Music Box Records has announced their latest batch of releases - rereleases of their expanded, out-of-print editions of L'AMANT (The Lover) by Gabriel Yared and LOLITA by Ennio Morricone; an expanded release of Christopher Gunning's score for the Oscar-winning Edith Piaf biopic LA VIE EN ROSE (aka La Mome); and the fifth volume in their limited edition series LES B.O. INTROUVABLES featuring previously unavailable French scores, this three-disc set including Pleure pas my love, L'homme de ma vie and Tous les jours dimanche (all Raymond Alessandrini); Joy and Joy & Joan (both Francois Valery), La trace (Nicola Piovani & Marc Perrone) and Au revoir...a lundi (Lewis Furey & Jean-Daniel Mercier).
Hans Zimmer won the Golden Globe for Best Original Score, Motion Picture for DUNE, and Billie Eilish and Finneas O'Connell won Best Original Song, Motion Picture for "No Time to Die."
CDS AVAILABLE THIS WEEK
In the Earth - Clint Mansell - Invada (import)
Lolita [re-release] - Ennio Morricone - Music Box
The Lover [re-release] - Gabriel Yared - Music Box
Terminal Exposure - Hans Zimmer - Notefornote
The Thirty-Nine Steps - Ed Welch - Quartet
Treasure Island - Natale Massara - Quartet
IN THEATERS TODAY
The King's Daughter - Joseph Metcalfe, John Coda, Grant Kirkhope
The Laureate - Brian Byrne
The Pink Cloud - Caio Amon
Redeeming Love - Brian Tyler, Breton Vivian
Unsilenced - Ian Chen
COMING SOON
January 28
All Creatures Great and Small: Series 2 - Alexandra Harwood - Silva
Without Remorse - Jonsi - Krunk
April 8
Spencer - Jonny Greenwood - Mercury
Date Unknown
Alfred the Great - Raymond Leppard - Kritzerland
Black Patch/The Man [re-recording] - Jerry Goldsmith - Intrada
La Vie en Rose - Christopher Gunning - Music Box
Les B.O. Introuvables - Raymond Alessandrini, Lewis Furey, Jean-Daniel Mercier, Marc Perrone, Nicola Piovani, Francois Valery - Music Box
Music for Games, Film, Televsion and Concert Hall - Raphael Benjamin Meyer - Alhambra
THIS WEEK IN FILM MUSIC HISTORY
January 21 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “An Unlocked Window” (1965)
January 21 - Peer Raben died (2007)
January 22 - Sid Ramin born (1919)
January 22 - J.J. Johnson born (1924)
January 22 - Al Kasha born (1937)
January 22 - Miklos Rozsa begins recording his score for The Strange Love of Martha Ivers (1946)
January 22 - Velton Ray Bunch born (1948)
January 22 - Keith Forsey born (1948)
January 22 - Ben Mink born (1951)
January 22 - Marc Blitzstein died (1964)
January 22 - Alexander Courage's score to the Star Trek pilot, "The Cage," is recorded (1965)
January 22 - Richard Markowitz begins recording his score for The Wild Wild West pilot episode “The Night of the Inferno” (1965)
January 22 - Fred Steiner records his score for The Wild Wild West episode “The Night of the Undead” (1968)
January 22 - Leith Stevens records his score for the Land of the Giants episode “Night of Thrombeldinbar” (1969)
January 22 - Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “The Guardians” (1981)
January 22 - Justin Hurwitz born (1985)
January 22 - Christopher Palmer died (1995)
January 22 - Billy May died (2004)
January 23 - Walter Greene born (1910)
January 23 - Marty Paich born (1925)
January 23 - George Aliceson Tipton born (1932)
January 23 - Dick DeBenedictis born (1937)
January 23 - Casablanca released in theaters (1943)
January 23 - Alfred Newman begins recording his score to The President's Lady (1953)
January 23 - Recording sessions begin on Alex North’s score for The Bad Seed (1956)
January 23 - David Arnold born (1962)
January 23 - Recording sessions begin for Danny Elfman’s score for Dolores Claiborne (1995)
January 23 - Riz Ortolani died (2014)
January 24 - Muir Mathieson born (1911)
January 24 - Norman Dello Joio born (1913)
January 24 - Joseph Carl Breil died (1926)
January 24 - Nico Fidenco born (1933)
January 24 - Neil Diamond born (1941)
