The soundtrack world was saddened this week to learn of the passing of Douglass Fake (1952-2024). Fake founded the Intrada label in 1985, their first release an LP of Basil Poledouris' score for the original Red Dawn, and in the nearly 40 years since, he and his label released a treasure trove of film music on CD. While the label is probably most associated with Jerry Goldsmith, Bruce Broughton and Basil Poledouris, their catalog encompasses nearly every major composer in English-language cinema, including such current A-listers as Danny Elfman, Michael Giacchino, Thomas Newman, John Powell, Alan Silvestri and Hans Zimmer. One of the many wonderful things about Doug and his label was their genuine enthusiasm for all the composers they worked with and the scores they released. They have also produced expert film music re-recordings, and just this week their Kickstarter campaign to re-record Frank Skinner's Abbott and Costello Meet Frankenstein reached its funding goal.
Our condolences to Fake's family and his Intrada colleagues. The label's website has a fitting and detailed tribute to Doug at this link.
On a personal note, I first met Doug in 1980, when he was selling soundtrack LPs out of what was otherwise a movie memorabilia shop called CineMonde on Vallejo Street in San Francisco (in a location that is now a pilates studio). I was there with a friend to shop for movie posters and lobby cards, so finding Doug and his LPs there must rank as one of the most momentous accidental discoveries of my life. I bought my first "expensive soundtrack" there (an innocent time when a $15 Japanese import LP of Game of Death could count as "expensive") and remained a loyal customer ever since - until their business moved from San Francisco to Oakland, a trip to their store was always my first priority when I would visit the Bay Area after moving to Los Angeles in 1982. I was also lucky enough to able to contribute liner notes to some of their releases, an opportunity for which I will always be grateful. Doug will always be one of the true heroes of the soundtrack world, a genuinely nice man whose work enriched the lives of film music lovers around the world. (For the record, my personal favorite Intrada release is probably their two-disc edition of Goldsmith's remarkable Alien, but there are countless other spectacular and treasured releases to choose from.)
The latest release from Caldera spotlights the music of Oscar winner David Shire. SMALL VICES was a 1999 TV movie starring Joe Mantegna as Robert B. Parker's popular fictional detective Spenser, and the Caldera CD features music from Shire's score as well as selections from some of his other work, including the TV adaptations of Neil Simon's plays Broadway Bound and Jake's Women.
The Academy of Television Arts and Sciences has announced the nominations for this year's Primetime Emmys, including the following music categories:
OUTSTANDING MUSIC COMPOSITION FOR A LIMITED OR ANTHOLOGY SERIES, MOVIE OR SPECIAL (ORIGINAL DRAMATIC SCORE)
ALL THE LIGHT WE CANNOT SEE – James Newton Howard
FARGO – Jeff Russo
LAWMEN: BASS REEVES – Chanda Dancy
LESSONS IN CHEMISTRY – Carlos Rafael Rivera
THE TATTOOIST OF AUSCHWITZ – Kara Talve, Hans Zimmer
OUTSTANDING MUSIC COMPOSITION FOR A SERIES (ORIGINAL DRAMATIC SCORE)
THE CROWN: Sleep, Dearie Sleep – Martin Phipps
MR. & MRS. SMITH: A Breakup – David Fleming
ONLY MURDERS IN THE BUILDING: Sitzprobe – Siddhartha Khosla
PALM ROYALE: Maxine Saves a Cat – Jeff Toyne
SHOGUN: Servant of Two Masters – Atticus Ross, Leopold Ross, Nick Chuba
SILO: Freedom Day – Atli Orvarsson
SLOW HORSES: Strange Games – Daniel Pemberton, Toydrum
OUTSTANDING MUSIC COMPOSITION FOR A DOCUMENTARY SERIES OR SPECIAL (ORIGINAL DRAMATIC SCORE)
ALBERT BROOKS: DEFENDING MY LIFE - Marc Shaiman
BECKHAM: Seeing Red - Anze Rozman, Camilo Forero
JIM HENSON IDEA MAN - David Fleming
PLANET EARTH III: Extremes - Jacob Shea, Sara Barone, Hans Zimmer
ROCK HUDSON: ALL THAT HEAVEN ALLOWED - Laura Karpman
OUTSTANDING MAIN TITLE THEME MUSIC
FEUD: CAPOTE VS. THE SWANS – Thomas Newman
LESSONS IN CHEMISTRY – Carlos Rafael Rivera
