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This year's winners in the Oscars music categories were Volker Bertelmann for his Original Score for ALL QUIET ON THE WESTERN FRONT, and Chandrabose and M.M. Keeravani for their Original Song "Naatu Naatu" from RRR.

This is the first year in Oscar history where both of the music awards went to foreign language films. Past foreign language score winners are The Postman (Il Postino) (Luis Bacalov), Life Is Beautiful (Nicola Piovani) and Crouching Tiger, Hidden Dragon (Tan Dun). The only previous winning song from a foreign language film is "Al Otro Lado Del Rio" from The Motorcycle Diaries; "Jai Ho" from Slumdog Millionaire is in Hindi, Urdu and Punujabi, but the film itself is in English.


Blonde - Nick Cave, Warren Ellis - Invada
The Conversation
 - David Shire - Silva 
Shazam! Fury of the Gods
- Christophe Beck - WaterTower [CD-R]


All the World Is Sleeping - Emily Greene
The Disappearance of Mrs. Wu - Kenneth Burgomaster
The Forger - Mario Grigorov
Inside - Frederik Van de Moortel 
Moving On - Amanda Jones
Shazam! Fury of the Gods - Christophe Beck - Score CD-R on WaterTower
A Snowy Day in Oakland - Nathan East
Suzhou River - Jorg Lemberg
Wildflower - Chad Fischer


March 31
This England - David Holmes - Universal (import)
What's Love Got To Do With It? - Nitin Sawhney - Mercury
April 14
Babylon - Justin Hurwitz - Interscope
May 5 
God of War: Ragnarok - Bear McCreary - Sony
May 19
A Man Called Otto - Thomas Newman - Mercury 
Date Unknown
...Dopo di che, uccide il maschio e lo divora
 - Piero Piccioni - CSC 
The Hummie Mann Collection, Vol. 2
 - Hummie Mann - Dragon's Domain
I tre spietati/Requiescant/O'cangaceiro
 - Riz Ortolani - Beat 
Il Mercenario - Ennio Morricone - Beat
Le ultime ore di una vergine
 - Daniele Patucchi - CSC 
Piedone a Hong Kong
 - Guido & Maurizio De Angelis - CSC 
Wallenberg: A Hero's Story
 - Ernest Gold - Dragon's Domain   


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 - John Williams begins recording his score for Far and Away (1992)
March 17 - Ernest Gold died (1999)
March 17 - Jerry Goldsmith begins recording his score for The Mummy (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 - Joseph Mullendore records his score for the Land of the Giants episode “Shell Game” (1969)
March 19 - George Garvarentz died (1993)
March 19 - Alan Silvestri begins recording his score for The Mummy Returns (2001) 
March 19 - Velton Ray Bunch records his score for the Enterprise episode “Acquisition” (2002)
March 19 - Michel Legrand begins recording his score for The Other Side of the Wind (2018)
March 20 - Michel Magne born (1930)
March 20 - John Cameron born (1944)
March 20 - Miklos Rozsa wins his second Oscar, for A Double Life score (1948)
March 20 - Franz Waxman wins his second consecutive Best Score Oscar, for A Place in the Sun (1952)
March 20 - Elmer Bernstein begins recording his score for The Tin Star (1957)
March 20 - Amit Poznansky born (1974)
March 20 - Stu Phillips records his score for the Buck Rogers in the 25th Century episode “The Hand of Goral” (1981)
March 20 - Ray Cook died (1989)
March 20 - Georges Delerue died (1992)
March 20 - Johnny Pearson died (2011)
March 20 - Johnny Harris died (2020)
March 21 - Antony Hopkins born (1921)
March 21 - Gary Hughes born (1922)
March 21 - Mort Lindsey born (1923)
March 21 - Alfred Newman wins his seventh Oscar, his second for Score, for Love is a Many-Splendored Thing (1956)
March 21 - Joseph S. DeBeasi born (1960)
March 21 - Alex North begins recording his score for Spartacus (1960)
March 21 - Alexander Courage records his score for the Lost in Space episode "The Mechanical Men" (1967)
March 21 - Miklos Rozsa begins recording his score to The Green Berets (1968)
March 21 - John Williams wins his fifth Oscar, for his Schindler's List score (1994)
March 21 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Journey’s End “ (1994)
March 21 - Nicola Piovani wins his first Oscar, for Life Is Beautiful; Stephen Warbeck wins the final Comedy or Musical Score Oscar for Shakespeare in Love (1999)
March 22 - Stephen Sondheim born (1930)
March 22 - Angelo Badalamenti born (1937)
March 22 - Andrew Lloyd Webber born (1948)
March 22 - Goran Bregovic born (1950)
March 22 - Wally Badarou born (1955)
March 22 - Max Richter born (1966)
March 22 - Zeltia Montes born (1979)
March 22 - Miklos Rozsa begins recording his score for Time After Time (1979)
March 22 - Craig Safan begins recording his score for The Last Starfighter (1984)
March 22 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Time Squared” (1989)
March 22 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Lessons” (1993)
March 22 - Bebo Valdes died (2013)
March 22 - Scott Walker died (2019)
March 23 - Alan Blaikley born (1940)
March 23 - Michael Nyman born (1944)
March 23 - David Grisman born (1945)
March 23 - Trevor Jones born (1949)
March 23 - Aaron Copland wins his only Oscar, for The Heiress score (1950)
March 23 - Philip Judd born (1953)
March 23 - Richard Shores records his score for The Wild Wild West episode “The Night of the Burning Diamond” (1966)
March 23 - Damon Albarn born (1968)
March 23 - Lionel Newman re-records pre-existing Jerry Goldsmith cues for The Last Hard Men’s replacement score (1976)
March 23 - Hal Mooney died (1995)
March 23 - Michael Linn died (1995)
March 23 - James Horner begins recording his score for Braveheart (1995)
March 23 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Hard Time” (1996)
March 23 - James Horner wins his first and last Oscars, for Titanic's score and song; Anne Dudley wins the third Comedy or Musical Score Oscar, for The Full Monty (1998)
March 23 - Elliot Goldenthal wins his first Oscar, for the Frida score (2003)