January 24 - The Treasure of the Sierra Madre opens in theaters (1948)
January 24 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “The Jar” (1964)
January 24 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Conundrum” (1992)
January 24 - Ken Darby died (1992)
January 24 - Larry Crosley died (1998)
January 25 - Albert Glasser born (1916)
January 25 - Antonio Carlos Jobim born (1927)
January 25 - Benny Golson born (1929)
January 25 - Tobe Hooper born (1943)
January 25 - Hans-Erik Philip born (1943)
January 25 - Venedikt Pushkov died (1971)
January 25 - Jerry Goldsmith begins recording his score for Poltergeist (1982)
January 25 - Paul J. Smith died (1985)
January 25 - James Horner begins recording his score for A Far Off Place (1993)
January 25 - Gregory Smith records his score for the Star Trek: Deep Space Nine episode “Field of Fire” (1999)
January 25 - Simeon Pironkov died (2000)
January 25 - Normand Corbeil died (2013)
January 25 - John Morris died (2018)
January 26 - Hugo Riesenfeld born (1879)
January 26 - Stephane Grappelli born (1908)
January 26 - Ken Thorne born (1924)
January 26 - Marc Fredericks born (1927)
January 26 - Christopher L. Stone born (1952)
January 26 - Miklos Rozsa begins recording his score for All the Brothers Were Valiant (1953)
January 26 - Elmer Bernstein begins recording his score for The Miracle (1959)
January 26 - Wendy Melvoin born (1964)
January 26 - Victoria Kelly born (1973)
January 26 - Recording sessions begin for Jerry Goldsmith’s score for Damnation Alley (1977)
January 26 - Gustavo Dudamel born (1981)
January 26 - Ron Jones records his score for the Star Trek: The Next Generation episode "A Matter of Honor" (1989)
January 26 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Far Beyond the Stars” (1998)
January 26 - Bruce Broughton begins recording his score for Mickey Donald Goofy: The Three Musketeers (2004)
January 26 - Michel Legrand died (2019)
January 27 - Jerome Kern born (1885)
January 27 - Alaric Jans born (1949)
January 27 - Mike Patton born (1968)
January 27 - David Shire begins recording his score for All the President's Men (1976)
January 27 - Leonard Rosenman begins recording his score for The Car (1977)
January 27 - Craig Safan records his scores for the Twilight Zone episodes “To See the Invisible Man” and “Tooth and Consequences” (1986)
January 27 - Arthur Kempel records his score for the Twilight Zone episode “The Elevator” (1986)
January 27 - Norman McLaren died (1987)
January 27 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Phage” (1995)
DID THEY MENTION THE MUSIC?
BRUISED - Aska Matsumiya
"Random jump cuts and manipulative music cues don’t help either. Berry’s debut very much feels like one from an artist who feels the need to expressively prove themselves, only they can’t settle on what their vision is. They’ve been saddled with a Lifetime original movie/Sundance script lab mash-up as a blueprint to explore complex racial issues that never dive beyond the surface."
Andrew Bundy, The Playlist
THE ELECTRICAL LIFE OF LOUIS WAIN - Arthur Sharpe
"'The Electrical Life of Louis Wain' isn’t even half over by the time its margins start to grow soggy with sadness, leaving the long and erratic stretch of the film that follows Emily’s death to stumble through more than 25 years of solitude as Sharpe struggles to find enough story to justify its fanciful telling. The film is shot in fairy-tale 4:3 and riddled with creative flourishes that fail to compensate for the punctuated linearity of its plot (e.g., frequent light leaks and prismatic lens flares convey Wain’s heightened worldview, as does an enigmatically warbling score by Sharpe’s brother Arthur that makes better use of the theremin than any movie since 'First Man'). 'The Electrical Life of Louis Wain' searches high and low for the animating spark its namesake imagines to be the lifeforce of all things — human, feline, or artistic.