MASTERS OF THE AIR – Blake Neely
PALM ROYALE – Jeff Toyne
SHOGUN – Atticus Ross, Leopold Ross, Nick Chuba
OUTSTANDING ORIGINAL MUSIC AND LYRICS
GIRLS5EVA: New York – “The Medium Time” –Music and Lyrics by Sara Bareilles
ONLY MURDERS IN THE BUILDING: Sitzprobe – “Which Of The Pickwick Triplets Did It? – Music and Lyrics by Benj Pasek, Justin Paul, Marc Shaiman, Scott Wittman
SATURDAY NIGHT LIVE: Host: Maya Rudolph – “Maya Rudolph Mother’s Day Monologue” – Music by Eli Brueggemann, Lyrics by Maya Rudolph, Auguste White, Mike DiCenzo, Jake Nordwind
THE TATTOOIST OF AUSCHWITZ: Episode 6 – “Love Will Survive” – Music by Kara Talve, Hans Zimmer, Walter Afanasieff; Lyrics by Charlie Midnight
TRUE DETECTIVE: NIGHT COUNTRY: Part 6 – “No Use” – Music and Lyrics by John Hawkes
OUTSTANDING MUSIC DIRECTION
THE 46TH KENNEDY CENTER HONORS – Rickey Minor
LATE NIGHT WITH SETH MYERS – Fred Armisen, Eli Janney
THE OSCARS – Rickey Minor
2023 ROCK AND ROLL HALL OF FAME INDUCTION CEREMONY – Adam Blackstone, Don Was, Omar Edwards
SATURDAY NIGHT LIVE – Lenny Pickett, Leon Pendarvis, Eli Brueggemann
CDS AVAILABLE THIS WEEK
Il ginecologo della mutua - Renato Serio - Beat
Thrilling - Ennio Morricone - EMCD
IN THEATERS TODAY
Crossing - no original score
Crumb Catcher - Ethan Startzman
Oddity - Richard G. Mitchell
Silent Thunder - Miles Ito
Sisi & I - Matteo Pagamici
Twisters - Benjamin Wallfisch - Song CD on Atlantic
The Vourdalak - Martin Le Nouvel, Maïa Xifaras
Widow Clicquot - Bryce Dessner
COMING SOON
August 16
Exotic Themes for the Silver Screen: Vol. 1 - Michael Giacchino - Mutant
Coming Soon
The Albert Glasser Collection Vol. 7 - Film Noir Thillers - Albert Glasser - Dragon's Domain
The Best of the Fairytopia Saga - Eric Colvin - Dragon's Domain [CD-R]
Cop Hater - Albert Glasser - Kronos
Ercole sfida Sansone - Angelo Francesco Lavagnino - Alhambra
A Fistful of Dollars - Ennio Morricone - Beat
From Hell to Borneo - Gene Kauer, Douglas M. Lackey - Kronos
Furiosa: A Mad Mad Saga - Tom Holkenborg - Mutant
The Golden Age of Science-Fiction Vol. 5 - Raoul Kraushaar, Elisabeth Lutyens - Dragon's Domain
La pistole non discutono (Bullets Don't Argue) - Ennio Morricone - Beat
Legendary Hollywood: Franz Waxman Vol. 3 - Franz Waxman - Citadel
Nightmare Castle - Ennio Morricone - Beat
Papillon [reissue] - Jerry Goldsmith - Quartet
Small Vices - David Shire - Caldera
THIS WEEK IN FILM MUSIC HISTORY
July 19 - Paul Dunlap born (1919)
July 19 - Tim McIntire born (1944)
July 19 - Dominic Muldowney born (1952)
July 19 - Gerald Fried's score for the Star Trek episode "Amok Time" is recorded (1967)
July 19 - Gerald Fried's score for the Star Trek episode "The Paradise Syndrome" is recorded (1968)
July 19 - Ramin Djawadi born (1974)
July 19 - Van Alexander died (2015)
July 20 - Franz Waxman begins recording his score for Elephant Walk (1953)
July 20 - Gail Kubik died (1984)
July 21 - Jerry Goldsmith died (2004)
July 22 - George Dreyfus born (1928)
July 22 - Richard Hill born (1942)
July 22 - Alan Menken born (1949)
July 22 - Nigel Hess born (1953)
July 22 - Jerry Goldsmith begins recording his score for Warning Shot (1966)
July 22 - Lalo Schifrin records his score for Mission: Impossible’s third season premiere, “The Heir Apparent” (1968)
July 22 - John Barry begins recording the orchestral score to King Kong (1976)
July 22 - Alan Silvestri begins recording his score for the Amazing Stories episode "Go to the Head of the Class" (1986)
July 23 - George Greeley born (1917)
July 23 - Bill Lee born (1928)
July 23 - L. Subramaniam born (1947)
July 23 - Nicholas Hooper born (1952)
July 23 - Recording sessions begin for Hugo Friedhofer’s score to The Blue Angel (1959)
July 23 - Jerry Goldsmith begins recording his score for Rio Conchos (1964)
July 23 - Leith Stevens died (1970)
July 23 - Georges Auric died (1983)
July 23 - John Addison records his score for the Amazing Stories episode "The Greible" (1986)
July 23 - Hans J. Salter died (1994)
July 23 - Piero Piccioni died (2004)
July 24 - Robert Farnon born (1917)
July 24 - Wilfred Josephs born (1927)
July 24 - Marcello Giombini born (1928)
