Intrada plans to release a new CD next week.
The latest CD from La-La Land features music from the first season fo the Netflix series CHILLING ADVENTURES OF SABRINA, scored by Adam Taylor (The Handmaid's Tale, Before I Fall)
CDS AVAILABLE THIS WEEK
After the Wedding - Mychael Danna - Varese Sarabande
Chernobyl - Hildur Guonadottir - Deutsche Grammophon
Chilling Adventures of Sabrina: Season One - Adam Taylor - La-La Land
Dementia/Piano Concerto - George Antheil, Ernest Gold - Kritzerland
Ghost Story - Philippe Sarde -
Playmobil The Movie - Heitor Pereira - Sony
Succession - Nicholas Britell - Milan
The Tenant - Philippe Sarde - Quartet
IN THEATERS TODAY
Adam - Jay Wadley
Angel Has Fallen - David Buckley
Brittany Runs a Marathon - Duncan Thum
Burn - Ceiri Torjussen
Hot Air - Rupert Gregson-Williams
Jacob's Ladder - Atli Orvarsson
Jawline - Palmbomen II
Ready or Not - Brian Tyler
This Is Not Berlin - Dali Lantzeta
Tigers Are Not Afraid - Vince Pope
Tone-Deaf - Michl Britsch
COMING SOON
August 30
The Durrells - Ruth Barrett, Jon Wygens - Abkco
September 6
The Goldfinch - Trevor Gureckis - WaterTower [CD-R]
Ms. Purple - Roger Suen - Notefornote
September 13
Downton Abbey [the movie] - John Lunn - Decca
September 20
Samurai Marathon - Philip Glass - Orange Mountain
October 4
Stranger Things 3 - Kyle Dixon, Michael Stein - Lakeshore
Date Unknown
Thunderbirds Are Go: Series 2 - Ben Foster, Nick Foster - Silva
UFO - Barry Gray - Silva
Valhalla - Ron Goodwin - PlantSounds
THIS WEEK IN FILM MUSIC HISTORY
August 23 - Constant Lambert born (1905)
August 23 - Martial Solal born (1927)
August 23 - Ian Fraser born (1933)
August 23 - Willy Russell born (1947)
August 23 - Julian Nott born (1960)
August 23 - Alexandre Desplat born (1961)
August 23 - Howard Blake begins recording his score for S.O.S. Titanic (1979)
August 23 - Marvin Hatley died (1986)
August 23 - David Rose died (1990)
August 23 - Jurriaan Andriessen died (1996)
August 24 - Jean-Michel Jarre born (1948)
August 24 - Peter Kyed born (1963)
August 24 - Mark Lawrence died (1991)
August 24 - John Debney wins his first Emmy, for the Young Riders episode score “Kansas;” Richard Bellis wins for part 1 of It; Randy Newman wins his first Emmy for his Cop Rock songs (1991)
August 25 - Ray Heindorf born (1908)
August 25 - Leonard Bernstein born (1918)
August 25 - Harry Manfredini born (1943)
August 25 - John Williams begins recording his score for Bachelor Flat (1961)
August 25 - Robert Drasnin records his score for The Wild Wild West episode “The Night of the Casual Killer” (1965)
August 25 - Richard Markowitz records his score for The Wild Wild West episode “The Night of the Raven” (1966)
August 25 - Zoe Poledouris born (1973)
August 25 - Elvis Costello born (1954)
August 25 - Jack Nitzsche died (2000)
August 26 - Humphrey Searle born (1915)
August 26 - Recording sessions begin for Miklos Rozsa’s score to The Hour Before the Dawn (1943)
August 26 - Alan Parker born (1944)
August 26 - Mark Snow born (1946)
August 26 - Ralph Vaughan Williams died (1958)
August 26 - Branford Marsalis born (1960)
August 26 - John Williams records his score for the Lost in Space pilot episode "The Reluctant Stowaway" (1965)
August 26 - Fred Steiner's score for the Star Trek episode "Spock's Brain" is recorded (1968)
August 26 - Nico Muhly born (1981)
August 26 - John Frizzell begins recording his score for Alien Resurrection (1997)
August 27 - Eric Coates born (1886)
August 27 - Sonny Sharrock born (1940)
August 27 - Miles Goodman born (1949)
August 27 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "Nothing Ever Happens in Linvale" (1963)
August 27 - Dimitri Tiomkin begins recording his score to 36 Hours (1964)
August 27 - Jerry Fielding records his score for the Mission: Impossible episode “The Execution” (1968)
August 27 - John Williams begins recording his score for 1941 (1979)
August 27 - Geoffrey Burgon begins recording his score for The Dogs of War (1980)
August 27 - Johnny Mandel records his score for the Amazing Stories episode "One for the Road" (1985)
