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The latest soundtrack CD from Intrada presents Bill Conti's score for the 1985 romantic comedy thriller GOTCHA!, with Anthony Edwards as a college student whose trip to Europe leads to intrigue and romance, courtesy of the mysterious Linda Fiorentino. Upon the film's original release, MCA put out a soundtrack LP which featured songs plus two Conti cues; Intrada's CD features the full 28-mintue score plus 22 minutes of alternates and additional cues.


Varese Sarabande CD Club is re-releasing Joseph LoDuca's score for the final Evil Dead film, ARMY OF DARKNESS.


CDS AVAILABLE THIS WEEK

Agatha [unused score]
 - Howard Blake - Dragon's Domain 
Avanti!
 - Carlo Rustichelli - Quartet
Charles Gerhardt Conducts Classic Film Scores [12-disc set] - various - Sony 
The Conrad Pope Collection, vol. 1
 - Conrad Pope - Dragon's Domain 
Days of Thunder [re-release]
 - Hans Zimmer - La-La Land
El Cuento de la Comadrejas - Emilio Kauderer - Sony (import)  
Far and Away
 - John Williams - La-La Land
Gotcha!
- Bill Conti - Intrada Special Collection
Lo Strano Vizio Della Signora Wardh
 - Nora Orlandi - Quartet  
The Matrix Symphony 
- Don Davis - Perseverance 
Radioactive - Evgueni Galperine, Sacha Galperine - Milan [import]
The Story of O - Part 2
 - Stanley Myers, Hans Zimmer - Music Box
Sunflower
 - Henry Mancini - Quartet  
Wings over Everest - Kenji Kawai - Milan [import]   


IN THEATERS TODAY

Bacurau - Mateus Alves, Tomaz Alves Souza 
Balloon - Marvin Miller, Ralf Wengenmayr 
Big Time Adolescence - Zachary Dawes, Nick Sena
Bloodshot - Steve Jablonsky
The Hunt - Nathan Barr
I Still Believe - John Debney
A Kid from Coney Island - Roger Suen
Lost Girls - Anne Nikitin
Lost Transmissions - Hugo Nicolson
M.O.M. Mother of Monsters - Salvatore Siciliano
Mutant Blast - Antoni Maiovvi
Never Rarely Sometimes Always - Julia Holter
The Postcard Killings - Simon Lacey
The Roads Not Taken - Sally Potter
Tuscaloosa - Matt Hutchinson, Joshua Mosley
The Wild Goose Lake - B6


COMING SOON

March 27
His Dark Materials
 - Lorne Balfe - Silva
Last and First Men - Johann Johannsson - Deutsche Grammophon
Whiplash: The Deluxe Edition
 - Justin Hurwitz, Tim Simonec - Varese Sarabande
April 3
The Witcher - Sonya Belousova, Giona Ostinelli - Sony [import]
April 10
Queen & Slim - Devonte Hynes - Domino
April 17
Army of Darkness
- Joseph LoDuca, Varese Sarabande CD Club
Hackers
- Simon Boswell, songs - Varese Sarabande
April 24
Lo Chiamavano Bulldozer
- Guido & Maurizio DeAngelis - Beat
Date Unknown
Doctor Who: Series 12
- Segun Akinola - Silva
Franco De Gemini Performs Ennio Morricone
- Ennio Morricone - Beat
Le Dolci Signore
 - Armando Trovajoli - Digitmovies 
Orchestra Rehearsal
 - Nino Rota - Music Box
Perversione/Stress
 - Carlo Savina - Quartet 
Sbirro, La Tua Legge E Lenta...La Mia...No!
 - Stelvio Cipriani - Digitmovies
Supercar
 - Barry Gray - Silva 


