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| Film Score Friday 10/4/19 |
| Posted By: Scott Bettencourt on October 3, 2019 - 10:00 PM |
La-La Land has announced an impresssive slate of new releases for October 17th -- their highly anticipated release of the original tracks from Franz Waxman's classic, groundbreaking score for BRIDE OF FRANKENSTEIN; an expanded two-disc soundtrack for Steven Spielberg's 2002 Philip K. Dick adaptation MINORITY REPORT, whose score by (of course) John Williams balances typically gorgeous melodies with thrilling action cues evocative of his 1960s sci-fi TV music; a second volume in their Quinn Martin Collection series, focusing on the music for the sci-fi classic THE INVADERS, with contributions from Domnic Frontiere, Sidney Cutner, Irving Gertz, Richard Markowitz, and Duane Tatro; and Lorne Balfe's score for director Ang Lee's imminent sci-fi action thriller GEMINI MAN, starring Will Smith...and Will Smith!!!
The Varese Sarabande CD Club has announced three new limited "Deluxe Edition" releases, expected to begin shipping next week -- a greatly expanded two-disc release of the final score for the hit 1997 thriller AIR FORCE ONE, composed by Jerry Goldsmith with additional music by Joel McNeely, based on Goldsmith's themes (the film's first, unused and still commercially unreleased score was composed by Randy Newman, of all people); the first-release of the score for the 1975 True Grit sequel ROOSTER COGBURN, which paired screen icons John Wayne (reprising his Oscar-winning title role) and Katharine Hepburn (in an homage to her classic The African Queen) in a light-hearted Western adventure with music by Laurence Rosenthal; and a re-release of their two-disc edition of Michael Giacchino's score to the hit 2009 franchise re-starter STAR TREK.
Quartet has announced two new soundtrack CDs, both featuring the first-ever score releases for two Paramount films with music by Oscar-winners -- ROUGH CUT, the 1980 romantic caper comedy directed by Don Siegel, written by Larry Gelbart (who was so unhappy with the end result he used the pseudonym "Francis Burns," a reference M*A*S*H fans should appreciate), and starring Burt Reynolds, Lesley Ann-Down, and David Niven, with the legendary Nelson Riddle adapting the music of the equally legendary Duke Ellington for the film's score; and HARLEM NIGHTS, the period gangster comedy-drama which was the directing debut of Eddie Murphy, pairing him with Richard Pryor and feturing a score by Herbie Hancock.
CDS AVAILABLE THIS WEEK
Goldsnake Anonima Killers - Carlo Savina - Digitmovies
Harlem Nights - Herbie Hancock - Quartet
Henry King at Fox - Alfred Newman - Kritzerland
Howard the Duck - John Barry, Sylvester Levay, Thomas Dolby - Intrada Special Collection
The John Morgan Collection vol. 1 - John Morgan - Dragon's Domain
Joker - Hildur Guonadottir - WaterTower [CD-R]
La Notte Del Grande Assalto - Carlo Rustichelli - Saimel
Lost and Love - Zbigniew Preisner - Caldera
Metralleta Stein - Luis Bacalov, Stelvio Cipriani, Mario Molino, Daniele Patucchi, Dusan Radici, Carlo Rustichelli - CSC
Non Faccio La Guerra, Faccio L'Amore - Riz Ortolani - Digitmovies
Padre No Hay Mas Que Uno - Roque Banos - Saimel
Quando La Coppia Scoppia - Piero Umiliani - Beat
Rough Cut - Nelson Riddle - Quartet
Second Spring - Stelvio Cipriani - Kronos
Seis Manos - Carl Thiel - Milan (import)
Stranger Things 3 - Kyle Dixon, Michael Stein - Lakeshore
Tutti Possono Arricchire Tranni I Povere - Franco Bixio, Fabio Frizzi, Vince Tempera - Beat
What We Left Behind: Looking Back at Star Trek: Deep Space Nine - Dennis McCarthy, Kevin Kiner - Dragon's Domain
IN THEATERS TODAY
Collisions - Justin Melland
Cuck - Room8
Dilili in Paris - Gabriel Yared
Dolemite Is My Name - Scott Bomar
Game Day - William Susman
Genese - no original score
The Golden Glove - Music Supervisor: Pia Hoffmann
Joker - Hildur Guonadottir - Score CD-R on WaterTower