July 24 - Les Reed born (1935)
July 24 - Alan Rawsthorne died (1971)
July 24 - Leo Shuken died (1976)
July 24 - Norman Dello Joio died (2008)
July 25 - Don Ellis born (1934)
July 25 - Denis King born (1939)
July 25 - Thurston Moore born (1958)
July 25 - Henry Mancini begins recording his score for Days of Wine and Roses (1962)
July 25 - Daniel Lopatin aka Oneohtrix Point Never born (1982)
July 25 - Bruce Broughton records his unused adaptations of Bach for The Accidental Tourist (1988)
July 25 - Patrick Williams died (2018)
DID THEY MENTION THE MUSIC?
BEVERLY HILLS COP: AXEL F - Lorne Balfe
"From the beginning, 'Beverly Hills Cop: Axel F' is buoyant and playful in a way that legacy sequels usually aren’t allowed to be, and that was arguably missing in the more leaden second and third films in this series. Murphy is at his best when he’s allowed to bounce through a film, light on his feet, laughing and smiling in a way that fans find so comforting. Even the score here feels playful as Lorne Balfe incorporates elements of the original Harold Faltermeyer classic into something fresh while also directly using tracks from the massive 1984 soundtrack."
Brian Tallerico, RogerEbert.com
"Luckily, 'Beverly Hills Cop: Axel F' will be remembered for its slavish dedication to selling what’s already adored. Case in point? Lorne Balfe’s original score masterfully manipulates Harold Faltermeyer’s iconic 'Axel F' theme track after track, twisting the bouncy electronic banger into fresh arrangements that are equally as catchy. Molloy’s vision might not be as peppy as Balfe’s top-notch musicianship, but it’s still steady enough to bask in nostalgic glows that don’t squander Axel’s return. Murphy’s comedic timing is still razor-sharp, whether he’s messing with his white partners with racially-charged gags, or interrupting cartel karaoke like a loudmouth with a death wish. Axel has a case to crack, a daughter to win back and Californians to offend, all achieved within the bit-too-long algorithmic runtime of a two-hour Netflix Original."
Matt Donato, Paste Magazine
"That's not to say that 'Axel F' is as good as 'Maverick'. While the Tom Cruise film felt like it surpassed its predecessor, this movie feels like it is right on par with the first two movies. It has no interest in having something to say, be it about modern policing or gang violence, as its main intention is to be a showcase for Murphy and his old colleagues to attempt to recapture that magic. Lorne Balfe's synth-heavy score additionally captures those nostalgic vibes without feeling too on the nose."
Nate Richard, Collider
"It’s incredibly easy to be cynical about legacy sequels after years of watching studios and streamers desperately try to squeeze every last drop of content from whatever IP they could lay their hands on, regardless of whether there’s any more story to be told or anyone interested in it being told. But watching 'Beverly Hills Cop: Axel F,' it’s incredibly hard to maintain that cynicism when Harold Faltermeyer’s iconic 'Axel F' theme kicks into gear and the man it’s named for, Axel Foley (Eddie Murphy), breaks out his megawatt grin. Arriving 40 years after the original 'Beverly Hills Cop,' Mark Molloy’s film doesn’t entirely manage to lift itself from the swamp of cheap nostalgia bait and lazy rehashing that so many franchise-extending properties sink into. In Murphy, it features another Hollywood star willing to dust off an old costume in a bid to prove that there can in fact be second acts in American lives, and perhaps even third, fourth, and fifth ones. It’s a film of familiar pleasures, but like Faltermeyer’s still infectiously enjoyable synth-pop theme, they do remain highly pleasurable."
Ross McIndoe, Slant Magazine
"Then there’s a final showdown, showcasing the need to remove your sunglasses while operating a submachine gun, a little more bopping around to Harold Faltermeyer’s synth-pop ditty 'Axel F,' the equivalent of a group hug between Murphy, Reinhold and John Ashton (returning as Det. Taggart, Billy’s partner and cranky BFF) and roll credits."