THIS WEEK IN FILM MUSIC HISTORY

March 13 - Hugo Friedhofer wins his only Oscar, for The Best Years of Our Lives score (1947)
March 13 - Lionel Newman, Cyril Mockridge and Leigh Harline begin recording their score for River of No Return (1954)
March 13 - Terence Blanchard born (1962)
March 13 - Lalo Schifrin begins recording his score for Joe Kidd (1972)
March 13 - Carl Davis begins recording his score to The French Lieutenant's Woman (1981)
March 13 - Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “Shgoratchx!” (1981)
March 13 - Ustad Vilayat Khan died (2004)
March 14 - Les Baxter born (1922)
March 14 - Quincy Jones born (1933)
March 14 - Roy Budd born (1947)
March 14 - The Godfather premieres in New York (1972)
March 14 - Peter Maxwell Davies died (2016)
March 15 - Jurgen Knieper born (1941)
March 15 - Max Steiner wins the Oscar for Since You Went Away score (1945)
March 15 - Ry Cooder born (1947)
March 15 - Stomu Yamashta born (1947)
March 15 - Jerry Fielding records his score for the TV pilot Shirts/Skins (1974)
March 15 - Jerry Fielding begins recording his score for Beyond the Poseidon Adventure (1979)
March 15 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Starship Mine” (1993)
March 15 - Thomas Newman begins recording his score for The Shawshank Redemption (1994)
March 15 - Recording sessions begin for Mark Mancina’s score to Twister (1996)
March 15 - Arnold Schwarzwald died (1997)
March 15 - Jay Chattaway begins recording his score for the Star Trek: Enterprise episode “Bound” (2005)
March 15 - Recording sessions begin for Danny Elfman’s score for Restless (2010)
March 16 - Harry Rabinowitz born (1916)
March 16 - John Addison born (1920)
March 16 - Alesandro Alessandroni born (1925)
March 16 - Aaron Copland begins recording his score to The Red Pony (1948)
March 16 - Recording sessions begin for Hugo Friehdofer’s score to Captain Carey, U.S.A. (1949)
March 16 - Nancy Wilson born (1954)
March 16 - Michiru Oshima born (1961)
March 16 - Henry Mancini begins recording his score for Breakfast at Tiffany’s (1961)
March 16 - Mario Castelnuovo-Tedesco died (1968)
March 16 - Marcus Trumpp born (1974)
March 16 - Recording sessions begin for Leonard Rosenman's score to Cross Creek (1983)
March 16 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Cause and Effect” (1992)
March 17 - Alfred Newman born (1901)
March 17 - Tadashi Hattori born (1908)
March 17 - Karl-Heinz Schafer born (1932)
March 17 - John Sebastian born (1944)
March 17 - Benjamin Bartlett born (1965)
March 17 - Billy Corgan born (1967)
March 17 - Chris Bacon born (1977)
March 17 - Georges Delerue begins recording his score for Memories of Me (1988)
March 17 - Ernest Gold died (1999)
March 17 - Dennis McCarthy and Kevin Kiner record their score for the Star Trek: Enterprise episode “Damage” (2004)
March 17 - Jean Prodromides died (2016)
March 18 - William Lava born (1911)
March 18 - John Kander born (1927)
March 18 - Yoko Kanno born (1964)
March 18 - Frank Ilfman born (1970)
March 18 - Clinton Shorter born (1971)
March 18 - Dominic Frontiere begins recording his score for Cleopatra Jones and the Casino of Gold (1975)
March 18 - Guillaume Roussel born (1980)
March 18 - John Williams begins recording his score for The Lost World: Jurassic Park (1997)
March 18 - John Phillips died (2001)
March 18 - Paul Baillargeon records his score for the Enterprise episode “The Crossing” (2003)
March 19 - Jean Weiner born (1896)
March 19 - Dimitri Tiomkin wins Oscars for High Noon’s score and song (1953)
March 19 - Jeff Alexander begins recording his score to Escape from Fort Bravo (1953)
March 19 - Anthony Marinelli born (1959)
March 19 - George Garvarentz died (1993)
March 19 - Velton Ray Bunch records his score for the Enterprise episode “Acquisition” (2002)

DID THEY MENTION THE MUSIC?

BAD TIMES AT THE EL ROYALE - Michael Giacchino
 
"All of this is less intricately plotted than it pretends to be, and certainly less involving than it wants to be, however ominous the chords of Michael Giacchino's score. And however delectable the soul, R&B and rock 'n' roll gems that fill the soundtrack, several of them sung with heart by Erivo's Darlene, these musical interludes begin to feel like a crutch for Goddard, much like each 'isn't this hip' celebratory glimpse of the motel's jukebox-altar and its fetishized vinyl platters dropping into place."
 
Sheri Linden, The Hollywood Reporter
 
COLETTE - Thomas Ades

"Shot like a postcard and lacquered with Thomas Adès’ evocative score, 'Colette' is a costume drama for people who have yet to figure out that they love costume dramas. It’s fleet enough after that first act, and the squeezed plotting of its second half ensures the story never gets too long in the tooth. And if it does, so what? Once Colette realizes that she has the power to mold the world in her image, everything else is gravy."
 