Low Tide - Will Blair, Brooke Blair
Lucy in the Sky - Jeff Russo
Memory: The Origins of Alien - Jon Hegel
Midnight Traveler - Gretchen Jude
Mosley - Harry Hansen
Pain and Glory - Alberto Iglesias - Score CD Dolor y Gloria on Quartet
The Parts You Lose - Austin Fray
The Pretenders - Mark Kozelek
Santa Fake - Ryan Beveridge
Semper Fi - Hanan Townshend
Wrinkles the Clown - T. Griffin
COMING SOON
October 11
Air Force One: The Deluxe Edition - Jerry Goldsmith, Joel McNeely - Varese Sarabande CD Club
Rooster Cogburn: The Deluxe Edition - Laurence Rosenthal - Varese Sarabande CD Club
Solis - David Stone Hamilton - Perseverance
Star Trek: The Deluxe Edition - Michael Giacchino - Varese Sarabande CD Club
October 18
Bride of Frankenstein - Franz Waxman - La-La Land
Gemini Man - Lorne Balfe - La-La Land
Il Pelo Nel Mondo - Bruno Nicolai, Nino Oliviero - Beat
La Fameuse Invasion des Ours en Sicile - Rene Aubry - Milan (import)
L'Ultimo Squalo - Guido & Maurizio De Angelis - Beat
The Lighthouse - Mark Korven - Milan
Minority Report - John Williams - La-La Land
The Quinn Martin Collection Vol. 2: The Invaders - Sidney Cutner, Dominic Frontiere, Irving Gertz, Richard Markowitz, Duane Tatro - La-La Land
October 25
Dracula/The Curse of Frankenstein [re-recordings] - James Bernard - Tadlow
Legend of Dinosaurs and Monster Birds - Masao Yagi - Cinema-Kan (import)
November 8
Encounter - Penka Kouneva - Notefornote
Go Fish - George Streicher - Notefornote
November 15
The Dark Crystal: Age of Resistance, vol. 1 - Daniel Pemberton - Varese Sarabande
The Dark Crystal: Age of Resistance, vol. 2 - Daniel Pemberton, Samuel Sim - Varese Sarabande
November 22
Scary Stories to Tell in the Dark - Marco Beltrami, Anna Drubich - eOne
Date Unknown
Bastardos y Diablos - Louis Febre - Dragon's Domain
The Dan Redfield Collection vol. 1 - Dan Redfield - Dragon's Domain
Deep Water - Toydrum - Silva
Lavender Braid - Eugene - Kronos
Marco Beltrami: Music for Film - Marco Beltrami - Silva
Music for Dinosaurs - David Spear - Dragon's Domain
Rory's Way - Frank Ilfman - Kronos
Rwanda - Davide Caprelli - Kronos
Trois Jours et Une Vie - Rob - Music Box
THIS WEEK IN FILM MUSIC HISTORY
October 4 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "You'll Be the Death of Me" (1963)
October 4 - John Williams begins recording his score to Penelope (1966)
October 4 - Shawn Clement born (1968)
October 4 - BT born Brian Transeau (1970)
October 4 - George Romanis records his only Mission: Impossible score, for the episode “The Visitors” (1971)
October 4 - Henry Mancini begins recording his score for Sunset (1987)
October 5 - Malcolm Lockyer born (1923)
October 5 - Harold Faltermeyer born (1952)
October 5 - Alex Wurman born (1966)
October 5 - Jerry Fielding's score for the Star Trek episode "The Trouble With Tribbles" is recorded (1967)
October 5 - David G. Russell born (1968)
October 6 - Stanley Myers born (1933)
October 6 - David Raksin records his score for Daisy Kenyon (1947)
October 6 - Tommy Stinson born (1966)
October 6 - Giuseppe Becce died (1973)
October 6 - James Horner begins recording his score for 48 HRS. (1982)
October 6 - William Butler born (1982)
October 6 - Nelson Riddle died (1985)
October 6 - Ron Jones records his score for the Star Trek: The Next Generation episode "Who Watches the Watchers" (1989)
October 7 - Gabriel Yared born (1949)
October 7 - Richard Markowitz records his score for The Wild Wild West episode “The Night of a Thousand Eyes” (1965)
October 7 - Marco Beltrami born (1968)
October 7 - Robert Drasnin records his score for the Mission: Impossible episode “The Play” (1968)
October 8 - Walter Schumann born (1913)
October 8 - Toru Takemitsu born (1930)
October 8 - Gavin Friday born (1959)
October 8 - Ralph Schuckett born (1962)
October 8 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “Consider Her Ways” (1964)
October 8 - Frank Skinner died (1968)
October 8 - Richard Markowitz records his score for the Mission: Impossible episode “Robot” (1969)
