The latest releases upcoming from Dragon's Domain are THE GOLDEN AGE OF SCIENCE FICTION VOL. 2, featuring music from The Angry Red Planet (Paul Dunlap), The Lost Missle (Gerald Fried) and War of the Satellites (Walter Greene); and THE LEE HOLDRIDGE COLLECTION VOL. 3, featuring two TV movies scores, The Return of Eliot Ness and Mafia Princess. They have also just released a CD-R of Chuck Cirino's score for MURDERBOT.
CDS AVAILABLE THIS WEEK
The Last Kingdom: Destiny Is All - John Lunn, Eivor, Danny Saul - Absolute Label Services
A Man Called Otto - Thomas Newman - Mercury
Murderbot [CD-R] - Chuck Cirino - Dragon's Domain
IN THEATERS TODAY
Dealing with Dad - Emi Meyer
Fast X - Brian Tyler - Song CD on Artist Partner Group
Master Gardener - Devonte Hynes
Outpost - Steph Copeland
Sanctuary - Ariel Marx
Victim/Suspect - Morgan Kibby
COMING SOON
May 26
Summer Rental - Alan Silvestri - 1984 Publishing
Summer School - Danny Elfman - 1984 Publishing
June 16
Dungeons & Dragons: Honor Among Thieves - Lorne Balfe - Decca
July 28
The Super Mario Bros. Movie - Brian Tyler - iam8bit
Date Unknown
Asterix et le coup de Menhir - Michel Colombier - Music Box
Bloody Fury - Susan Dibona, Salvatore Sangiovanni - Kronos
An Elephant Called Slowly - Howard Blake - Dragon's Domain
The Exterminator - Joe Renzetti - Noteforenote
The Golden Age of Science Fiction Vol. 2 - Paul Dunlap, Gerald Fried, Walter Greene - Dragon's Domain
The Lee Holdridge Collection Vol. 3 - Lee Holdridge - Dragon's Domain
Lucky Luke [re-issue] - Claude Bolling - Music Box
Matchmaking - Frank Ilfman - Kronos
The Morton Stevens Collection Vol. 1 - Morton Stevens - Dragon's Domain
Munchie Strikes Back - Chuck Cirino - Dragon's Domain
The Wonders of the Universe (The Music from the Big Finish Space: 1999 Audio Dramas) - Joe Kraemer - Buysoundtrax
THIS WEEK IN FILM MUSIC HISTORY
May 19 - Irving Gertz born (1915)
May 19 - Larry Crosley born (1932)
May 19 - Anton Garcia Abril born (1933)
May 19 - Tom Scott born (1948)
May 19 - James L. Venable born (1967)
May 19 - Kyle Eastwood born (1968)
May 19 - Earle Hagen wins the Emmy for his score for the I Spy episode “Laya” (1968)
May 19 - Jerry Goldsmith wins his second Emmy, for QB VII Parts 1 & 2; Billy Goldenberg wins for the Benjamin Franklin episode “The Rebel” (1975)
May 19 - James Horner begins recording his score for Titanic (1997)
May 19 - Edwin Astley died (1998)
May 19 - Hans Posegga died (2002)
May 20 - Zbigniew Preisner born (1955)
May 20 - Jerry Goldsmith wins his first Emmy, for The Red Pony; Charles Fox wins an Emmy for his Love, American Style music (1973)
May 20 - Lyn Murray died (1989)
May 20 - Jay Chattaway records his score for the Star Trek: Voyager episode “Sacred Ground” (1996)
May 21 - Kevin Shields born (1963)
May 21 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Inner Light” (1992)
May 21 - Fiorenzo Carpi died (1997)
May 21 - Frank Comstock died (2013)
May 22 - Roger Bellon born (1953)
May 22 - Iva Davies born (1955)
May 22 - Richard Rodgers wins the Outstanding Music Emmy for Winston Churchill – The Valiant Years (1962)
May 22 - John Sponsler born (1965)
May 22 - Laurence Rosenthal wins the Emmy for his score to Michelangelo: The Last Giant (1966)
May 22 - Mario Zafred died (1987)
May 22 - James Horner begins recording his score for Unlawful Entry (1992)
May 23 - Raymond Legrand born (1908)
May 23 - Michel Colombier born (1939)
May 23 - William Stromberg born (1964)
May 23 - Tom Tykwer born (1965)
May 23 - Jimmy McHugh died (1969)