David Ehrlich, IndieWire 
 
"With such a story, familiarity does tend to sneak in here and there. 'Colette' has a strong woman trying to separate herself from the pack and explores the gender inequalities of the time, but the fact that Westmoreland concocts his film as a rise and fall kind of biopic hampers the artistry down a notch. Ditto goes for Thomas Ades‘ safely packaged score. Meanwhile, the cinematography by Giles Nuttgens is almost too glossy and pristine, and recalls an Oscar-bait vehicle from the 1990s. Nevertheless 'Colette' is a film that goes down very smoothly, rarely lagging in its 111 minutes and always seemingly sure-footed and confident enough to trust both its audiences intelligence and sense of adventure. If only more period pieces these days were as finely tuned and accessibly pleasurable as Westmoreland’s film."
 
Jordan Ruimy, The Playlist 

"Part of the problem lies with 'Colette''s respectable period-biopic veneer, which belies the film’s racy substance. It’s presumably Westmoreland’s intention to juxtapose Colette’s risqué behavior with early-20th-century haute culture, which is reflected in 'Colette''s divided tone, but the film springs to life whenever it unabashedly indulges in its smutty side. 'Colette''s best sequence features an affair between Colette and Southern belle Georgie Raoul-Duval (Eleanor Tomlinson, sporting a dreadful 'I do declare' accent). After Willy becomes jealous, he embarks on his own surreptitious liaison with Georgie behind Colette’s back. She eventually discovers his ruse and channels her frustration into a Claudine novel, which takes potshots at Willy and outs Georgie. It’s a fun, sexy digression rooted in competing desires and complex interiority, and it’s also decidedly not 'proper,' making it stand out in an otherwise by-the-numbers biopic. Other quasi-camp elements don’t fit within 'Colette''s framework, including Thomas Adés’ melodramatic score and some high-octane eye-rolling dialogue (it’s difficult to clock the sincerity of 'You have beautiful teeth' as a come-on), but the film reaches for something more when Westmoreland focuses on Colette’s fluid sexuality as opposed to her prolonged low-burn conflict with Willy over authorship and control. 'Colette' is forgettable at best and tepid #Resistance fare at worst, but in its best moments, it glimmers with potential, just like the early efforts of the real-life Colette."
 
Vikram Murthi, The Onion AV Club 
 
"It doesn’t help that the chief strain on their relationship appears to have been financial, as Willy spent money faster than he could earn it, depending on a 'factory' of writers to keep him afloat. The way his system worked, Willy would commission work from an extensive team of authors, then slap his name on it. Thus, all could benefit by what celebrity Willy had managed to cultivate in public. (It hardly seems fair, but isn’t so different from the way a prolific composer like Hans Zimmer operates today, employing a stable of young musicians and passing their contributions off as his own.) Speaking of music, one of the film’s strongest assets is its score, the first written expressly for the screen by British opera composer Thomas Adès, and the source of so much of what audiences perceive as Colette’s sparkling intellect. The entire movie seems brighter by dint of Adès’ nimble piano and alert string work, propelling us forward through so many elegantly photographed, Merchant-Ivory like scenes in which stuffy snobs stand around in expensive waistcoats. In his capacity as a theater critic, Willy warns early of the dangers of bad theater, which he likens to painful dentistry. It’s as if Westmoreland is issuing his own challenge, effectively dodging the pitfalls of period-set parlor dramas by demonstrating how Colette’s strides toward equality were among the first in the ongoing march for women. As the French put it, 'Plus ça change, plus c’est la même chose.' At least 'Colette' stands for change."
 
Peter Debruge, Variety

FIRST MAN - Justin Hurwitz

"And then it happens: the eeriest, most heart-stopping sequence of the year. (You can't understate the importance of composer Justin Hurwitz’s suspenseful John Barry-ish score and -- you feel the freshness of this -- an utter lack of cheering crowds back home.) 'First Man' is comfortable in Armstrong’s quietude, his internalized grief put to cosmic purpose. Let those who come to the theater counting American flags get incensed over nothing. They’ll miss something more provocative: a moment when the nation pursued excellence and, in turn, was celebrated for how smart it could be, and how big it could dream. That’s the statement Chazelle has made, one that deserves trumpeting."
 