August 27 - Craig Safan begins recording his score for Remo Williams: the Adventure Begins (1985)
August 27 - Jay Chattaway records his score for the Star Trek: Voyager episode “Night” (1998)
August 27 - John Altman wins the Emmy for RKO 281; Joseph LoDuca wins for the Xena: Warrior Princess episode “Fallen Angel;” W.G. Snuffy Walden wins for The West Wing main title theme (2000)
August 28 - Ustad Vilayat Khan born (1928)
August 28 - Annette Focks born (1964)
August 28 - Laurence Rosenthal wins his third consecutive Emmy, for The Bourne Identity; Lee Holdridge wins his first Emmy, for the Beauty and the Beast pilot score (1988)
August 28 - Bruce Broughton wins his sixth Emmy, for Glory & Honor; Christophe Beck wins the Emmy for his Buffy the Vampire Slayer episode score “Becoming: Part 1” (1998)
August 28 - Richard Hartley wins the Emmy for his Alice in Wonderland score; Carl Johnson wins for the Invasion America episode score “Final Mission;” Martin Davich wins for his main title to Trinity (1999)
August 29 - Anthony Adverse released in theaters (1936)
August 29 - Miklos Rozsa begins recording his score for The Miniver Story (1950)
August 29 - Victor Young begins recording his score to The Tall Men (1955)
August 29 - Fred Steiner's score for the Star Trek episode "Charlie X" is recorded (1966)
August 29 - James Horner begins recording his score for Gorky Park (1983)
DID THEY MENTION THE MUSIC?
THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY - Paul Leonard-Morgan
"This is a more laid back, at times almost free-form-seeming feature than we're used to seeing from Morris, the restless mind behind such seminal nonfiction movies as 'Gates of Heaven,' 'Vernon, Florida,' 'The Thin Blue Line,' 'Fast, Cheap and Out of Control,' 'The Fog of War: Eleven Lessons from the Life of Robert S. MacNamara,' and 'The Unknown Known' (about former Defense Secretary Donald Rumsfeld). Morris' decision to shoot the movie in the super-wide CinemaScope ratio, often through skewed or just counter-intuitive angles, results in some abstracted moments where we might prefer a plainer approach that makes us feel more personally connected to Dorfman. There are also quite a few awkwardly framed images (particularly when he crops into old home movie images that were originally square), which is not a complaint I ever expected to make about a film by Morris, who is so attentive to light and framing that he's occasionally accused of being too fussy. Paul Leonard-Morgan's score comes across as a lighter, sweeter version of the hypnotic scores that Philip Glass has done for Morris, but there's so much of it that it can feel coercive, as if you're being prodded to feel the way you'd probably feel anyway. As much as I like 'The B-Side,' there were moments where I wanted the the more hardcore intellectual Morris, the philosopher-ethicist-explainer, to tell this story, instead of Morris the pal."
Matt Zoller Seitz, RogerEbert.com
BEATRIZ AT DINNER - Mark Mothersbaugh
"Mark Mothersbaugh's pensive, aching score nevertheless represents a major plus point. So does Wyatt Garfield's stunning cinematography, milking the golden hues of the Californian magic hour for all its worth and then sculpting rich, textural nocturnes for the final stretch."
Leslie Felperin, The Hollywood Reporter
THE FEELING OF BEING WATCHED - Angelica Negron
"But Boundaoui is tough. Her dogged efforts uncover tens of thousands of pages of documentation, and she doesn't back down when the government balks at providing them in a timely manner. The scenes of her poring over library microfilm, internet searches and heavily redacted FOIA documents might not be the stuff of high-octane action, but the stakes are unquestionably high, their intensity is deftly communicated, and the search is made visually interesting without getting fussy about it. Shuling Yong's camerawork is agile, and a couple of key excerpts of court transcripts use illustrations (by Molly Crabapple) and voice actors to good effect. Elsewhere, Angélica Negrón's economical score enhances the sense of creeping anxiety."