October 8 - David Bell records his score for the Star Trek: Deep Space Nine episode “Take Me Out to the Holosuite” (1998)
October 9 - Camille Saint-Saens born (1835)
October 9 - Bebo Valdes born (1918)
October 9 - Barry Gray begins recording his score for Thunderbirds Are Go (1966)
October 9 - Steve Jablonsky born (1970)
October 9 - Bill Conti begins recording his score for The Fourth War (1989)
October 10 - Giovanni Fusco born (1906)
October 10 - John Green born (1908)
October 10 - Marco Antonio Guimaraes born (1948)
October 10 - David Raksin begins recording his score for Whirlpool (1949)
October 10 - Midge Ure born (1953)
October 10 - Giant opens in New York (1956)
October 10 - Valentine McCallum born (1963)
October 10 - Andrea Morricone born (1964)
October 10 - Hugo Montenegro begins recording his score for Hurry Sundown (1966)
October 10 - Hawaii opens in New York (1966)
October 10 - Walter Scharf records his score for the Mission: Impossible episode “The Ransom” (1966)
October 10 - Michael Giacchino born (1967)
October 10 - Vince DiCola begins orchestral recording sessions for his Rocky IV score (1985)
October 10 - William Goldstein records his scores for the Twilight Zone episodes “The Card” and “Time and Teresa Golowitz” (1986)
October 10 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Remember Me” (1990)
DID THEY MENTION THE MUSIC?
THE BLONDE ONE - Pedro Irusta
"Nonetheless, there’s an unforced poignance to this tale, whose surface aesthetics (very little changed for Berger since “Plan B”) are as beguilingly simple as the emotions beneath are complexly conflicted. Indeed, an economy of presentation works so well here that the rare intrusion of Pedro Irusta’s solo piano score feels gratuitous."
Dennis Harvey, Variety
BRAD'S STATUS - Mark Mothersbaugh
"Woven throughout is Mark Mothersbaugh’s discordant score, which grabs you from the start and provides the perfect accompaniment for the story of a man who takes himself far too seriously. Stripped down with staccato strings, it’s playfully melodramatic, an arch acknowledgement of the white, male privilege on display. By the end, Brad’s status hasn’t changed much, but there’s vague hope that he might strive for something resembling contentment."
Christy Lemire, RogerEbert.com
"What transpires, scored with occasionally slicing violins by Mark Mothersbaugh, is a mental travelogue of perceived slights, mood swings and parental hope as Brad tries to be the ultimate supportive dad while wrestling with thoughts and behavior that don’t always present him in the best light. In Boston, a missed appointment with Harvard spurs Brad to play angry advocate for his son with the admissions people (which only embarrasses Troy, who loves his dad yet wants the trip to be chill) but also inspires him to test how good his connections still are with the college pals he fears have written him off."
Robert Abele, The Wrap
"Without giving anything away, the movie builds to a classical music recital in Cambridge, Mass., and there, dead-center in the audience, is Brad, playing world’s smallest violin. That’s a metaphor, of course, though Stiller’s nearly wall-to-wall narration serves as a whiny backbone for the film. Brad’s interior monologue is well-written, but also largely unnecessary (surely half the words would have done, and silence, especially in the concert scene, might have allowed audiences to read a bit more into what the character was feeling). Still, Brad’s general irritability is nicely reinforced by a discordant string score from Mark Mothersbaugh, which serves to put audiences on edge as the dyspeptic character grouses: 'It’s stupid to compare lives, but when I do, I feel somehow I’ve failed, and over time, the feelings get worse,' he complains, which isn’t half as horrible as his later remark, 'What if Troy’s wins made me feel even more a failures, what if I became envious of my own son?'"