Joshua Rothkopf, Time Out New York 
 
"Chazelle and his crack editor, Tom Cross, have taken a militant stance against fluidity, let alone lyricism. Even when the capsule bearing Armstrong and 'Buzz' Aldrin (Corey Stoll) descends toward the boulder-pocked lunar surface, the tonal fluctuations are wild. They cut to the dropping fuel gauge and ABORT button, while composer Justin Hurwitz punctuates his exquisite harmonies with bangs that sound like metal coils being smashed. It’s only when we hear the reassuringly movie-ish theremin that we know we’re on terra -- I mean luna -- firma. I was lucky to see 'First Man' on an IMAX screen in Toronto -- the very first permanent IMAX screen, circa 1971 -- and the first panorama of the lunar surface made the audience gasp. Chazelle doesn’t lay on the triumphal music. He cuts the sound out altogether. The silence is exultant."
 
David Edelstein, New York 

"Overall, it’s an impressively mounted film, from the seamless visual effects to the score by Justin Hurwitz, which is flexible enough to accentuate both the film’s tension and its earthbound humanity, to the always exquisite editing by Tom Cross ('Whiplash'), which plays a key role in establishing the characters, the stakes and even the passage of time."
 
Alonso Duralde, The Wrap

"We’re seeing all of this through Armstrong’s eyes -- there are dozens of close-ups of Gosling’s eyes throughout the film -- so even though we know what happens, there’s a feeling of considerable relief when the Apollo 11 crew manages to successfully launch out of Earth’s atmosphere and then, in a beautiful wide-shot sequence, actually land on the moon. ('First Man''s score is pensive even when it’s majestic, as written by Justin Hurwitz, the Oscar-winning composer with whom Chazelle has collaborated on all of his films.)"
 
Alissa Wilkinson, Vox
 
"But it’s not just pretty pictures. Chazelle also reteams with his regular editor Tom Cross (again, an Oscar-winner for 'Whiplash') and together they control the tempo of the film with a musician’s exactitude, sometimes rushing, sometimes dragging but always for calculated effect. The opening scene, in which a 1961 test flight of Armstrong’s goes awry when he starts to bounce off the atmosphere rather than re-entering, is as exciting a setpiece as we’re likely to get this year, but part of the power of those jagged, shaky climaxes, with the excellent sound design also contributing to the sense of rattling, mechanical peril, is that they always build to an expansive moment of sudden, tremendous calm. And threading through it all, Justin Hurwitz‘s fine score moves elastically from plaintive harp motif to grandly booming symphony to (slightly clichéd) space-waltz, as the mood dictates."
 
Jessica Kiang, The Playlist
 
"The tendency to favor focused understatement over showiness carries through into the period work of production designer Nathan Crowley and costumer Mary Zophres. And the quiet majesty of the drama owes much to the infinite moods of Justin Hurwitz’s masterful score, from tender, melodic passages through echoes (intended?) of vintage Jerry Goldsmith to a rare burst of full-thrust power when the lunar surface is first glimpsed up close. The archival version of that visual is embedded in countless memories, as Armstrong’s footprint marks the first human contact with the moon’s powdery surface. The magic of Chazelle’s fine film is that it allows us to share directly in that momentous achievement."
 
David Rooney, The Hollywood Reporter

THE HAPPY PRINCE - Gabriel Yared
 
"'The Happy Prince' gains some heated, enlivening pique when it touches on the subject of Wilde’s continued homophobic bullying by onlookers and the system alike, played in terms that still strike an anxious chord in 2018. Elsewhere, there’s not much urgency to its melancholic ramble through the writer’s ailing consciousness. Cinematographer John Conroy favors chiefly autumnal, varnish-darkened shades, which join Gabriel Yared’s stately score in lending proceedings an elegiac tone from the outset: fair early warning for audiences that Oscar Wilde the blithe humorist will be making sporadic appearances, at best, in a biopic that places great importance on being earnest. 'Why should a perfectly divine leopard change his spots?' Wilde asks, though Everett’s film, at once indulgent and somewhat undernourished, captures its subject some way past his era of divinity."
 
Guy Lodge, Variety
 
THE HATE U GIVE - Dustin O'Halloran
 
"Under a soundtrack that cleverly mimics the film’s outlook by oscillating between snatches of 2Pac and modern R&B and Dustin O’Halloran’s classically melodic piano-led score, 'The Hate U Give' is notable for the love it gives to characters on all sides of its multifaceted narrative, and it builds to a sense of hope amid despair that is even larger and more broadly relevant than its already enormous racial themes."
 