David Ehrlich, IndieWire
"Who might be the equivalent of Louis Wain today? A once-popular cartoonist perhaps, or a bland and beloved painter such as Thomas Kinkade? The movie needn’t make the case for Wain’s greatness to justify its own telling: His story is compelling, especially in its early chapters, and Sharpe’s distinctive style shows the director no shortage of tricks up his sleeve (with more to come in a career worth watching). The score, written by his brother Arthur, incorporates nontraditional elements like the theremin and the musical saw, reinforcing the movie’s all-around weirdness -- though it’s no stranger than the enigmatic animals Louis Wain immortalized."
Peter Debruge, Variety
ENCANTO - Germaine Franco (score), Lin-Manuel Miranda (songs)
"As for the music, all the songs are infectiously catchy, but they also all serve significant storytelling purposes. While Disney makes a lot of musicals, not all of them use music in this way (cough, the 'Frozen' troll song, cough). But from the get-go, the music in 'Encanto' is deliberate. The first song, for instance, introduces every single member of the Madrigal family and their powers, personalities, and what Mirabel thinks of them, with an infectiously catchy Latin pop beat and fast-paced lyrics that set the stage much like the opening song of 'Hamilton.'"
Petrana Radulovic, Polygon
"Speaking of those musical sequences, I think it’s time Lin-Manuel Miranda takes a break. After knocking it out of the park with 'In the Heights,' 'Hamilton' and 'Moana,' his 2021 offerings have been a little lackluster. For this review, I finally watched the movie 'Vivo,' in which he voices the title character as well as handles the song writing duties. Those numbers sounded flimsy and forgettable. In one song, he rhymes 'drum' with… 'drum.' In 'Encanto,' the odds are a little better, more songs fare better than others, but there’s still a sense that these musical numbers are the reheated leftovers from other projects. They sound like his work, but don’t offer anything new or exciting to get stuck in our heads. Isabela and Luisa’s disposable pop songs 'What Else Can I Do?' and 'Surface Pressure' are cloyingly repetitive. 'The Family Madrigal' is a less effective version of the opening song from 'In the Heights.' Only Carlos Vives’ rendition of Miranda’s song 'Colombia, Mi Encanto' sounds like a memorable stand-out."
Monica Castillo, RogerEbert.com
"Another entry in the composer-turned-director’s banner year ('tick, tick…Boom!' and 'Vivo' being two more), this musical runs on nearly a dozen songs by Lin-Manuel Miranda in his signature style. By design, a key purpose of the tracks is to explicate the inner worlds of supporting characters in a concise and entertaining manner. It’s a mixed bag, with a few headed to become classics. The one performed by Luisa (Jessica Darrow, 'Feast of the Seven Fishes'), for example, stands out both lyrically -- a lament about how she is appreciated solely for her physical prowess -- and for the bombastically hilarious imagery that accompany it."
Carlos Aguilar, The Wrap
"Yet like Disney’s other big November release, 'Eternals,' 'Encanto' struggles to serve its massive ensemble effectively. With 12 or so featured players, there’s just not enough room to flesh out their relationships to Mirabel and to one another while still making time for the requisite action-adventure moments and Mirabel’s own emotional arc too. Some characters we barely get to know at all, while others have their big issue introduced and resolved in a single song. It doesn’t help that Lin-Manuel Miranda’s musical numbers lean towards a pop sound that’s fun and catchy but lacks the emotional punch of Disney’s usual Broadway stylings. For all its compelling individual elements, 'Encanto' doesn’t quite manage to weave them together into something greater than the sum of its parts -- which is especially frustrating given that the idea of communal support is a driving ethos of the film. Still, that unevenness gives way to great moments. The film’s standout sequence is a flashback montage set to Miranda’s elegiac Spanish-language song, 'Dos Oruguitas.' There, 'Encanto' re-anchors itself as a movie about intergenerational trauma -- the way that the necessary survival methods of one generation can become the unhealthy coping mechanisms of another. It’s weighty but gently handled material in a thematically dense film that will likely reward multiple viewings. (Good news for parents.) While 'Encanto' doesn’t break the Disney mold, it does give it an enchanting new shape. And it offers a timeless reminder to viewers of all ages: A problem shared is a problem halved, whether you’re leaning on your loved ones or the sturdy walls of an enchanted house."