Sheri Linden, The Hollywood Reporter
MOKA - Christian Garcia, Gregoire Hetzel
"Mostly content for his actors to calibrate the tension between them, Mermoud’s directorial intrusion is confidently minimal. The tasteful classical refrains of the score gain in cruel resonance as the backstory is uncovered, while the sober tones and cashmere finish of Irina Lubtchansky’s lensing announce a sense of calm begging to be ruptured. But it’s the finer particularities of the sound design -- beginning with the arresting opening shot, as Diane taps her head against a plate-glass window to an escalating tempo and volume -- that provide our most immediate conduit into the protagonist’s divided headspace."
Guy Lodge, Variety
"At various times reminiscent of the works of Chabrol, Hitchcock and Highsmith, the film doesn’t reinvent the genre but knows how to use its codes to its advantage. The sound of the zipper on Diane’s handbag, for example, becomes extremely ominous in Mermoud’s capable hands, while two distinct musical themes, written by Christian Garcia and Gregoire Hetzel, respectively, further enhance the mood and help establish the film’s bona fides as a classy and classical psychological thriller."
Boyd van Hoeij, The Hollywood Reporter
PLUS ONE - Leo Birenberg
"Guy Godfree’s vibrant cinematography and Leo Birenberg’s lively score set a suitably upbeat mood, although 'Plus One' rests on the shoulders of its headliners. Quaid laces his good-natured charm with hints of stunted-adolescent arrogance and unreasonable fussiness, albeit never to the point of sullying Ben’s likeability. He’s a flawed, funny protagonist, and well-matched with Erskine’s Alice, who lacks not only patience with hot-air nonsense but also a verbal filter, resulting in the film’s finest laugh-out-loud remarks. With a sharp tongue and a messy demeanor, Erskine is a riot, but the strength of her performance is that it roots Alice’s wittiness in a dogged (and brave) commitment to face whatever life throws at her. Like 'Plus One,' she understands that happiness comes in unexpected forms -- a fact that’s also true of the actress herself, who here marks herself as a bona fide marquee name in the making."
Nick Schager, Variety
THE POISON ROSE - Aldo Shllaku
"The smoky mood set by cinematographer Terry Stacey is fittingly languid and the generically noir-esque score by Aldo Shllaku and Marcus Sjowall is sensual enough to take notice, while some of the afterthought period details are lazily (and in the case of Famke Janssen’s hairdo, inaccurately) administered. Still, the most notable thing about 'The Poison Rose' is how little Richard Salvatore’s script (adapted from his own novel, co-written by Jay Brandon) tries to be anything but a series of clichés amid shady criminals, secretive femme fatales, and long-lost daughters."
Tomris Laffly, Variety
TRANSFORMERS: THE LAST KNIGHT - Steve Jablonsky
"Channeling all his monster drink sensibilities, all the odious hallmarks of vulgar Bayisms are present: the oversexualized visuals, cleavage-sporting babes, the crude and sexist humor, streets-is-talkin’ racially insensitive stereotypes, buffoonish, minstrel-esque sidekicks, relentless slow motion, and a swelling musical score that rises from one climax to another. 'The Last Knight' piles on crescendos."
Rodrigo Perez, The Playlist
"The aforementioned coherent scenes are exciting to watch -- there’s an entertaining segment early on where a seemingly blown-apart robot uses its various limbs to separately fight a band of enemies -- but by the end of the movie, we’re treated to yet another assaultive Michael Bay finale, where everything is fighting everything else as visual reality collapses and the soundtrack (by Steve Jablonsky, 'Deepwater Horizon') just booms and booms and booms. The final effect isn’t exhilarating, it’s enervating: a lullaby performed by a rock tumbler."
Alonso Duralde, The Wrap
TRESPASSERS - Jonathan Snipes
"Over the closing credits there’s an instrumental theme that pays flamboyant tribute to 1970s Eurotrash thriller soundtracks, introducing a note of campy retro homage hitherto entirely absent from the film. Otherwise, Jonathan Snipes’ original score sticks to a more modern template of pulsing synth-based suspense."