Glenn Whipp, Los Angeles Times
FIREBRAND - Dickon Hinchliffe
"But 'Firebrand' also puts the prodigious skills of French cinematographer Hélène Louvart ('Never Rarely Sometimes Always,' 'La Chimera') to more artful use in her rendering of the British countryside. Mist wafting through the hills gives the film a moody and mysterious feel, and even a horseback ride across a sunny field seems ominous, particularly with the accompaniment of Dickon Hinchcliffe’s woozy, string-heavy score."
Christy Lemire, RogerEbert.com
"Anyone familiar with who among Henry’s wives died, was cast out or survived knows the outcome for Catherine, making it surprising how skillfully the filmmakers build nail-biting tension around her fate. That comes with a major assist from Dickon Hinchliffe’s brooding symphonic score, its range and power expertly modulated throughout. The final days of Henry’s life become a time of terror for Catherine, and her course of action is perhaps one of the screenwriters’ most significant -- and startlingly effective -- detours into speculative fiction."
David Rooney, The Hollywood Reporter
INSIDE OUT 2 - Andrea Datzman
"From this great voice cast to Mann’s direction of LeFauve and Holstein’s bold script to Andrea Datzman’s tremendous score that builds on Michael Giacchino’s gorgeous work in subtle and brilliant ways, 'Inside Out 2' is by far one of Pixar’s best sequels. Not only does it prove that they can still do high-concept ideas with style, but they can also reinvigorate their existing properties to truly staggering degrees. 'Inside Out 2' manages to capture all the eccentricities, complexities, and decisions that make us who we are, and turn that into one of Pixar’s best in years. What a joy it is to watch them do it."
Ross Bonaime, Collider
"The story beats, action sequences and sentimental moments -- Joy’s despair when she’s out of ideas is quite touching -- are expertly fine-tuned, and the dazzling visuals no less so. The colors seem even more vibrant than before and the characters more expressive, both in the external world and in the labyrinthine inner workings of Riley’s mind. The spirited score by Andrea Datzman makes everything pop even more. As unlikely an inspiration as it might seem, it makes sense that Mann has acknowledged a debt to the Safdie Brothers’ 'Uncut Gems' in the breathless pacing and escalating tension."
David Rooney, The Hollywood Reporter
KINDS OF KINDNESS - Jerskin Fendrix
"This lunacy is embellished by black-and-white flashbacks and dream sequences (not to mention monologues about unseen slumbering fantasies), and it’s shot by Lanthimos with wide-angle lenses, lengthy zooms into close-up, and camera movements that sometimes appear to psychically anticipate his subjects’ movements before they make them. Kinds of Kindness is formally askew and that’s exacerbated by Jerskin Fendrix’s score -- in which choral singing signifies momentous developments, and high and low piano keys are repeatedly pounded in order to amplify tension -- as well as staging that separates figures amidst empty space. To top it all off, Lanthimos and editor Yorgos Mavropsaridis stitch their material together with sharp cuts and transitional fades that produce a singularly unusual tempo."
Nick Schager, The Daily Beast
"Fast becoming a fixture in Lanthimos’s troupe, Emma Stone rejoins him for the ride, as does 'Poor Things''s Willem Dafoe, alongside Jesse Plemons, Margaret Qualley, Joe Alwyn, 'The Whale''s Hong Chau and others, forming a repertory cast that rotates around three tales. Each vignette is distinct but has one minor character in common: a silent, bearded man called 'RMF'. Also uniting them is a pristine, glacial visual style and an unnervingly sharp piano score with choral outbursts that colour the mood."
Dave Calhoun, Time Out
"Jerskin Fendrix’s score is equally spartan. Sometimes, the piano drills one note over and over like an alarm; at dramatic peaks, it sounds like a cat jumped on the keys. The blast of Eurythmics in the opening seems designed primarily to convince us we’re enjoying ourselves. Ditto Stone’s solo dance scene, a bit of nonsense that feels like an anxious tic inserted to make the movie go viral on TikTok."
Amy Nicholson, Los Angeles Times
"Much of what we see in the first section will recur, at some point, in later ones: a closeup of a woman’s bare heels, an abortion disguised as a miscarriage, and, yes, a grisly vehicular death. The music, composed by Jerskin Fendrix, proves similarly repetitive, an unvaried string of ominously plinking piano notes. Across its three stories, 'Kinds of Kindness' occasionally traffics in surface ambiguities, but, from start to finish to start to finish to start to finish, it maintains a persistent through line of self-assured, self-admiring nastiness. By the time we see someone driving a car in circles, it’s Lanthimos who seems to be spinning his wheels."