Caroline Siede, The Onion AV Club
"With its bold visual sense and fanciful storyline (credited to six writers, no less), 'Encanto' feels like a companion piece to 'Coco,' but it has nowhere near the same emotional heft as that far superior 2017 Oscar-winner. Miranda’s musical contribution is respectable (the best song is performed in Spanish), though not terribly memorable for either grade-schooler or parent. Granted, there’s nothing to dislike about this latest animated film in the Disney canon (No. 60!), but there’s also not much about it that sticks either, except for that crazy casa. ¡La tiene mucho encanto!"
Steve Davis, The Austin Chronicle
"Other supporting characters stand out, too, despite getting reduced screen time, often getting one good scene before being forgotten. Jessica Darrow’s work as Luisa, Mirabel’s super strong sister, is a particular delight, especially during a vibrant musical performance that includes dancing donkeys. Similarly, many of the musical’s songs are solid, though audiences will likely remember the specific scene they appear in -- those dancing donkeys! -- more than than their actual titles. It’s doubtful any of these will cross over to regular radio play."
Kristen Lopez, IndieWire
"An important clue, Mirabel is told, lies in her trying to get along with the obnoxious Isa. But why would that solve anything? Their spiky and rousing duet, 'What Else Can I Do?,' gives us a rapturous hint. That’s one of eight original songs Miranda wrote for the film, all of them good, several of them gems, like the strong-woman Luisa ripping through the exhilaratingly knotty wordplay of 'Surface Pressure' or the ensemble number 'We Don’t Talk About Bruno,' which has a riff catchy enough to rival Camila Cabello’s 'Havana.' The whole movie has a mercurial, mood-hopping free-form vibe that, at its best, suggests Disney with a touch of 'Yellow Submarine.' When Isa begins to see the light, instead of beautiful flowers she produces a cactus. Prickly, but at least it’s her. That’s the kind of movie 'Encanto' is. Is there a villain? For a while, it sure seems like it. But it turns out that the most dastardly thing in this canny and touching fairy tale is to ignore the love under our noses."
Owen Gleiberman, Variety
"Those sentiments are expertly drawn out by the excellent voice cast and evoked in Miranda’s flavorful songs, including two numbers written in Spanish: 'Dos Oruguitas,' performed by Colombian singer-songwriter Sebastián Yatra, is a soulful allegorical retelling of the love story between Abuela Alma and her late husband; and 'Colombia, Mi Encanto' is a stirring homeland salute sung by national pop superstar Carlos Vives. In a nice touch of artistic continuity, Alma’s singing voice is provided by Miranda’s In the Heights Abuela, Olga Merediz."
David Rooney, The Hollywood Reporter
THE HAND OF GOD - Lele Marchitelli
"There’s no self-aggrandizement in Sorrentino’s introspection, and no sticky sentimentality in his nostalgia. Instead, there’s an intimate candor that sneaks up on you as the film’s fragmented storytelling comes together into something quite special, a coming-of-age story marked by indelible tragedy, an unspeakable pain that becomes a companion. The emotional resonance is amplified by the elegant compositions of D’Antonio’s cinematography and the melancholy pull of Lele Marchitelli’s score."
David Rooney, The Hollywood Reporter
HELD FOR RANSOM [aka DANIEL] - Johan Söderqvist
"Without their moments of levity, accompanied by Johan Söderqvist’s glimmering, hopeful score, 'Daniel' could be a relentlessly harrowing experience, especially for those aware of how at least some of these stories must end. But with Oplev and Berthelsen’s engrossing yet sensitive and respectful direction, it instead has the pummeled body of a bruising incarceration thriller but the heart of a moving family drama, one that even earns its final transformation into a graceful tribute to a life-saving friendship and a fallen friend."