Dennis Harvey, Variety
WE HAVE ALWAYS LIVED IN THE CASTLE - Andrew Hewitt
"The performances are buttressed by a production that subtly underscores the intentions of both the characters and the plot, from the costumes by Eimer Ni Mhaoldomhnaigh ('Love & Friendship') to the score from Andrew Hewitt ('The Stanford Prison Experiment'), which coax the film along to where it’s going without ever being too obvious about it."
Alonso Duralde, The Wrap
"While Merricat’s wardrobe doesn’t change much, sister Constance’s clothing does. The crinoline skirts under her impeccable dresses get more and more voluminous as the story progresses, as if to reflect the growing number of secrets stuffed underneath. The Jordan-almond-like, candy-coated quality of DP Piers McGrail’s cinematography hints at a darkness underneath the Blackwoods’ fairytale lifestyle. Composer Andrew Hewitt’s score may as well be the grand, orchestral version of whatever emanates from the music box trinket on Constance’s vanity. Anna Rackard’s production design and Louise Mathews’ art design also reflect the characters, specifically with the ’50s-era kitchen: Like the girls after their tragedy, it’s been remodeled."
Courtney Howard, Variety
YOMEDDINE - Omar Fadel
"The film’s visuals are always attractive without engaging in poverty porn, and while Shawky ensures a firm sense of place, essential for any road movie, he maintains his focus on the characters themselves. Precisely because Beshay and Obama are such nicely drawn figures, the director should have soft-pedaled the music, which unfortunately forces emotions rather than accompanying them naturally. 'Yomeddine' is Arabic for Judgment Day, mentioned twice: Once in reference to animals, who bypass judgment and go straight to heaven, and then as a way of bringing attention to the primacy of the inner, rather than outer, being."
Jay Weissberg, Variety
"'A former leper and an orphan set out on a donkey…' might sound like the start of a familiar joke, but it’s also what happens early on in the Egyptian debut feature 'Yomeddine,' which is indeed largely familiar. Recalling about a thousand other titles, with the Lynch films 'The Elephant Man' and 'The Straight Story definitely near the top of the list, this is a picaresque road movie about two mismatched characters, with rookie director A.B. Shawky offering a motley and not entirely smooth cocktail of drama and melodrama, a dash of social critique and insight, some chuckles and a few tugs at the heartstrings, mainly by virtue of its near-virtuoso score. Practically all of the moments in which Yomeddine soars emotionally are dictated or greatly aided by U.S. composer Omar Fadel’s glorious and full-bodied score, clearly the MVP of artistic contributions here. Part of the reason the feature needs to rely on that musical crutch is because the tone of the spoken words, like in that moment on the train, isn’t always credible. 'You’re not sick, you just have scars that didn’t heal,' Obama tells his companion in one of the film’s other lines that feel much too written to be coming out the mouth of the person saying it. And when another character tells Beshay that 'we’ll never be normal, but that doesn’t mean we should live in shame,' it feels less like hard-earned wisdom acquired from years of living on the street, hand-to-mouth, than some generically empowering soundbite inspired by a few too many viewings of old Oprah shows on YouTube."
Boyd van Hoeij, The Hollywood Reporter
THE NEXT TEN DAYS IN L.A.
Screenings of older films, at the following L.A. movie theaters: AMPAS, Alamo Drafthouse, American Cinematheque: Aero, American Cinematheque: Egyptian, Arclight, Arena Cinelounge, Laemmle, New Beverly, Nuart, UCLA and Vista.