Jessica Kiang, Variety
 
THE HOUSE WITH A CLOCK IN ITS WALLS - Nathan Barr
 
"But the execution is all yelling and chaos, with Black playing nearly every emotion with a fixed cheery grimace, and slathered-on CGI critters standing in for worldbuilding. Even when the film pulls off an authentically creepy image or potential emotional moment, Nathan Barr’s garish score shoves the audience away from it, and back into the feel of a highly caffeinated circus. 'The House With a Clock in Its Walls' feels a great deal like the early Chris Columbus Harry Potter films, with their forced whimsy and upbeat, frantic pacing. Nothing about those early films had much sense of weight or impact -- they just felt like a maniacal race to get deeper into the story."
 
Tasha Robinson, The Verge
 
LIFE ITSELF - Federico Jusid

"It’s too bad for Fogelman that Hollywood has already made movies named after all the major holidays -- his brand of aspirational treacle would fit perfectly into the cinematic calendar between 'Mother’s Day,' 'Fathers’ Day,' and 'Valentine’s Day.' Instead, the writer-director is left with trying to mine a sense of the sublime from the fact that, before Abby’s parents fell in love, her mom took too big a bite out of her peanut-butter sandwich, therefore making their first encounter a little awkward for two seconds. When not attempting to reverse-engineer gratitude and awe, Fogelman feigns intimacy with gentle guitar music and claustrophobic close-ups that repel the gaze. There are no life lessons to be gleaned, but fear not: Anyone who wants to question the point of existence will find the film itself an excellent prompt."
 
Inkoo Kang, Slate.com
 
"Littered with screenplay scraps, thesis extracts, letters, book readings, arch voiceover observations, and the kind of speechifying that could never happen spontaneously, 'Life Itself' owes much more to the written word than to the cinematic image. And that’s borne out by the workmanlike craft: There is only so much warmth and variation that DP Brett Pawlak can inject into shot-reverse-shot conversations, and Federico Jusid’s score, coupled with an erratic selection of soundtrack cuts, manages to be intrusive without having much personality. And aside from the straightforward dramatics of the Spanish section, Fogelman’s instinct to over-explain through dialogue and then to undercut those explanations with some self-conscious device like a contradictory voiceover or a replay of the scene in a different register, means that the game cast rarely get to inhabit their characters. Sometimes the glitchy reworking of a moment can be amusing, but it comes at the cost of connection and insight."
 
Jessica Kiang, Variety

NIGHT SCHOOL - David Newman
 
"The generic score by David Newman is one of the film’s few glaring imperfections (only momentarily redeemed by the clever use of Outkast’s 'Hey Ya!'). For the most part, Lee seems to be chasing mere proficiency with his below-the-line choices. However, the effects team does bring 'A Beautiful Mind'-style VFX to illustrate Teddy’s dyscalculia, a disorder causing difficulty with math-related learning. All in all, the picture is technically functional, with the exception of Haddish’s floating head infiltrating her student’s psyche, a cheesy visual choice."
 
Carlos Aguilar, The Wrap 

"It’s really too bad the big set-pieces don’t work, because the rest of the film is just a tired mess of grimacing reaction shots, all of which are smelted together by a David Newman’s wall-to-wall Cheez Whiz score. Approximately 50% of the budget seems to have been spent on the Outkast songs that bookend the story, and yes, this is the kind of movie that builds to a 'Hey Ya!' group dance so tired and hackneyed that Lee can’t help but cut back to it before the closing credits."
 
David Ehrlich, IndieWire 

THE OLD MAN & THE GUN - Daniel Hart

"Spacek doesn’t land nearly as much screen time as Redford, but her melancholic gaze epitomizes the bittersweet tone, and she provides an endearing match to Tucker’s relentless swagger. When he attempts to steal some jewelry for her in the middle of a shopping mall, she casually guides him back to the store, eschewing anger to exert power over the situation with a tenderness that imbues the movie with a distinctive emotional core. Redford fans will catch elements of 'The Sting' and 'Butch Cassidy and the Sundance Kid' in the way Lowery reveals information in piecemeal, rarely venturing into overstatement. Daniel Hart’s jazzy, upbeat score keeps each scene flowing into the next, and Lowery dodges many of the expected big moments."
 