EMILY - Abel Korzeniowski
"O’Connor’s Emily overcomes her quirks, engages her desire, and fulfills her passions -- and then some. In O’Connor’s film, Emily’s needs look and feel much like Cathy’s desires and passions in 'Wuthering Heights.' Indeed, O’Connor’s film looks and sounds like some of the more notable adaptions of the book. Nanu Segal’s landscape photography of distant, lush rolling hills and fog settling on the moors invokes director William Wyler’s 1939 take on
'Wuthering Heights' that features the work of legendary 'Citizen Kane' cinematographer Gregg Toland. Yet when passions rise, Emily looks and feels more like Andrea Arnold’s 2001 adaptation of 'Wuthering Heights.' That film features folky ballads as a score, while the music for 'Emily,' by Abel Korzeniowski, is sweeping, deeply moving, and fully orchestral."
Timothy Cogshell, The Onion AV Club 

"The detailed production design and the homage to the titular character’s deep appreciation of nature are two of 'Emily''s strengths. The inclusion of and focus on the mysterious porcelain mask that the family was gifted in real life is also something Brontë admirers will recognize and appreciate. The power that a figurative and literal disguise can have over you -- for better or worse -- is explored in a very artistically satisfying way. Elements of the supernatural are briefly touched upon in a visually potent scene when Emily wears the mask and speaks to her family and friends while channeling her late mother. Similarly, Abel Korzeniowski’s score is beautiful and strategic. Interspersed between tense conversations Emily has with her sisters are blissful moments frolicking in nature underneath a sweeping score that never ceases to elevate the story."
Emily Bernard, Collider 
"Cinematographer Nanu Segal ('An Evening with Beverly Luff Linn') perfectly captures the fog and the winds and cliffs and the heather as though this were another screen adaptation of 'Wuthering Heights,' while the score by Abel Korzeniowski ('W.E.') accurately, with just a few instruments, captures the feeling of an anxiety attack in musical form."
Alonso Duralde, The Wrap 
"The air is charged with melodrama and even a touch of madness. The candlelight flickers menacingly within the house’s shadowy interiors (sparely appointed by production designer Steve Summersgill). Emily’s fascination with death -- and, more specifically, with her mother’s untimely passing years earlier -- turns a tense family drama into a brooding Victorian ghost story, set to the operatic churn of Abel Korzeniowski’s score."
Justin Chang, Los Angeles Times 
"'Emily' is packed with elements that can feel like homework -- period drama, literary biopic, etc., etc. -- but it’s neither stuffy nor drab. In fact, for much of its running time, it’s a film of good humor and high spirits. The cinematography is striking but not flashy, and cinematographer Nanu Segal moves the camera with patience and precision. Yet the snazzy compositions, shock edits, bursts of handheld camera, and furious violins are like something out of a psychological thriller; this is a film that pulses and breathes and feels lived in (the clothing looks worn, the dishes look used, the homes look like homes)."
Jason Bailey, The Playlist 
"Of course, Brontë’s blank canvas allure won’t stop purists from scoffing at O’Connor’s Gen Z-friendly decision to cast 'Sex Education' star Emma Mackey in the title role (a brilliant idea, it turns out). And those same people will surely be up in arms over her melodramatic vision of how literature’s most famous middle child came to write 'Wuthering Heights' -- not least of all because it involves getting high on opium and giving a b*****b to the hunkiest new member of the Yorkshire clergy while Abel Korzeniowski’s vortex-like violin score goes absolutely hog wild over the soundtrack"