Justin Chang, The New Yorker
"For all of its stifling brutality, 'The Death of R.M.F.' might as well be a Nancy Meyers movie compared to the bleakness that follows. After the first of the three end credits sequences that Lanthimos uses to wipe the slate clean with each new story, 'R.M.F. Is Flying' begins by recasting Plemons as Daniel the laconic cop, and Stone as Liz the missing wife. And yet, there’s no denying that we’re still watching the same film. Robbie Ryan’s clinically flat cinematography establishes a visual coherence that makes all of the characters look like lab rats, while Jerskin Fendrix’s spare musical accompaniment allows 'Kinds of Kindness' to maintain the same torpid rhythm from start to finish (there’s a lot of chanting). In this middle chapter, he adds a plunky, 'Eyes Wide Shut'-like piano to the score in a bid to forefront the marital suspicion that roils beneath each scene after Liz is rescued from sea and returns home so vivacious and eager to please that it seems plausible she was bodysnatched by an alien."
David Ehrlich, IndieWire
"In fact, by the time we get to this deeply ugly finale, even confirmed Lanthimos-heads might hear the verbalization of their own thoughts in the soundtrack’s use of a choir that appears to belt out nothing but a dread-soaked, operatic 'NO.'"
Farah Cheded, The Onion AV Club
"The old Lanthimos themes around interpersonal power, of compliance and supplication, are still there, as is his excellence in assembling and working with an extraordinary cast. Moreover, they all key into his distinctive formalism, that curt delivery that deprives a line of emotion but keeps it clearly under the surface. But to what end? There’s an insufferable longwindedness to 'Kinds of Kindness,' each installment dragging on beyond the point of patience. Watching becomes a chore, made heavier by Robbie Ryan’s often flat cinematography and the pacing created by Lanthimos’ longtime editor Yorgos Mavropsaridis. Meanwhile, the choral score by Jerskin Fendrix becomes a heavy-handed joke."
Richard Whittaker, The Austin Chronicle
"There’s an off-kilter precision to the entire project, heightened by 'Poor Things' composer Jerskin Fendrix’s use of discordant pianos and stress-inducing choirs. Meanwhile, DP Robbie Ryan pivots from the trick photography of 'Poor Things' to meticulous widescreen compositions, centered on some of New Orleans’ least-scenic locations."
Peter Debruge, Variety
"The other distinguishing factor is the use of music, starting with The Eurythmics’ 'Sweet Dreams (Are Made of This),' which opens the movie with a punchy jolt. As he did for 'Poor Things', English musician Jerskin Fendrix contributes an unconventional score that’s frequently abrasive, in keeping with the disquieting tone. It ranges from dissonant tinkling piano to crashing chords, passages by turns chiming and staccato, and choral pieces of feverish intensity."
David Rooney, The Hollywood Reporter
LONGLEGS - Zilgi
"Channeling the other side of Mandy’s psychedelic hellscape, Cage moves like an aged rocker, once lithe and fluid, his strange gestures flitting between choreography and ritual. Swollen and makeup-caked like a KISS member’s corpse, Cage mugs and clowns with his Bogdanoff face, tearing at your psyche before finally relenting with some more traditionally vicious evil. Perkins allows Cage to max the volume out, clawing at the limits of the human voice until it tears free into the screeches of Zilgi’s score. Cage may have famously been cast as Superman, but he’s given the Joker performance of a lifetime. It’s big, and it’s a nightmare. Longlegs’ dominos may somewhat inelegantly tumble through the (not hard to guess) twists and turns of its finale, but those pieces are of impeccable craftsmanship. A handful of impressively controlled performances, a dilapidated aesthetic rich with negative space, a queasy score, a methodical but always gripping pace, and one of the most original and upsetting horror villains in a long while. Perkins’ haunted vision is so convincing, you also might feel like scrubbing it off of you after you’ve hustled back to the safety of your home."
Jacob Oller, Paste Magazine
"As much as the actors, what gives 'Longlegs' its cursed power is the shivery atmosphere of Andrés Arochi Tinajero’s cinematography, often shooting through doorways or windows that frame our view from insidious angles. Eugenio Battaglia’s dense sound design is another big plus, dialing up jump scares derived from music or other sonic cues rather than leaning on the usual visual tricks. At 101 minutes divided into three chapters, the movie is tautly paced, making deft use of the shifting aspect ratios between past and present and of an eerie score."