Peter Debruge, Variety
"White's direction is typically brisk and polished. He's not an ambitious stylist, but there's a looseness here that feels like a relief after the more affected symmetry of the compositions in 'Year of the Dog.' The filmmaker makes lovely use of Mark Mothersbaugh's crisp, playful score -- and especially of 19th-century Czech composer Antonin Dvorak's 'Humoresque' in a stirring emotional climax reminiscent of the final scene of Kenneth Lonergan's maligned masterpiece 'Margaret.'"
Jon Frosch, The Hollywood Reporter
CHAINED FOR LIFE - C. Spencer Yeh
"There's something very East Coast about the introductory moments of writer-director Aaron Schimberg's singular meta-melodrama 'Chained for Life.' A lengthy, very gushy Pauline Kael quote about the resplendent good looks of actors and actresses slowly rolls up a black screen, accompanied by a string-plucking score by C. Spencer Yeh that seems arch and contemptuous. It's got the feel of a sneering warning shot. To wit: 'Oh, that's your definition of beauty, Pauline? Well, get a load of this!'"
Keith Uhlich, The Hollywood Reporter
EDIE - Debbie Wiseman
"The writing is heavy-handed (Jonny keeps reminding us how inspiring it all is) and there’s little in the way of adventurous filmmaking (it overplays the manifold helicopter shots to the extent it might have been sponsored by the Highlands tourist board). But there is nice chemistry between the central pair; and as you’d expect, Hancock owns it: Edie is a character who doesn’t beg to be liked -- when she drops an F-bomb, it is for real, not for comedic effect -- and Hancock etches a life of disappointment only now being fulfilled with economy and authenticity. It doesn’t have the balls to be 'McHarold and Maude', but it does deliver an engaging, prettily scored (Debbie Wiseman), likeable warning about the dangers of wasting your life."
Ian Freer, Time Out London
"With its drab, overpowering score, this tedious drama is nearly as gruelling as the trek up Scotland’s Suilven, which Edie’s (Sheila Hancock) controlling late husband forbade her to take in the early years of their marriage. Freed from her role as full-time carer, and without her disapproving daughter’s knowledge, the athletic 83-year-old hops aboard a train from London to Inverness and hitches a ride west of Sutherland in the hope of completing the climb."
Simran Hans, The Guardian
"Since most viewers will want to know if Sheila Hancock really does climb the mountain, the press kit helpfully notes that she ascended to a steep ridge and camped out in the wilderness for two nights. August Jakobsson’s intimate widescreen lensing makes the effort of her climb palpable. Debbie Wiseman’s over-emphatic score, which is almost as heavy-handed as the screenplay, gets to do some heavy lifting in the film’s nearly dialogue-less final third."
Alissa Simon, Variety
EMPATHY, INC. - Omri Anghel
"There’s a strong compositional sense to DP Darin Quan’s images that really pops in the film’s monochromatic widescreen format. Another plus is Omri Anghel’s pulsing electronic score."
Dennis Harvey, Variety
FIRST THEY KILLED MY FATHER - Marco Beltrami
"This is not a 'triumph of the human spirit' movie with syrupy strings and inspirational speeches. Marco Beltrami's score never appears unless it has something to add to the images. The majority of scenes play out with natural sound: marching boots, helicopters, gunshots, bombs, birds, insects, cheering crowds, whispered conversations, shrill propaganda speeches, river water flowing downstream. There are no awkwardly inserted scenes with U.N. observers, doctors or journalists, devised to justify casting American or English actors in a film that doesn't require their presence."
Matt Zoller Seitz, RogerEbert.com
"Regardless of the heavyweights behind the camera -- along with Jolie, the movie features competent work by veteran cinematographer Anthony Dod Mantle ('Slumdog Millionaire,' 'Dogville') and composer Marco Beltrami ('Logan') -- much of the movie resists the presumptuous overstatement that could topple its potential. Adapted from the memoir by Cambodian activist Loung Ung, who shares a screenwriting credit with the director, 'First They Killed My Father' follows five-year-old Long (newcomer Sreymouch Sareum) as her family is torn from Phnom Penh to endure a dangerous nomadic life under the Pol Pot regime. The Khmer Rouge forces her through a series of work camps until she’s left to wander the wilderness of her own, bearing witness to relentless persecution that she can only comprehend in bits and pieces."