Eric Kohn, IndieWire 
 
"Lowery’s previous features include the lyrical sort-of Western 'Ain’t Them Bodies Saints' (which I didn’t love) and last year’s philosophical fable A Ghost Story (which made my 10-best list last year). 'The Old Man and the Gun' shares both those films’ keen sense of place and eye for well-observed detail, from the old boat of a car Forrest drives, to the diner where he and Jewel order pie. But it’s lighter and more playful than either (though I can’t be the only one who found 'A Ghost Story' funny: The hero was a sheet with two eyeholes!). The crime plot here matters less than the characters and mood: Lowery is interested in observing the nuanced flirtation between Forrest and Jewel, or laying a warm, jazzy score (by Daniel Hart) under the wanderings of the Over-the-Hill Gang through the back roads of the Southwest (at one point Jewel and Forrest go to see the movie 'Two-Lane Blacktop,' Monte Hellman’s 1971 paean to the existential pull of the wide-open American highway)."
 
Dans Stevens, Slate.com
 
"Lowery and his team, especially cinematographer Joe Anderson and composer Daniel Hart, give 'The Old Man & the Gun' a very period-heavy feel. It’s a movie that doesn’t just take place in a different era -- the true story unfolds, mostly, in 1981 -- but feels like it was made in a different era too. The film stock, the music choices, the cinematic language -- it’s all very different from what we’re accustomed to in 2018, enhancing the magical, timeless aspect of the entire project. It's as cheesy as it sounds but this is one of those movies for which the phrase 'they don't make 'em like that any more' was invented."
 
Brian Tallerico, RogerEbert.com

"These days, audiences expect too much from movies. Like tourists pulling into Vegas for the weekend, they want to hit up one of the glitzy new casinos and catch a spectacular arena concert by the likes of Elton John or Celine Dion. As its grainy 16mm film stock suggests, 'The Old Man & the Gun' isn’t for those people; it’s for the sort who are drawn to one of the older casinos, slightly off the Strip, where the lights are low and some guy plays soft jazz piano in the lounge. Daniel Hart’s score sounds like it belongs in such a place, setting the tempo for a movie that dares to get existential: What is this guy doing with his life? When will he quit? Can he?"
 
Peter Debruge, Variety
 
"The score by Daniel Hart and a vast selection of well-chosen musical excerpts add greatly to the persuasive mood."
 
Todd McCarthy, The Hollywood Reporter 
 
THE SONG OF SWAY LAKE - Ethan Gold

"'The Song of Sway Lake' touches on subjects that can sometimes seem like tangents. Is Nikolai in sway of the Sways or is he a hustler? What secrets does Marlena obscure with her silence? What are we to make of the hoi polloi who invade the lake with jet skis and noise? We get short moments but no resolutions. Still, director and co-writer Ari Gold (director of the cult film 'Adventures of Power' and the award-winning short 'Helicopter') captures a loving sense of the 1940s milieu and the era’s popular music (which is composed by the filmmaker’s twin brother Ethan). More evocative than splashy, 'The Song of Sway Lake' offers a dip in fresh water."
 
Marjorie Baumgarten, The Austin Chronicle 
 
"Sounds like a flimsy pretext for a movie plot and it is, even if writer/director Ari Gold (yeah, that’s his real name; his father was the novelist Herbert Gold, who was also an academic colleague of Vladimir Nabokov) uses it to wax peripherally philosophical on the lures of recorded music, and Ari’s musician brother Ethan, responsible for the soundtrack, uses it to construct some reasonably credible pastiches of period music."
 
Glenn Kenny, RogerEbert.com 

"While Ollie eventually locates the record he seeks, 'The Song of Sway Lake' never finds a thematic center around which to pivot its action. Everyone is coping with grief, regret, and loss of a past that can’t be reclaimed, yet the means by which they go about this is so helter-skelter phony that the film quickly devolves into a disjointed jumble of pronouncements, visions, flashbacks, and mid-20th-century American song snippets. Often set to Ethan Gold’s cascading piano, cinematographer Eric Lin’s picturesque depiction of this placid milieu is more affecting than any of the cast’s performances, which are undercut by Gold’s shaky formal structure. No amount of aesthetic grace, however, could help sell Nikolai’s eventual attempt to become a surrogate Hal stand-in for Charlie, replete with a kiss that’s awkward to the point of absurdity."
 
Nick Schager, Variety 

THE NEXT TEN DAYS IN L.A.

Screenings of older films, at the following L.A. movie theaters: AMPASAlamo DrafthouseAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianArclightArena CineloungeFairfax Cinema, LaemmleNew Beverly, Nuart, UCLA and Vista.    