Jessica Kiang, Variety
I WAS A SIMPLE MAN - Alex Zhang Hungtai
"That disconnect spins along and gets paid forward as well, as members of Masao’s extended family start to wonder why they should care for him when he didn’t care for them. But, Yogi’s film finds that these people have been there for each other in their own ways over the years, if often only in waiting. They’ve been transmuted into stories and memories -- not all of them good, and none of them particularly sentimental -- only to come back to Masao through the red glow of Eunsoo Cho’s dreamy cinematography and Alex Zhang Hungtai’s elemental score. Some of the most enticing scenes invite us to imagine the similar effect that Masao’s afterimage might have on future generations (particularly his grandson), and how even the faint shade of a semi-distant family member can help divine the waters that all of us join midstream."
David Ehrlich, IndieWire
"Indeed, all Yogi’s actors work in subtle, effective deference to his natural command of atmosphere and place: This is a film where Hawaiian rainfall has as prominent and evocative a voice as any human presence, and where the growth of a tree marks time as clearly as the deepening crevices in a character’s face. A spare, wistful score by Alex Zhang Hungtai (the star and composer of 'August at Akiko’s') and Pierre Guerineau frequently melts into the chattering, whistling sound design of the island itself: The work of man and earth are fused, which feels apt for a film that woozily collapses physical and spiritual dimensions into one. If 'I Was a Simple Man' is a ghost story of sorts, it’s still an unusually grounded one: There’s a lot of mystery to unpick in our living years, the film says, before we depart into the further unknown."
Guy Lodge, Variety
"These memories -- seductively framed by DP Eunsoo Cho against lush, green sugar plantations and pristine beaches -- are conjured partly out of Grace’s notebooks, which Kati retrieves from a shelf, and partly in Masao’s mind. Yogi, who also edited, weaves them together into an unhurried but fluid narrative that drifts among the three time periods with a sort of surreal lucidity. That aspect is enhanced by the gentle score of Alex Zhang Hungtai (who also appears here, and played the musician in 'August at Akiko''s) and Pierre Guerineau, combining pensive piano doodling with ambient tones blended together with the vivid presence of the natural world in Sung Rok Choi’s sound design."
David Rooney, The Hollywood Reporter
IDA RED - David Sardy
"John Swab‘s fourth feature film as writer-director-producer, 'Ida Red,' (and if it’s your first of his, don’t feel too bad; it well may also be your last) starts with a police stop that turns out to be a heist. On a deserted stretch of highway late at night, a nicely spoken cop, played by Josh Hartnett, asks politely to see a trucker’s manifest. And when the tired, irascible trucker seeks permission to retrieve it from his door compartment, you feel a frisson of worry. Partly it’s because Hartnett’s cop seems so alone and vulnerable up there in the night, especially in Matt Clegg‘s trembling handheld photography. Partly it’s that the trucker and his driving partner seem ornery and who knows what he’s reaching for in that hidden space? But mostly, it’s because David Sardy‘s deliriously over-explanatory score, which will be your constant companion for the next 111 minutes, is already at DefCon 1 from about a minute in and could not be more explicit about Something Bad going to happen. Swab has undoubtedly watched the touchpoints in the gangster and crime genres. He may even have jotted down some notes about the modern rural crime-western from David Mackenzie‘s 'Hell or High Water' and about brothers-against-brothers from the early movies of James Gray. He has certainly absorbed a thing or two about matriarchal crime-clan sagas from David Michod’s 'Animal Kingdom' and also seemingly admires the jaunty wipes and scene transitions in Soderbergh’s glossy caper films. But 'Ida Red' shuffles disparate bits from that scrapbook into a vaguely movie-shaped object and then slathers it in overbearing score to create atmosphere and momentum that even Sardy’s heavy-lifting, descending-blare compositions and a whole bunch of rather enjoyable actors earnestly doing their best cannot provide. The problem may simply be that the best gangster pictures have some guiding sense of intelligence, their Godfather-style kingpins being fascinating as much for their long-view, big-picture thinking as for their venality. Here, no one seems capable of envisaging even the most immediate consequences of their increasingly vicious actions, and so where 'Ida Red' wants us to thrill to the idea of criminality as almost a genetic inheritance, a trait carried down a bloodline like blue eyes or freckles, in fact, all it really suggests is that this family might be really dumb, and actually quite bad at crime."