Eric Kohn, IndieWire
"Despite these frustrating omissions, a few individual scenes are effective, including examples of brutal indoctrination by the Khmer Rouge and a striking aerial shot that shows children wandering through a field trying to avoid the land mines that dot the terrain. Oscar-winning cinematographer Anthony Dod Mantle ('Slumdog Millionaire') makes a major contribution to the film, and composer Marco Beltrami has crafted a haunting score."
Stephen Farber, The Hollywood Reporter
HOME AGAIN - John Debney
"The sitcom comparisons don’t refer simply to the premise, about a 40-year-old single mother who invites three plucky 20-something boys to live in her guest house (and wouldn’t you know it, the boys teach the mother how to loosen up, and the mother inspires the boys to become more responsible), but to the execution: the flat, dull, evenly-lit cinematography, the muggy performances, the forced wacky misunderstandings, the unearned schmaltz, all the way down to the wispy, detergent commercial score."
Oktay Ege Kozak, Paste Magazine
"It’s striking how much this new version of 'It,' despite all of the changes, alterations and adjustments, feels like the original novel. King’s themes of childhood friendship, the closed-off nature of small Northeastern communities, and the destructive power of fear all get a muscular workout, and Pennywise, as an avatar of terror, is spine-tingling (even though the movie establishes that there is a very clear ceiling on how many times a scary clown can jump out from behind something and be effectively terrifying). All of the kids embody King’s characters wonderfully, and Muschietti, working with frequent Chan Wook-Park cinematographer Chung-hoon Chung and composer Benjamin Wallfisch (who provided the music for another 2017 horror gem 'A Cure for Wellness'), gives the small town story an appropriate grandness with all of the tactile texture that goes along with it."
Drew Taylor, The Playlist
"So now 'IT' the movie has arrived, and as it looks out at those faces watching in the darkness, it seizes on one in particular. A critic. Kind of middle-aged, kind of overweight (though he’s working on that 99 no, really, he is), and seemingly a little bored. He was totally with 'IT' during its instant classic of an opening scene, a tense and deeply unsettling re-creation of the child murder that also kicks off the book. But as the film progresses, our critic appears less and less engaged. He’s not really jumping at the jump scares, though 'IT' has gone out of its way to spring them with really loud noises and blasts of music. Where does this guy get off, acting like he’s seen it all before? Doesn’t he know that this is IT, the movie everyone’s been waiting three decades for? Is it possible that all the horror flicks that came in those intervening years have rendered it a little less relevant?"
Bilge Ebiri, The Village Voice
"Things pop up from the shadows right on cue. The clown cackles aplenty, mashes his awful teeth, and wiggles his eyebrows. As the kids discuss It’s legacy, ominous music sets in to underscore their tales. Repeat. Though gorgeously shot by Chung-hoon Chung, no amount of stunning visuals can rescue 'It' from the thud of familiarity."
Eric Kohn, IndieWire
"No matter how many awful fates befall 'It''s characters, the filmmaking itself is never sadistic. The action is generally clean and comprehensibly staged, with the long fun-house scene inside 29 Neibolt Street offering a particularly inventive set of scares, and composer Benjamin Wallfisch’s arsenal of spare piano pieces, breathy woodwinds and vortices of sampled children’s voices works wonders. Muschietti shares King’s love of period-appropriate rock music, though he doesn’t always use it appropriately: One potentially blood-curdling scene is bizarrely neutered by its use of the Cure’s 'Six Different Ways.'"
Andrew Barker, Variety
STRANGE BUT TRUE - Neil Athale
"This is the kind of film that explains itself too early and then has nowhere to go except into rote, B-picture thrills. The final act is a prolonged, too-conventional stalking. The reversals and last-minute rescues would be more compelling if we believed the psychology of the character doing the stalking, and if the answers that the filmmakers had given us were more interesting than what we'd imagined before they hauled out the dry erase board and started writing explanations on it. The climatic stretch of cross-cutting, scored with 'Oh, the humanity!' music, is a staggering miscalculation. It strains for tragic grandeur, even though everything leading up to that point would seem to call for a terse and unpretentious wrap-up. This isn't a Sick Soul of the Suburbs drama like 'Revolutionary Road' or 'Rabbit Hole' or even 'The Graduate,' though it sometimes seems to think it is. It's more like a 1980s or '90s domestic thriller in the vein of 'Fatal Attraction' or 'The Hand that Rocks the Cradle,' and it probably should've been played that way."