March 13
AMERICAN GRAFFITI, THE OUTSIDERS (Carmine Coppola) [Cinematheque: Aero]
CHILD'S PLAY 2 (Graeme Revell) [Nuart]
GIRLFRIENDS (Michael Small) [Fairfax Cinema]
GUN CRAZY (Victor Young), PALE FLOWER (Toru Takemitsu) [Cinemathque: Egyptian]
HOT FUZZ (David Arnold), BIG BULLET (Clarence Hui, Pui Tat Kam) [New Beverly] 
JASON X (Harry Manfredini) [New Beverly]
NIGHTMARE (Jack Eric Williams) [Fairfax Cinema]

March 14
BRIDESMAIDS (Michael Andrews) [Alamo Drafthouse]
DEEP RED (Giorgio Gaslini, Goblin) [Vista]
THE GIRL WHO LEAPT THROUGH TIME (Kiyoshi Yoshida) [Vista]
GIRLFRIENDS (Michael Small) [Fairfax Cinema]
HARRY POTTER AND THE DEATHLY HALLOWS, PART 1 (Alexandre Desplat) [New Beverly]
HOT FUZZ (David Arnold), BIG BULLET (Clarence Hui, Pui Tat Kam) [New Beverly] 
NIGHTMARE (Jack Eric Williams) [Fairfax Cinema] 
O LUCKY MAN! (Alan Price) [New Beverly]
OUT OF SIGHT (David Holmes), JACKIE BROWN [Cinematheque: Aero]
OUT OF THE PAST (Roy Webb), THE GUILTY (Rudy Schrager), HIGH TIDE (Rudy Schrager), THE PROWLER (Lyn Murray), TRY AND GET ME (Hugo Friedhofer) [Cinematheque: Egyptian]
THE TREASURE OF THE SIERRA MADRE (Max Steiner) [Fairfax Cinema]

March 15
THE BIRDCAGE (Jonathan Tunick) [Alamo Drafthouse]
HARRY POTTER AND THE DEATHLY HALLOWS, PART 1 (Alexandre Desplat) [New Beverly] 
PORTRAIT OF JENNIE (Dimitri Tiomkin), GIRL WITH HYACINTHS (Erland von Koch) [Cinematheque: Egyptian]
THE SPIRITUALIST (Alexander Laszlo), IN THE PALM OF YOUR HAND (Raul Lavista) [Cinematheque: Egyptian]
THE TEN COMMANDMENTS (Elmer Bernstein) [Cinematheque: Aero]
THE THING (Ennio Morricone) [Alamo Drafthouse]
THE TURIN HORSE (Mihaly Vig) [Fairfax Cinema]
THE TWO MRS. CARROLLS (Franz Waxman), THE BITTER TEA OF GENERAL YEN (W. Franke Harling) [New Beverly]

March 16
BILLY MADISON (Randy Edelman) [Alamo Drafthouse]
IT MIGHT GET LOUD [Arclight Hollywood]
NEW JACK CITY (Michel Colombier) [New Beverly]
SOUND CITY [ArcLight Sherman Oaks]
STRAIGHT OUTTA COMPTON (Joseph Trapanese) [ArcLight Culver City]
THE TWO MRS. CARROLLS (Franz Waxman), THE BITTER TEA OF GENERAL YEN (W. Franke Harling) [New Beverly] 

March 17
CARNIVAL OF SOULS (Gene Moore) [Alamo Drafthouse]
THE DEPARTED (Howard Shore) [Alamo Drafthouse]
ZEBRA FORCE (Charles Bernstein), BARE KNUCKLES (Vic Caesar) [New Beverly]

March 18
DIVINE MADNESS (Tony Berg, Randy Kerber), GILDA LIVE (Howard Shore) [New Beverly] 
EAST/WEST (Patrick Doyle) [Laemmle Royal]
PALE RIDER (Lennie Niehaus) [New Beverly]
PURPLE RAIN (Prince, Michel Colombier) [Cinematheque: Aero]
TAMMY AND THE T-REX (Jack Conrad, Tony Riparetti) [Alamo Drafthouse]

March 19
BUDAPEST NOIR (Atti Pascay), AN AMERICAN RHAPSODY (Cliff Eidelman) [Cinematheque: Aero]
DIVINE MADNESS (Tony Berg, Randy Kerber), GILDA LIVE (Howard Shore) [New Beverly] 
THE LADY FROM SHANGHAI (Heinz Roemheld) [Cinematheque: Aero]
TOMMY BOY (David Newman) [Alamo Drafthouse]