David Ehrlich, IndieWire 
"DP Nanu Segal’s photography is pretty but not prettified, and integral to the contemporary vibe. The subtle shake of the elegant, handheld camerawork becomes more pronounced outdoors, as though caught in the blustery dampness of the moors outside Haworth parsonage, the Brontë residence. Inside, the camera, dim with cloud-filtered daylight, settles pensively into rooms scuffed and unfussy, without a hint of chintz, sometimes pulling a trio of faces into a circle of candlelight out of a pure black background. Set to Abel Korzeniowski’s exceptional score, which is tempestuous and classical but frays at the edges into scraping violins, the filmmaking at times borders on the expressionistic, without ever betraying the traditional period form."
Jessica Kiang, Variety 
"The messy triangle leaves Emily in an odd position, although she never explicitly has to make a choice between one man or the other. The film comes dangerously close to portraying Brontë’s creative pursuits as fueled mainly by these men and their warring desires (the two, naturally, despise each other). O’Connor’s reliance on vignettes is a compounding factor: These sketches play well enough, especially when accompanied by Abel Korzeniowski’s sweeping score, but characters and their motivations can only be outlined so much before we transition to another scene."
Lovia Gyarkye, The Hollywood Reporter
END OF THE ROAD - Craig DeLeon

"Shelton, a veteran episodic director who started in music videos, brings energy and polish -- albeit not exactly the right kind of either for this story: The film moves along nicely but exhibits little flair for white-knuckle suspense or visceral action. And the warm visual palette that is at first appealing eventually becomes a nonsensical decision to light nocturnal desert settings in gaudy neon hues, as if for a rave. The routine bombast of Craig DeLeon’s score, and various preexisting pop tracks utilized, further underline an overall lack of instinct for thriller atmospherics."
Dennis Harvey, Variety
"Like the writing, the directing is serviceable, with the leads doing their best with what feels like subpar material. The action sequences tend to lack verve and the locations -- a roadside motel, a diner, a trailer park, a creepy country home with a dungeon -- seem to have been chosen from a B-movie rolodex. Scoring is omnipresent but fails to bring additional thrills."
Jordan Mintzer, The Hollywood Reporter 
GODLAND - Alex Zhang Hungtai
"Pálmason’s use of music is also noteworthy, from composer Alex Zhang Hungtai’s warped horn motif haunting the first half, to the songs characters play in the narrative, and a final juxtaposition almost comically perfect in its summarizing brilliance: a stately, patriotic Danish tune played over a succession of bluntly desolate images of Iceland, followed by a menacingly choral Icelandic song over the end credits that sounds ripped from a Viking dream."
Robert Abele, The Wrap 
"The film’s first half, redolent of 'Aguirre, Wrath of God' and 'Meek’s Cutoff,' captures the horrible drudgery of a cross-country expedition by foot, wherein the breathtaking beauty of the landscape fails to provide any relief from the physical toil of it all. 'Godland''s hyper-detailed sound design amplifies every spray of mist and the clomping of feet on muddy ground, creating a sonic landscape that’s so all-encompassing on its own that the eerie wails and moans of the score by Alex Zhang Hungtai (a.k.a. Dirty Beaches) register as portentous italicizing."
Carson Lund, Slant Magazine