Matt Zoller Seitz, RogerEbert.com
THE WEEKEND - Robi Botos
"The very notion of these characters willingly occupying the same space for an extended period of time, let alone breaking off into new pairs, is as improbable as the plot of Meghie’s 2017 teen drama, 'Everything, Everything,' another contrived love story that threatens to devolve into horror fodder. When a good-looking stranger, Aubrey (Y’lan Noel), conveniently materializes at the B&B after leaving his longtime partner, Zadie leaps at the opportunity to walk through the woods with him at night, much to the understandable unease of Bradford (Tone Bell). Of course, Bradford is harboring more than mere concern for his ex, and when he reveals his true feelings late in the game, Zadie gives him a well-deserved dressing-down comprised of overwritten psychoanalyses that may have resonated had they been wittier ('You showed your true colors and they are an ugly palette'). Robi Botos’ jazzy original music, which I’d gladly listen to on its own, suggests an underscore for snappy Woody Allen banter, but the script’s attempts at clever, airy wordplay are leaden at best."
Matt Fagerholm, RogerEbert.com
"'The Weekend,' a gentle zephyr of a romantic comedy from Canadian writer-director Stella Meghie, practically dares its audience to make Woody Allen comparisons from the very beginning, as stark white-on-black title cards usher in a muted, clarinet-led jazz score of faintly mournful whimsy. Check. It continues: Our protagonist is a dry, lovelorn standup comic, inclined to drop references to Godard and Fellini in casual conversation, working out romantic issues against a backdrop of warm autumnal melancholy. Check, check, check. Yet if Meghie’s easy, amiable film could be seen as a tribute of sorts to the embattled auteur, it also works to pointedly show up his (and many of his peers’) blind spots. It’s all set in California, for one thing, but more importantly, it’s centered entirely on a quartet of African-American millennials -- a demographic rarely called upon to carry this kind of generously talky, relationship-focused indie."
Guy Lodge, Variety
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.
October 4
DONNIE DARKO (Michael Andrews) [Vista]
FINAL DESTINATION 2 (Shirley Walker) [New Beverly]
GRINDHOUSE: PLANET TERROR (Robert Rodriguez, Graeme Revell) [New Beverly]
THE LIVING DEAD AT MANCHESTER MORGUE (Giuliano Sorgini) [Cinematheque: Egyptian]
MONTY PYTHON AND THE HOLY GRAIL (De Wolfe), ERIK THE VIKING (John Du Prez) [Cinematheque: Aero]
THE ROOM (Mladen Milicevic) [Nuart]
October 5
THE EVIL DEAD (Joseph LoDuca - in person!) [Cinematheque: Egyptian]
A HARD DAY'S NIGHT (The Beatles, George Martin) [Vista]
KILL BILL: VOL. 2 (RZA, Robert Rodriguez) [New Beverly]
MADMAN (Stephen Horelick) [Cinematheque: Egyptian]
THE MONSTER SQUAD (Bruce Broughton) [New Beverly]
MONTY PYTHON'S THE MEANING OF LIFE (John Du Prez), AND NOW FOR SOMETHING COMPLETELY DIFFERENT [Cinematheque: Aero]
SOMETHING SPECIAL (David McHugh) [UCLA]
October 6
A FISH CALLED WANDA (John Du Prez), FIERCE CREATURES (Jerry Goldsmith) [Cinematheque: Aero]
HALLOWEEN III: SEASON OF THE WITCH (John Carpenter, Alan Howarth), NIGHT OF THE CREEPS (Barry DeVorzon), THE FOG (John Carpenter) [Cinematheque: Egyptian]
LA CEREMONIE (Matthieu Chabrol) [Alamo Drafthouse]
THE MONSTER SQUAD (Bruce Broughton) [New Beverly]
October 7
DEADLY FRIEND (Charles Bernstein) [New Beverly]
DODSWORTH (Alfred Newman) [AMPAS]
DOLEMITE (Arthur Wright) [New Beverly]
FEAR (Carter Burwell) [Alamo Drafthouse]
October 8
DOLEMITE (Arthur Wright) [New Beverly]
THE HOUSE OF THE DEVIL (Jeff Grace) [Alamo Drafthouse]
THE MALTESE FALCON (Adolph Deutsch) [Cinematheque: Aero]