David Rooney, The Hollywood Reporter
MAXXXINE - Tyler Bates
"Now, we have the third part in the trilogy, 'MaXXXine,' and it’s a crushing disappointment. The style remains firmly in place -- this time, it’s a lurid look at Los Angeles in the mid-1980s -- but there’s nothing underneath it. West, as writer and director, has lovingly recreated this period of conspicuous consumption for maximum grime and sleaze. Far from glamourous, his Hollywood alternates between neon-soaked nighttime streets and bland backlots by day, with the hypnotic drone of Tyler Bates’ synth score recalling the films of Mann and De Palma."
Christy Lemire, RogerEbert.com
"Deft deployment of wipes, split-screen and aspect ratio switches also evoke the period, as do Jason Kisvarday and Mari-An Ceo’s flavorful production and costume design, respectively. Nostalgists will eat up the soundtrack’s bangers, among them tracks by ZZ Top, New Order, Judas Priest and Kim Carnes, along with the indispensable synth-pop groove of Animotion’s 'Obsession.' And Tyler Bates’ bone-chilling score helps ratchet up the suspense."
David Rooney, The Hollywood Reporter
THELMA - Nick Chuba
"In a way, 'Thelma' is a parody, though the satire isn’t buried under the surface -- it’s more like a veneer that hovers over the narrative, coming into sharper detail when Thelma’s on the move. The action itself remains grounded in realism, but when Nick Chuba’s sharp and compelling score kicks into gear and the editing is cooking, a sequence in which Thelma makes a daring escape from Ben’s nursing home plays like 'Mission: Impossible.' (Thelma can’t run quite as fast as Tom Cruise, but she’s got just as much pluck.)"
Liz Shannon Miller, Consequence
"The cast is fantastic, but it’s the cinematic style that makes 'Thelma' a proper big-screen movie experience. Nick Chuba’s percussive score brings a jazzy beat that’s 'Ocean’s 11' by way of 'Mission: Impossible,' and David Bolen’s cinematography is richly saturated with color and creative practical lighting. Margolin’s inspired direction elevates 'Thelma,' imbuing each moment with a thoughtful eye toward craft."
Katie Walsh, Los Angeles Times
"Instead of annoying slapstick, the comedy stems from a recurring Mission: Impossible riff, which sets its slow-motion derring-do to Lalo Schifrin-y cues. When the joke clicks, like when Thelma gives a snooping Ben covert earpiece instructions, it works a treat."
Phil de Semlyen, Time Out
"Thelma’s outing is certain to have consequences; Margolin simply doesn’t care to consider them. That’s because the movie is basically a valentine to his headstrong granny. 'Thelma' may bill itself as an unconventional action movie, but it’s more of a sitcom, really (one clue: Nick Chuba’s tinkly, occasionally Lalo Schifrin-inspired score serves mostly as wallpaper, punching up the movie’s generally whimsical energy). The result is less edgy than triad-defying 'Lucky Grandma' or the irreverent late-career romps featuring Jane Fonda and Lily Tomlin, like 'Grandma' and 'Moving On.'"
Peter Debruge, Variety
"Their odyssey in search of Thelma’s money gains vitality from a punchy retro-flavored score by Nick Chuba, which nods subtly to Lalo Schifrin’s classic 'Mission: Impossible' theme, and in what feels like an homage to Roundtree’s history in the original 'Shaft' movies, has an air of ‘70s blaxploitation. Ben is a lovely send-off role for the veteran actor, who died last October. Malcolm McDowell also appears late in the action as a shady figure who nonetheless serves to point up a different aspect of the aging struggle."