"Both the psychological and the physical rigors of the expedition are magnified in Alex Zhang Hungtai’s other-worldly score, its ambient sounds and dissonant horns evoking everything from howling winds to whale calls."
David Rooney, The Hollywood Reporter  
"Machoian keeps the dialogue to a minimum, letting the quietly expressive Crawford carry a lot of the story with his face and his muttering. As in their previous collaboration, Machoian and Crawford balance the frequently grim subject matter with dark humor, as Joe makes up songs about himself or tries out arguments aloud to justify his various screw-ups. Sound designer Peter Albrechtsen and composer William Ryan Fritch help craft the movie’s mood, which shifts between muted realism and a deep look at what’s going on inside Joe’s head."
Noel Murray, Los Angeles Times
"Albrechtsen layers discordant ambient groans and shudders and creaks with the elemental noise of bugs, birds, animals, trees in the wind and branches cracking underfoot, together with snatches of William Ryan Fritch’s somber orchestral score. That jagged soundscape, along with the anxious notes of the setup and countless stories of hunting accidents throughout American film and literature, signals disaster."
David Rooney, The Hollywood Reporter 

"Returning director Jamie Payne (who helmed Series 5) extends the stark and amplified atmosphere of his past 'Luther' installments even as the action set pieces -- one turning Piccadilly Square into a warzone; another leaving London to explore a frozen house of horrors -- scale up, with veteran cinematographer Larry Smith bathing the film’s eeriest tableaux of domestic terror in a cold, suffusing twilight. As in previous installments of the series, Luther’s red tie -- a signature accessory -- is sometimes the brightest splash of color on the screen. Neil Cross, the series creator and sole writer, scripts 'Luther' with a sensibility so menacing and lurid that it approaches the gritty camp of recent DC superhero films, a sensation that Lorne Balfe’s taut, pulsing score only enhances."
Isaac Feldberg, 
THE QUIET GIRL - Stephen Rennicks
"Set to Stephen Rennick’s [sic] sweet score, which tiptoes round the edges of the film’s airy sound design, the simplicity of the story and the desire to do right by all the characters (except perhaps a prying neighbor who is sketched rather cattily) is an undoubted strength. But this is also a romantic vision of the sadness that can settle around a solitary kid like a shawl on her shoulders, and on occasion the deep investment in the long silences and sorrowful gazes that mostly make up Cáit’s life can teeter close to preciousness. When it does, though, there’s always Clinch’s superbly modulated performance, and the way the compassionate camera lavishes on Cáit all the attention that quiet, nice kids like her rarely receive, to bring us back onside."
Jessica Kiang, Variety 

"'The Quiet Girl' is an unassuming drama -- hushed, intimate and melancholy -- skirting the edges of sentimentality at times but invariably pulling back before it becomes a sugary cliché. That balance is maintained also in Stephen Rennicks’ lovely melodic score. This is an accomplished debut feature, its emotional rewards in inverse proportion to its scale."
David Rooney, The Hollywood Reporter 
THE SEA BEAST - Mark Mancina
"In the impressively staged prologue, 'The Sea Beast' shows young Jacob Holland -- you may as well call him Ishmael -- clutching to shards of a broken boat. It’s a breathtaking sight, rendered all the richer via you-are-there sound design and Mark Mancina’s classical horns-and-drums score. The ship blazes red above water before the virtual camera plunges below the surface to reveal the hull torn in two. This traumatic sea beast attack gave Jacob’s life meaning: Rescued soon after by one-eyed Captain Crow (a salt-and-vinegar-sounding Jared Harris), he will spend the rest of his days chasing these creatures to the ends of the earth."
Peter Debruge, Variety 


Screenings of older films in Los Angeles-area theaters.