August 23
APOCALYPSE NOW (Carmine Coppola, Francis Coppola) [Arena CineLounge]
THE FUGITIVE (Richard Hageman), VERA CRUZ (Hugo Friedhofer) [UCLA]
THE GREAT ESCAPE (Elmer Bernstein) [Cinematheque: Aero]
HALLOWEEN III: SEASON OF THE WITCH (John Carpenter, Alan Howarth) [Nuart]
August 24
AN AMERICAN WEREWOLF IN LONDON (Elmer Bernstein) [Arclight Hollywood]
APOCALYPSE NOW (Carmine Coppola, Francis Coppola) [Arena CineLounge]
A BOY NAMED CHARLIE BROWN (Rod McKuen, John Scott Trotter, Vince Guaraldi) [Arclight Sherman Oaks]
A BOY NAMED CHARLIE BROWN (Rod McKuen, John Scott Trotter, Vince Guaraldi) [Cinematheque: Aero]
CABARET (John Kander, Ralph Burns), ALL THAT JAZZ (Ralph Burns) [Cinematheque: Egyptian]
IN SEARCH OF THE CASTAWAYS (William Alwyn) [New Beverly]
LE CIRCLE ROUGE (Eric Demarsan), BOB LE FLAMBEUR (Eddie Barclay, Jo Boyer) [Cinematheque: Aero]
THE LONGEST DAY (Maurice Jarre) [UCLA]
ON THE WATERFRONT (Leonard Bernstein) [Vista]
ONCE UPON A TIME (Frederick Hollander) [Cinematheque: Egyptian]
RAGING BULL [Vista]
August 25
APOCALYPSE NOW (Carmine Coppola, Francis Coppola) [Arena CineLounge]
GODZILLA, MOTHRA, KING GHIDORAH: GIANT MONSTERS ALL-OUT ATTACK! (Ko Otani) [Vista]
THE GOONIES (Dave Grusin) [Alamo Drafthouse]
IN SEARCH OF THE CASTAWAYS (William Alwyn) [New Beverly]
THELMA & LOUISE (Hans Zimmer), WORKING GIRL (Carly Simon, Rob Mounsey) [Cinematheque: Aero]
THREE WISE GIRLS, RED-HEADED WOMAN [Cinematheque: Aero]
August 26
THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (Howard Shore) [Arclight Sherman Oaks]
THE THING (Ennio Morricone) [Arclight Culver City]
ZODIAC (David Shire) [New Beverly]
August 27
BLACK CHRISTMAS (Carl Zittrer) [Alamo Drafthouse]
THE IRON GIANT (Michael Kamen) [Alamo Drafthouse]
MAD MAX (Brian May) [Arclight Hollywood]
MAKE WAY FOR TOMORROW (Victor Young, George Antheil) [Cinematheque: Aero]
August 28
CALAMITY JANE (Sammy Fain, Ray Heindorf) [New Beverly]
THE IRON GIANT (Michael Kamen) [Alamo Drafthouse]
STREETWISE, TINY: THE LIFE OF ERIN BLACKWELL (Glenn H. Patschka) [Cinematheque: Aero]
SERENITY (Benjamin Wallfisch) [Alamo Drafthouse]
August 29
DR. STRANGELOVE (Laurie Johnson), THE MAGIC CHRISTIAN (Ken Thorne) [Cinematheque: Aero]
THE IRON GIANT (Michael Kamen) [Alamo Drafthouse]
MAD MAX: FURY ROAD (Tom Holkenborg) [Alamo Drafthouse]
August 30
THE HAPPINESS OF THE KATAKURIS (Koji Endo, Koji Makaino) [Vista]
THE MIST (Mark Isham) [Alamo Drafthouse]
OFFICE SPACE (John Frizzell), CLERKS [Cinematheque: Aero]
SPIRITED AWAY (Joe Hisaishi) [Nuart]
August 31
THE BIG LEBOWSKI (Carter Burwell) [Vista]
MAD MAX (Brian May), THE ROAD WARRIOR (Brian May), MAD MAX: BEYOND THUNDERDOME (Maurice Jarre) [Cinematheque: Aero]
THE OMEGA MAN (Ron Grainer) [Arclight Hollywood]
STAND BY ME (Jack Nitzsche) [Alamo Drafthouse]
THE UGLY DACHSHUND (George Bruns) [New Beverly]
September 1
THE HOWLING (Pino Donaggio) [Arclight Hollywood]
LAWRENCE OF ARABIA (Maurice Jarre) [Laemmle Ahyra Fine Arts]
LOS ANGELES PLAYS ITSELF [Cinematheque: Aero]
THE RUNNING MAN (Harold Faltermeyer) [Alamo Drafthouse]
SHIN GODZILLA (Shiru Sagisu) [Vista]
THE UGLY DACHSHUND (George Bruns) [New Beverly]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: The Famous 1938 Carnegie Hall Jazz Concert (Benny Goodman), Hustle/The Longest Yard (DeVol)
Read: A Maze of Death and Solar Lottery, by Philip K. Dick
Seen: David Crosby: Remember My Name; Mike Wallace Is Here; Heaven Can Wait [1943]; Cluny Brown; Love, Antosha
Watched: Perry Mason ("The Case of the Crimson Kiss"), The Haunting of Hill House ("Open Casket")
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