Jessica Kiang, The Playlist
"The most memorable elements of Ida Red can be divided into two categories. There’s the stuff that sticks because it inspires that nagging what-does-this-remind-me-of feeling -- like David Sardy’s overbearing score, which tries to impose 'Tenet'-size grandeur on a modest and middling film that can’t possibly support it. Or Grillo’s performance as the mesh-shirted, cowboy-hatted Dallas, which borrows some of Matthew McConaughey’s sadistic charisma from 'Killer Joe.' Or Leo’s combination of maternal warmth and icy resolve, which brings to mind a plainer version of the mom from 'Animal Kingdom.'"
Angie Han, The Hollywood Reporter
JULIA - Rachel Portman
"'Julia' also sweetly fills out the arc of her marriage, a source of support for her to the very end. Paul’s own mysteries of behavior aren’t ignored, but in ribbons of text excerpted from their letters and diaries, in observations offered up by those who knew them, and augmented by the more lushly romantic strains of Rachel Portman’s score, 'Julia' makes clear how deeply committed he was to helping the love of his life to succeed. The totality of what they meant to each other is quite moving."
Robert Abele, Los Angeles Times
"Away from the kitchen, much of the film is consumed with her and Paul’s lifelong misfit romance, supplemented with extracts from their correspondence, ornamentally handwritten on screen. (Such flourishes, along with Rachel Portman’s somewhat over-present score -- heavy on obvious accordion cues whenever the action turns to France -- lends the film a general air of cuteness.) The chosen quotes are more colorful than revealing, though it is amusing to read Paul’s prescient observation, shortly after their initial meeting, of her 'slight atmosphere of hysteria, giggling wildly, which gets on my nerves.'"
Guy Lodge, Variety
LADY BUDS - Abby Posner
"The Bud Sisters bring a fair amount of humor to the movie -- much as circumstances conspire to wipe the smiles off their faces -- which sports a handsome look in producer Christian Bruno’s cinematography. Russo and her editors deftly weave individual sagas and bigger-picture themes into a cohesive narrative whole, while Abby Posner contributes a diverse original score. Informative and involving as the film is, however, one wishes 'Lady Buds' didn’t ultimately illustrate yet one more arena in which it seems nice guys -- and girls -- are destined to finish last.
Dennis Harvey, Variety
THE LOST DAUGHTER - Dickon Hinchliffe
"When Olivia Colman’s Leda stumbles and collapses onto the pebbly sand of a twilit Greek beach in the very opening scene of Maggie Gyllenhaal’s uncannily accomplished, indefinably disturbing and deeply affecting directorial debut 'The Lost Daughter,' she is wearing white. This is not unusual for Leda, nor heavily symbolic; it’s a blouse and skirt, not a wedding dress or a shroud. But as the title appears boldly over her prone form, and Dickon Hinchliffe’s melodic, throwback score first plinks out like the never-resolving piano intro to an old pop song, and if you know your Yeats, there’s a chance you might think of some lines of his which talk about a staggering girl and then go 'And how can body, laid in that white rush/But feel the strange heart beating where it lies?'"