March 17
EASTERN PROMISES (Howard Shore) [BrainDead Studios]
FASTER, PUSSYCAT! KILL! KILL! (Paul Sawtell, Bert Shefter), SWITCHBLADE SISTERS [New Beverly]
FIREWALKER (Gary Chang) [Los Feliz 3]
MILLENIUM MAMBO (Giong Lim) [Los Feliz 3]
JAMON JAMON (Nicola Piovani) [Aero]
KILL BILL, VOL. 1 (RZA) [New Beverly]
A SCANNER DARKLY (Graham Reynolds) [Alamo Drafthouse]
THE SHINING (Wendy Carlos, Rachel Elkind) [Academy Museum]
THE SILENCE OF THE LAMBS (Howard Shore) [New Beverly]
SOCIETY (Phil Davies, Mark Ryder) [BrainDead Studios]
SOYLENT GREEN (Fred Myrow) [Los Feliz 3]
THE TRIAL (Jean Ledrut) [Los Feliz 3]

March 18
THE BIG HEAT, HUMAN DESIRE (Daniele Amfitheatrof) [Academy Museum]
BOOKSMART (Dan the Automator) [Alamo Drafthouse]
CHINATOWN (Jerry Goldsmith) [Los Feliz 3] 
ERNEST & CELESTINE (Vincent Courtois) [Academy Museum]
FASTER, PUSSYCAT! KILL! KILL! (Paul Sawtell, Bert Shefter), SWITCHBLADE SISTERS [New Beverly] 
GOLDEN BALLS (Nicola Piovani), THE TIT AND THE MOON (Nicola Piovani) [Aero]
IN A LONELY PLACE (George Antheil) [Academy Museum]
JOSIE AND THE PUSSYCATS (John Frizzell) [New Beverly]
ONCE WERE WARRIORS (Murray Grindlay, Murray McNab) [BrainDead Studios]
ONG BAK (Romaric Laurence, Richard Wells) [BrainDead Studios]
A SCANNER DARKLY (Graham Reynolds) [Alamo Drafthouse] 
SOMETHING'S GOTTA GIVE (Hans Zimmer) [Alamo Drafthouse]
SPIDER-MAN 2 (Danny Elfman) [New Beverly]
THE TRAIN ROBBERS (Dominic Frontiere) [Los Feliz 3]
THE TRIAL (Jean Ledrut) [Los Feliz 3] 
UNBREAKABLE (James Newton Howard) [BrainDead Studios]

March 19
BOOKSMART (Dan the Automator) [Alamo Drafthouse] 
BRINGING OUT THE DEAD (Elmer Bernstein) [BrainDead Studios]
CANICHE [Los Feliz 3]
CITIZEN KANE (Bernard Herrmann) [Aero]
DUNKIRK (Hans Zimmer) [Fine Arts]
FASTER, PUSSYCAT! KILL! KILL! (Paul Sawtell, Bert Shefter), SWITCHBLADE SISTERS [New Beverly]
FIVE GRAVES TO CAIRO (Miklos Rozsa) [Los Feliz 3]
MASK [Fine Arts]
MILLENNIUM MAMBO (Giong Lim) [Alamo Drafthouse]
THE MISFITS (Alex North) [UCLA/Hammer]
NAKED ALIBI [Academy Museum]
A SCANNER DARKLY (Graham Reynolds) [Alamo Drafthouse]
SOLARIS (Edward Artemyev) [BrainDead Studios]
SPIDER-MAN 2 (Danny Elfman) [New Beverly]
VIOLENT STREETS (Masaru Sato) [Los Feliz 3]
WRECK-IT-RALPH (Henry Jackman) [BrainDead Studios]
YOUNG FRANKENSTEIN (John Morris) [Academy Museum] 

March 20
ANGUISH (J.M. Pagan) [Los Feliz 3]
BRING IT ON (Christophe Beck), GET OVER IT (Steve Bartek) [New Beverly]
DEATH WATCH (Antoine Duhamel) [Los Feliz 3] 
MILLENNIUM MAMBO (Giong Lim) [Alamo Drafthouse]

March 21
THE LAST RUN (Jerry Goldsmith), RUSTLERS' RHAPSODY (Steve Dorff) [New Beverly]
LAWRENCE OF ARABIA (Maurice Jarre) [Academy Museum]
OLD JOY (Yo La Tengo) [Los Feliz 3]
RIVER OF GRASS (John Hill) [Los Feliz 3]