David Rooney, The Hollywood Reporter
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
July 19
THE ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8TH DIMENSION (Michael Boddicker) [Alamo Drafthouse]
CRIMSON TIDE (Hans Zimmer) [New Beverly]
DIRTY DANCING (John Morris) [Vidiots]
DJANGO UNCHAINED [New Beverly]
EL MARIACHI [BrainDead Studios]
ELVIRA: MISTRESS OF THE DARK (James Campbell) [Academy Museum]
GLORY (James Horner) [Aero]
HOSTEL (Nathan Barr) [Vista]
JURASSIC PARK (John Williams) [Nuart]
LIFEFORCE (Henry Mancini) [Egyptian]
SNOWPIERCER (Marco Beltrami) [Vidiots]
STAND BY ME (Jack Nitzsche), MY GIRL (James Newton Howard) [New Beverly]
STARMAN (Jack Nitzsche) [Alamo Drafthouse]
THIRST (Cho Young-wuk) [BrainDead Studios]
UP (Michael Giacchino) [Vidiots]
VERTIGO (Bernard Herrmann) [Egyptian]
July 20
APOCALYPSE NOW (Carmine Coppola, Francis Coppola) [Egyptian]
APOLLO 11 (Matt Morton) [Alamo Drafthouse]
THE CARE BEARS MOVIE (Patricia Cullen) [Vidiots]
THE DECLINE OF WESTERN CIVILIZATION, THE DECLINE OF WESTERN CIVILIZATION PART II: THE METAL YEARS [Vidiots]
HACKERS (Simon Boswell) [Academy Museum]
HAMLET (Patrick Doyle) [Aero]
HOSTEL (Nathan Barr) [Vista]
THE LAND BEFORE TIME (James Horner) [Culver]
THE LAST EMPEROR (Ryuichi Sakamoto, David Byrne, Cong Su) [Egyptian]
LILO & STITCH (Alan Silvestri) [New Beverly]
MONKEY BUSINESS [Vista]
THE ROCKETEER (James Horner) [Academy Museum]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SEMI-PRO (Theodore Shapiro) [Landmark Westwood]
STAND BY ME (Jack Nitzsche), MY GIRL (James Newton Howard) [New Beverly]
STOKER (Clint Mansell) [BrainDead Studios]
STREETS OF FIRE (Ry Cooder) [Aero]
TANK GIRL (Graeme Revell) [New Beverly]
VERTIGO (Bernard Herrmann) [Egyptian]
VOYAGE OF THE ROCK ALIENS (Jack White) [Alamo Drafthouse]
July 21
THE ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8TH DIMENSION (Michael Boddicker) [Alamo Drafthouse]
AIRPORT (Alfred Newman) [Aero]
APOCALYPSE NOW (Carmine Coppola, Francis Coppola) [Egyptian]
BEYOND THE BLACK RAINBOW (Jeremy Schmidt) [BrainDead Studios]
THE CRIMSON KIMONO (Harry Sukman) [Academy Museum]
THE DECLINE OF WESTERN CIVILIZATION PART III [Vidiots]
DRIVE A CROOKED ROAD [Los Feliz 3]
THE EXTERMINATING ANGEL [Vidiots]
HOOK (John Williams) [Aero]
THE LAST PICTURE SHOW [Academy Museum]
LILO & STITCH (Alan Silvestri) [New Beverly]
MANHUNTER (Michel Rubini, The Reds) [Egyptian]
MARY JANE'S NOT A VIRGIN ANYMORE (Rama Kolesknikow) [Vidiots]
MONKEY BUSINESS [Vista]
STAND BY ME (Jack Nitzsche), MY GIRL (James Newton Howard) [New Beverly]
STARMAN (Jack Nitzsche) [Alamo Drafthouse]
2 FAST 2 FURIOUS (David Arnold) [Vidiots]
VERTIGO (Bernard Herrmann) [Egyptian]
WRECK-IT-RALPH (Henry Jackman) [Vidiots]
July 22
BARCELONA (Mark Suozzo) [Egyptian]
CRIMES OF PASSION (Rick Wakeman) [Alamo Drafthouse]
ED WOOD (Howard Shore) [Egyptian]
INVASION OF THE BODY SNATCHERS (Denny Zeitlin) [Vidiots]
THE LAST EMPEROR (Ryuichi Sakamoto, David Byrne, Cong Su) [Aero]
THE LIFE AND DEATH OF COLONEL BLIMP (Allan Gray) [Academy Museum]
THE LOST WORLD: JURASSIC PARK (John Williams) [Culver]
MOTEL HELL (Lance Rubin) [Los Feliz 3]
WHEELS OF FIRE (Christopher Young), EQUALIZER 2000 [New Beverly]
July 23
THE ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8TH DIMENSION (Michael Boddicker) [Alamo Drafthouse]
APOCALYPSE NOW (Carmine Coppola, Francis Coppola) [Aero]
APOLLO 11 (Matt Morton) [Alamo Drafthouse]
CRIES AND WHISPERS, AUTUMN SONATA [New Beverly]
CRIMES OF PASSION (Rick Wakeman) [Alamo Drafthouse]
DR. SEUSS'S THE LORAX (John Powell) [Alamo Drafthouse]