NATURAL BORN KILLERS [Cinematheque: Egyptian]
SNOWPIERCER (Marco Beltrami) [Alamo Drafthouse]
October 9
DROP DEAD FRED (Randy Edelman) [Alamo Drafthouse]
THE HAUNTING (Humphrey Searle) [New Beverly]
THE HUMAN TORNADO (Arthur Wright) [New Beverly]
October 10
DISCO GODFATHER [New Beverly]
POPSTAR: NEVER STOP NEVER STOPPING (Matthew Compton) [Alamo Drafthouse]
October 11
GRINDHOUSE: DEATH PROOF [New Beverly]
HALLOWEEN (John Carpenter) [Nuart]
THE MISSIONARY (Mike Moran), PRIVATES ON PARADE (Denis King) [Laemmle Ahyra Fine Arts]
PROM NIGHT II (Paul Zaza) [New Beverly]
THE THING (Ennio Morricone) [Vista]
October 12
ABSOLUTELY ANYTHING (George Fenton), A LIAR'S AUTOBIOGRAPHY (John Greswell, André Jacquemin, Christopher Murphy Taylor) [Laemmle Ahyra Fine Arts]
MAD MONSTER PARTY? (Maury Laws) [New Beverly]
ROSEMARY'S BABY (Christopher Komeda) [Vista]
THE TURIN HORSE (Mihaly Vig) [Cinematheque: Aero]
October 13
ALIEN (Jerry Goldsmith) [Laemmle Ahyra Fine Arts]
CAT PEOPLE (Giorgio Moroder) [Vista]
MAD MONSTER PARTY? (Maury Laws) [New Beverly]
SATANTANGO (Mihaly Vig) [Cinematheque: Aero]
THE SERVANT (John Dankworth) [Alamo Drafthouse]
TIME BANDITS (Mike Moran), MONTY PYTHON'S LIFE OF BRIAN (Geoffrey Burgon) [Laemmle Ahyra Fine Arts]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Star Trek: Voyager (Baillargeon, Bell, Chattaway, McCarthy), Arrow: Season 1 (Neely), Valerian and the City of a Thousand Planets (Desplat), Who Saw Her Die? (Morricone), Film Music Festival Krakow - 2017 (various), The New World (Horner), The Founder (Burwell), Star Trek: Amok Time/The Doomsday Machine (Fried/Kaplan)
Read: the rest of The Demolishers, by Donald Hamilton; Clock Dance, by Anne Tyler
Seen: The Laundromat; That Darn Cat [1965]; The Day Shall Come; Abominable [2019]; First Love [2019]; Sunset Blvd.; The Bad and the Beautiful
Watched: The Benson Murder Case, Mosaic ("Ilsa from Finland"), Sealab 2021 ("Hail Squishface"), The Haunting of Hill House ("The Bent-Neck Lady," "Two Storms"), The Gracie Allen Murder Case, Party Down ("Precious Lights Pre-School Auction"), Danger Man ("The Island")
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Today in Film Score History:
April 23 |
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| Alain Jomy born (1941) |
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| Andre Previn begins recording his score for The Fastest Gun Alive (1956) |
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| Arthur B. Rubinstein died (2018) |
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| Bernard Herrmann begins recording his North by Northwest score (1959) |
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| Christopher Komeda died (1969) |
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| Harold Arlen died (1986) |
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| Hilmar Orn Hilmarsson born (1958) |
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| James Horner begins recording his score for House of Cards (1992) |
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| Jay Gruska born (1952) |
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| Jonsi born (1975) |
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| Kenji Kawai born (1957) |
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| Louis Barron born (1920) |
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| Patrick Williams born (1939) |
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| Robert Farnon died (2005) |
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| Satyajit Ray died (1992) |
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| Sergei Prokofiev born (1891) |
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