March 22
JAMON JAMON (Nicola Piovani) [Los Feliz 3]
THE LAST RUN (Jerry Goldsmith), RUSTLERS' RHAPSODY (Steve Dorff) [New Beverly]
ROSEMARY'S BABY (Christopher Komeda) [BrainDead Studios]

March 23
GOLDEN BALLS (Nicola Piovani) [Los Feliz 3]

March 24
THE ADVERSARY (Satyajit Ray), COMPANY LIMITED (Satyajit Ray) [Academy Museum]
GLADIATOR (Hans Zimmer, Lisa Gerrard) [New Beverly]
KILL BILL, VOL. 1 (RZA) [New Beverly]
PIERROT LE FOU (Antoine Duhamel), JE TU IL ELLE [Aero]
A SCANNER DARKLY (Graham Reynolds) [BrainDead Studios]
SPIRITED AWAY (Joe Hisaishi) [BrainDead Studios]
THE TIT AND THE MOON (Nicola Piovani) [Los Feliz 3]

March 25
AMERICAN PIE (David Lawrence) [BrainDead Studios]
CLUELESS (David Kitay) [Los Feliz 3]
DR. WHO AND THE DALEKS (Malcolm Lockyer) [Los Feliz 3]
HELLO MARY LOU: PROM NIGHT II (Paul Zaza) [New Beverly]
A LEAGUE OF THEIR OWN (Hans Zimmer) [New Beverly]
MEEK'S CUTOFF (Jeff Grace) [Los Feliz 3]
THE MIDDLEMAN (Satyajit Ray) [Academy Museum]
MURMUR OF THE HEART [BrainDead Studios]
OKLAHOMA! (Richard Rodgers, Robert Russell Bennett, Jay Blackton, Adolph Deutsch) [Academy Museum]
SINGIN' IN THE RAIN (Herb Nacio Brown, Lennie Hayton) [Academy Museum]
SLEEPING BEAUTY (George Bruns) [BrainDead Studios]
SPEED RACER (Michael Giacchino) [Alamo Drafthouse]
TO DIE FOR (Danny Elfman), PRACTICAL MAGIC (Alan Silvestri) [New Beverly]
WAY OF A GAUCHO (Sol Kaplan) [Los Feliz 3]

March 26
BICENTENNIAL MAN (James Horner) [BrainDead Studios]
BLAZING SADDLES (John Morris) [Academy Museum]
HER (Will Butler, Owen Pallett) [BrainDead Studios]
HESTER STREET (William Bolcom) [Academy Museum]
L.A. STORY (Peter Melnick) [Aero]
LA PROMESSE [Los Feliz 3]
A LEAGUE OF THEIR OWN (Hans Zimmer) [New Beverly]
A MATTER OF LIFE AND DEATH (Allan Gray) [Academy Museum]
A PATCH OF BLUE (Jerry Goldsmith) [Fine Arts]
SHOW ME LOVE [Alamo Drafthouse]
THE SON [Los Feliz 3]
THERE WAS A FATHER (Kyoichi Saiki) [Los Feliz 3]
TO DIE FOR (Danny Elfman), PRACTICAL MAGIC (Alan Silvestri) [New Beverly] 


Heard: Ernest & Celestine (Courtois); The Shining (Carlos/Elkind); To Kill a Mockingbird (Bernstein); Once Upon a Forest (Horner); Battle Cry (Steiner); Damn Yankees (Adler/Ross/Heindorf); Legends of Hollywood Vol. 2 (Waxman); The Music Man (Willson); 'Round Midnight (Hancock, various)

Read: A Fine Red Rain, by Stuart M. Kaminsky

Seen: Our Dancing Daughters; Our Modern Maidens; Diabolique [1955]; Creed III; 65; Old Boyfriends; Thieves Like Us

Watched: Bob's Burgers ("Weekend at Mort's"); Counterpart ("In from the Cold"); The Good Place ("Existential Crisis"); The Deuce ("Nobody Has To Get Hurt"); Hacks ("I Think She Will"); Fargo ("The House of Special Purpose"); Inside Amy Schumer ("Meth Lab"); Justified ("Loose Ends"); Key & Peele ("Flicker"); The Knick ("They Capture the Heat"); Silicon Valley ("Bad Money"); Penny Dreadful ("The Blessed Dark"); 30 Rock ("The Natural Order")

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May 25
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