March 20
DEATH RIDES A HORSE (Ennio Morricone) [Fairfax Cinema]
THE DECAMERON (Ennio Morricone) [Fairfax Cinema]
DEFENDING YOUR LIFE (Michael Gore) [Cinematheque: Aero]
FANTASTIC PLANET (Alain Gouraguer) [New Beverly]
A GHOST STORY (Daniel Hart), MIDSOMMAR (Bobby Krlic) [Cinematheque: Egyptian]
GROUNDHOG DAY (George Fenton) [Vista]
JOHN WICK (Tyler Bates, Joel J. Richard) [Nuart]
10 (Henry Mancini), MICKI & MAUDE (Lee Holdridge) [New Beverly]

March 21
DAUGHTERS OF THE DUST (John Barnes) [Fairfax Cinema]
DEATH RIDES A HORSE (Ennio Morricone) [Fairfax Cinema]
HARRY POTTER AND THE DEATHLY HALLOWS, PART 2 (Alexandre Desplat) [New Beverly]
JURASSIC PARK (John Williams), WESTWORLD (Fred Karlin), FUTUREWORLD (Fred Karlin) [Cinematheque: Egyptian]
PANDORA AND THE FLYING DUTCHMAN (Alan Rawsthorne) [Fairfax Cinema]
PATHS OF GLORY (Gerald Fried) [Vista]
ROXY: THE MOVIE, 200 MOTELS (Frank Zappa) [Cinematheque: Aero]
TENEBRAE (Claudio Simonetti, Massimo Morante, Fabio Pignatelli) [Vista]
10 (Henry Mancini), MICKI & MAUDE (Lee Holdridge) [New Beverly]
13 ASSASSINS (Koji Endo) [Alamo Drafthouse]
WHERE'S POPPA? (Jack Elliott) [New Beverly]

March 22
BARKING DOGS NEVER BITE (Sung-woo Jo) [Alamo Drafthouse]
CHINATOWN (Jerry Goldsmith) [Cinematheque: Aero]
THE DECAMERON (Ennio Morricone) [Fairfax Cinema]
HARRY POTTER AND THE DEATHLY HALLOWS, PART 2 (Alexandre Desplat) [New Beverly]
HOOK (John Williams) [Alamo Drafthouse]
KAGEMUSHA (Shinichiro Ikebe) [Cinematheque: Egyptian]
PANDORA AND THE FLYING DUTCHMAN (Alan Rawsthorne) [Fairfax Cinema]
ROXIE HART (Alfred Newman) [Cinematheque: Egyptian]
THE STORY OF ADELE H. (Maurice Jaubert), THE WILD CHILD [New Beverly]


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

Heard: Juliet of the Spirits (Rota), Spirits of the Dead: Toby Dammit (Rota), Fellini Satyricon (Rota), The Clowns (Rota), Fellini's Roma (Rota), Amarcord (Rota)

Read: The Destroyer #43: Midnight Man, by Warren Murphy

Seen: The Man Who Would Be King; Zulu Dawn; The Return of the Pink Panther; The Pink Panther Strikes Again; The Burnt Orange Heresy; Extra Ordinary; Onward; Hope Gap; The Call of the Wild [2020]; Young Ahmed

Watched: Columbo ("Etude in Black," "The Most Crucial Game," "Dagger of the Mind")

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Today in Film Score History:
April 5
Bent Aserud born (1950)
Bernhard Kaun born (1899)
Dave Grusin begins recording his score for The Friends of Eddie Coyle (1973)
Elmer Bernstein begins recording his score for The Ten Commandments (1955)
James Horner begins recording his score for Patriot Games (1992)
Jay Chattaway records his score for the Enterprise episode “Detained” (2002)
Jerry Goldsmith begins recording his score for First Knight (1995)
John Morris begins recording his score for Yellowbeard (1983)
Leo Erdody died (1949)
Michael Galasso born (1949)
Pharrell Williams born (1973)
Richard LaSalle died (2015)
Robert B. & Richard M. Sherman win Oscars for Mary Poppins' score and song "Chim Chim Cher-ee" (1965)
Ron Jones records his score for the Star Trek: The Next Generation episode "Skin of Evil" (1988)
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