) [New Beverly]
UP IN SMOKE (Dave "Kootch" Kortchmar, Waddy Wachtel) [Academy Museum]
THE WATER MAGICIAN [UCLA/Hammer]
April 21
THE BIG LEBOWSKI (Carter Burwell) [Alamo Drafthouse]
BLACK ORPHEUS (Luis Bonfa, Antonio Carlos Jobim) [Vidiots]
BLAZING SADDLES (John Morris), YOUNG FRANKENSTEIN (John Morris) [Fine Arts]
FRIGHT NIGHT (Brad Fiedel), NIGHT OF THE CREEPS (Barry DeVorzon) [New Beverly]
THE GREAT RACE (Henry Mancini), SOME LIKE IT HOT (Adolph Deutsch) [Fine Arts]
MAN AND WIFE [UCLA/Hammer]
MISHIMA: A LIFE IN FOUR CHAPTERS (Philip Glass) [BrainDead Studios]
ON THE WATERFRONT (Leonard Bernstein) [Academy Museum]
A SHOT IN THE DARK (Henry Mancini) [Vista]
3:10 TO YUMA (George Duning) [New Beverly]
TURNING RED (Ludwig Goransson) [Vidiots]
VALLEY GIRL (Scott Wilk, Mark Levinthal), REAL GENIUS (Thomas Newman) [Aero]
THE VINDICTIVE SNAKE [UCLA/Hammer]
WHITE (Zbigniew Preisner) [Alamo Drafthouse]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Gore Vidal's Lincoln/Tom Horn (Gold); The Fury (Williams); On the Twentieth Century (Coleman); Hellraiser (Lovett); I Can Get It For You Wholesale (Rome); Dressed to Kill (Donaggio); Trespass (Zorn); Funny Girl (Styne); Sunday in the Park with George (Sondheim); Blow Out (Donaggio); Nyad (Desplat); The Broadway Album (Streisand); Judge Dredd (Silvestri); Body Double (Donaggio); Back to Broadway (Streisand); The River Wild (Jarre); A Brief History of Time (Glass)
Read: Earthbound, by Richard Matheson
Seen: The Social Network; Panic Room; The Absent Minded Professor; La chimera; Five Easy Pieces; The King of Marvin Gardens; One Life; Coup de Chance; The Man They Could Not Hang; The Black Room; The Boogie Man Will Get You; The Beast [2024]; On the Waterfront; The Wild One
Watched: Mission: Impossible - Rogue Nation; Columbo ("Ransom for a Dead Man")
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