Jessica Kiang, IndieWire
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
January 21
A.I. ARTIFICIAL INTELLIGENCE (John Williams) [Brain Dead Studios]
BOOGIE NIGHTS (Jon Brion) [Alamo Drafthouse]
FANTASTIC MR. FOX (Alexandre Desplat) [Academy Museum]
GRINDHOUSE: DEATH PROOF [New Beverly]
LA NOCHE AVANZA (NIGHT FALLS) (Raul Lavista) [Academy Museum]
LAKE PLACID (John Ottman) [Los Feliz 3]
LAST AND FIRST MEN (Johann Johannsson) [Los Feliz 3]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [Alamo Drafthouse]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3]
SOMBRA VERDE (UNTOUCHED) (Antonio Diaz Conde) [Academy Museum]
SUMMER OF SOUL [New Beverly]
SWEENEY TODD THE DEMON BARBER OF FLEET STREET (Stephen Sondheim) [Nuart]
TRAINSPOTTING [New Beverly]
WHAT'S UP, DOC? (Artie Butler) [Aero]
January 22
BOOGIE NIGHTS (Jon Brion) [Alamo Drafthouse]
BREEZY (Michel Legrand) [Alamo Drafthouse]
DIAS DE OTONO (AUTUMN DAYS) (Raul Lavista) [Academy Museum]
EIGHT MEN OUT (Mason Daring), MATEWAN (Mason Daring) [Aero]
EL TOPO (Alejandro Jodorowsky) [Brain Dead Studios]
A FOREIGN AFFAIR (Frederick Hollander) [Academy Museum]
THE GAME (Howard Shore) [Los Feliz 3]
IKIRU (Fumio Hayasaka) [Brain Dead Studios]
JAILHOUSE ROCK [New Beverly]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [Alamo Drafthouse]
MACARIO (Raul Lavista) [Academy Museum]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3]
PADDINGTON (Nick Urata) [Academy Museum]
PINK FLOYD THE WALL (Roger Waters, Michael Kamen) [New Beverly]
PRIDE & PREJUDICE (Dario Marianelli) [Alamo Drafthouse]
SUMMER OF SOUL [New Beverly]
THE VELVET UNDERGROUND [Aero]
January 23
ACE IN THE HOLE (Hugo Friedhofer) [Los Feliz 3]
AGUIRRE, THE WRATH OF GOD (Popol Vuh) [Brain Dead Studios]
BREEZY (Michel Legrand) [Alamo Drafthouse]
CHILDREN OF MEN (John Tavener) [Brain Dead Studios]
DAYS OF HEAVEN (Ennio Morricone) [Los Feliz 3]
THE GOONIES (Dave Grusin) [Alamo Drafthouse]
JAILHOUSE ROCK [New Beverly]
LABYRINTH (Trevor Jones) [IPIC Westwood]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [Alamo Drafthouse]
ON GOLDEN POND (Dave Grusin) [Academy Museum]
PRIDE & PREJUDICE (Dario Marianelli) [Alamo Drafthouse]
ROSAURO CASTRO (Antonio Diaz Conde) [Academy Museum]
SPIDER-MAN: HOMECOMING (Michael Giacchino), SPIDER-MAN: FAR FROM HOME (Michael Giacchino) [Aero]
SUMMER OF SOUL [New Beverly]
TWO-LANE BLACKTOP [Brain Dead Studios]
January 24
BOOGIE NIGHTS (Jon Brion) [Alamo Drafthouse]
THE CORRUPTION OF CHRIS MILLER (Waldo de los Rios) [Los Feliz 3]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [Alamo Drafthouse]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3]
TRICK OR TREAT (Christopher Young), TERROR ON TOUR (The Names) [New Beverly]
January 25
THE ALLIGATOR PEOPLE (Irving Gertz) [Los Feliz 3]
THE 400 BLOWS (Jean Constantin) [Los Feliz 3]
THE GOONIES (Dave Grusin) [Alamo Drafthouse]
KING KONG (Max Steiner) [Academy Museum]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [Alamo Drafthouse]
MAGNOLIA (Jon Brion) [New Beverly]
January 26
GAS FOOD LODGING (J. Mascis) [Brain Dead Studios]
I'M NOT THERE [Los Feliz 3]
LABYRINTH (Trevor Jones) [IPIC Westwood]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [Alamo Drafthouse]
MAGNOLIA (Jon Brion) [New Beverly]