THE SHAWSHANK REDEMPTION (Thomas Newman) [Egyptian]
July 24
THE BLAIR WITCH PROJECT (Tony Cora) [Academy Museum]
CLERKS [Egyptian]
CRIES AND WHISPERS, AUTUMN SONATA [New Beverly]
LITTLE WOMEN (Thomas Newman) [Egyptian]
PURPLE RAIN (Prince, Michel Colombier) [Los Feliz 3]
STARMAN (Jack Nitzsche) [Alamo Drafthouse]
THE TERMINATOR (Brad Fiedel) [Vidiots]
VOYAGE OF THE ROCK ALIENS (Jack White) [Alamo Drafthouse]
ZOOT SUIT (Daniel Valdez) [Aero]
July 25
CRIES AND WHISPERS, AUTUMN SONATA [New Beverly]
FRIDAY THE 13TH (Steve Jablonsky) [Los Feliz 3]
MANHUNTER (Michel Rubini, The Reds) [Aero]
MULHOLLAND DRIVE (Angelo Badalementi) [Academy Museum]
REALITY BITES [Egyptian]
RED ROCK WEST (William Olvis) [Egyptian]
July 26
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [New Beverly]
DJANGO UNCHAINED [New Beverly]
EARTH GIRLS ARE EASY (Nile Rodgers) [Vidiots]
THE HAPPINESS OF THE KATAKURIS (Koji Endo, Koji Makaino) [Nuart]
HOT FUZZ (David Arnold) [Vista]
PATTON (Jerry Goldsmith) [Egyptian]
THE ROCK (Nick Glennie-Smith, Hans Zimmer) [New Beverly]
SUMMERTIME (Alessandro Cicognini) [Los Feliz 3]
VERTIGO (Bernard Herrmann) [Aero]
July 27
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [New Beverly]
FAT GIRL [Los Feliz 3]
FIGHT CLUB (Dust Brothers) [New Beverly]
THE GOONIES (Dave Grusin) [Vidiots]
HOT FUZZ (David Arnold) [Vista]
I KNOW WHERE I'M GOING (Allan Gray) [Academy Museum]
IKIRU (Fumio Hayasaka) [Vidiots]
LAWRENCE OF ARABIA (Maurice Jarre) [Aero]
MATILDA (David Newman) [Culver]
RALPH BREAKS THE INTERNET (Henry Jackman) [Academy Museum]
REBEL WITHOUT A CAUSE (Leonard Rosenman) [Academy Museum]
ROAD TO ZANZIBAR [Vista]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
2001: A SPACE ODYSSEY [Egyptian]
VERTIGO (Bernard Herrmann) [Aero]
WILLY WONKA AND THE CHOCOLATE FACTORY (Leslie Bricusse, Anthony Newley, Walter Scharf) [New Beverly]
July 28
BABY DOLL (Kenyon Hopkins) [UCLA/Hammer]
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [New Beverly]
FIGHT CLUB (Dust Brothers) [New Beverly]
GANDHI (Ravi Shankar, George Fenton) [Academy Museum]
THE JOY LUCK CLUB (Rachel Portman) [Vidiots]
LAWRENCE OF ARABIA (Maurice Jarre) [Aero]
THE RED SHOES (Brian Easdale) [Vidiots]
ROAD TO ZANZIBAR [Vista]
SPARTACUS (Alex North) [Aero]
TO HAVE AND HAVE NOT (Franz Waxman) [Los Feliz 3]
WILLY WONKA AND THE CHOCOLATE FACTORY (Leslie Bricusse, Anthony Newley, Walter Scharf) [New Beverly]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Cimarron/Symphony of Six Million/Bird of Paradise/Sweepings/Morning Glory/Of Human Bondage (Steiner); Ice Age: The Meltdown (Powell); Northwest Passage (Stothart); Ice Age: Dawn of the Dinosaurs (Powell); Broken Arrow (Harline); Ice Age: Continental Drift (Powell); The Big Sky (Tiomkin); Ice Age: Collision Course (Debney); Try a Little Tenderness/I'm Glad There Is You (Lynne); Cowboy (Duning); Carmen McRae Sings Lover Man and Other Billie Holiday Classics (McRae); From a Whisper to a Scream (Phillips)
Read: Mr. Horn, by D.R. Benson, based on the screenplay by William Goldman; The Man Who Would Be F. Scott Fitzgerald, by David Handler; Too Late the Hero by Con Sellers, based on the screenplay by Robert Aldrich and Lukas Heller, story by Robert Aldrich and Robert Sherman
Seen: Charlotte's Web [1973]; Longlegs; Touch [2024]; Outland; National Anthem; MaXXXine; Bringing Up Baby; The Palm Beach Story
Watched: Star Trek: Nemesis; Justified ("Outlaw"); The Good Place ("Jeremy Bearimy"); The Ipcress File; The Knick ("Williams and Walker")
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