VELVET GOLDMINE (Carter Burwell) [Los Feliz 3
January 27
CRAWL (Max Aruj, Steffen Thum) [Los Feliz 3]
MAGNOLIA (Jon Brion) [New Beverly]
MONDAYS IN THE SUN (Lucio Godoy) [Aero]
THE SLOG MOVIE [Brain Dead Studios]
January 28
ABOVE THE RIM (Marcus Miller) [New Beverly]
CHASING CORAL (Saul Simon MacWilliams, Dan Romer) [Academy Museum]
GRINDHOUSE: DEATH PROOF [New Beverly]
HARRY POTTER AND THE SORCERER'S STONE (John Williams) [Alamo Drafthouse]
INHERENT VICE (Jonny Greenwood) [Alamo Drafthouse]
KILLER CROCODILE (Riz Ortolani) [Los Feliz 3]
LAST AND FIRST MEN (Johann Johannsson) [Los Feliz 3]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3]
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Brain Dead Studios]
PLAY IT AS IT LAYS [Los Feliz 3]
SIGN O' THE TIMES [New Beverly]
TOUKI BOUKI [Brain Dead Studios]
January 29
ALLIGATOR (Craig Huxley) [Los Feliz 3]
HARRY POTTER AND THE SORCERER'S STONE (John Williams) [Alamo Drafthouse]
INHERENT VICE (Jonny Greenwood) [Alamo Drafthouse]
MARY POPPINS (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [New Beverly]
MY NEIGHBOR TOTORO (Joe Hisaishi) [Alamo Drafthouse]
NOT AT HOME [Academy Museum]
THE SECRET OF ROAN INISH (Mason Daring) [Los Feliz 3]
SIGN O' THE TIMES [New Beverly]
THEM! (Bronislau Kaper) [Los Feliz 3]
THERE'S SOMETHING ABOUT MARY (Jonathan Richman) [Brain Dead Studios]
TO SIR, WITH LOVE (Ron Grainer) [Alamo Drafthouse]
TWILIGHT (Carter Burwell) [Alamo Drafthouse]
URGH! A MUSIC WAR [New Beverly]
WHIRLPOOL (David Raksin) [Academy Museum]
WITHNAIL & I (David Dundas, Rick Wentworth) [Brain Dead Studios]
WOLF AND SHEEP [Academy Museum]
Y TU MAMA TAMBIEN [Brain Dead Studios]
January 30
EASY RIDER [Brain Dead Studios]
EATEN ALIVE (Wayne Bell, Tobe Hooper) [Los Feliz 3]
GATOR (Charles Bernstein) [Los Feliz 3]
GONE WITH THE WIND (Max Steiner) [IPIC Westwood]
INHERENT VICE (Jonny Greenwood) [Alamo Drafthouse]
LETTER FROM AN UNKNOWN WOMAN (Daniele Amfitheatrof) [Los Feliz 3]
MARY POPPINS (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [New Beverly]
MINARI (Emile Mosseri) [Academy Museum]
MY NEIGHBOR TOTORO (Joe Hisaishi) [Alamo Drafthouse]
THE ORPHANAGE [Academy Museum]
PAT GARRETT AND BILLY THE KID (Bob Dylan) [Brain Dead Studios]
RAD (James Di Pasquale) [Alamo Drafthouse]
SIGN O' THE TIMES [New Beverly]
THE SWIMMER (Marvin Hamlisch) [Brain Dead Studios]
TWILIGHT (Carter Burwell) [Alamo Drafthouse]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: East of Eden/Rebel Without a Cause (Rosenman), The Tale of the Princess Kaguya (Hisaishi), Pom Poko (Shang Shang Typhoon), Only Yesterday (Hoshi), Anne of Green Gables (Miyoshi/Mori), Shaft's Big Score (Parks), Shaft in Africa (Pate), Shaft (Arnold), Shaft (Lennertz), Spider-Man (Elfman), Spider-Man 2 (Elfman), The Amazing Spider-Man (Horner), The Amazing Spider-Man 2 (Zimmer)
Read: Dreamland, by George V. Higgins
Seen: Belle [2021], A Hero, Forbidden Passage [1941], The Search, The Cameraman
Watched: Notorious [1946]; Star Trek ("Wolf in the Fold"); Star Trek: Lower Decks ("Veritas"); Rome ("Heroes of the Republic"); Legend [1986]; Person of Interest ("Ghosts"); Batman: The Animated Series ("Two Face: Part One")
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