May 23 - George Bruns died (1983)
May 23 - Recording sessions begin on Patrick Doyle’s score for Dead Again (1991)
May 23 - Kenyon Emrys-Roberts died (1998)
May 23 - Recording sessions begin for John Ottman's score for The Invasion (2007)
May 24 - Sadao Bekku born (1922)
May 24 - Bob Dylan born (1941)
May 24 - Waddy Wachtel born (1947)
May 24 - Franz Waxman begins recording his score for Sorry, Wrong Number (1948)
May 24 - Pierre van Dormael born (1952)
May 24 - David Ferguson born (1953)
May 24 - Leith Stevens records his score for the Land of the Giants episode “Underground” (1968)
May 24 - Jerry Fielding begins recording his score for Shirts/Skins (1973)
May 24 - Duke Ellington died (1974)
May 24 - Recording sessions begin for Graeme Revell’s score to Child’s Play 2 (1990)
May 24 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “In Theory” (1991)
May 25 - Pierre Bachelet born (1944)
May 25 - Alex North begins recording his score for Decision for Chemistry (1953)
May 25 - Rick Smith born (1959)
May 25 - Miklos Rozsa begins Los Angeles recording sessions for Ben-Hur (1959)
May 25 - Elmer Bernstein wins the Outstanding Music Composition Emmy for The Making of the President 1960 (1964)
May 25 - Trevor Morris born (1970)
May 25 - Quincy Jones begins recording his score for Killer by Night (1971)
May 25 - Star Wars released in theaters (1977)
May 25 - Alien released in theaters (1979)
DID THEY MENTION THE MUSIC?
CARMEN - Nicholas Britell
"Just as heroic in this project is Nicholas Britell, one of the most exciting American composers working today. Through his mournful compositions for Barry Jenkins and his purposely dueling minor-key notes for 'Succession,' Britell is no stranger to heartbreak and conflict in his arrangements, and those qualities, he injects into the score of 'Carmen' openhandedly. Amplified by the human voices of a choir (singing some verses from Bizet’s own 'Carmen'), swooning strings and immersive synths, the effect of Britell’s sound is heart-rending and alarming in equal measure. Elsewhere, his musical collaborators Julieta Venegas, Taura Stinson and The D.O.C. (who raps along a riveting fight scene) complete and complement Britell’s work with original songs, artistically shifting the shape of dreams and reality that we perceive on the screen."
Tomris Laffly, The Wrap
"Located somewhere between a classic opera, a modern dance piece, and a deadly fever dream -- between the timeless beauty of ancient myth and the modern nightmare of America’s current immigration policies -- Benjamin Millepied’s 'Carmen' is stretched across a few too many borders to ever feel like it’s standing on solid ground. And yet, it’s undeniably exhilarating to watch one of the world’s most accomplished choreographers team up with one of its most virtuosic composers (Nicolas Britell) for the kind of aggressively unclassifiable movie that would never exist if not for these two artists reaching beyond their disciplines to create it themselves...That febrile texture is only sustained for as long as it is thanks to the enormous assist that 'Carmen' gets from Britell’s tempestuous score, which was conceived in tandem with the script and creates veritable sandstorms from violins and a French-language children’s choir. The music in turn lends a palpable viscerality to the body language between Aidan and Carmen as they feel each other out; even the way they arrange themselves around in and around the truck they steal is a kind of dance."
David Ehrlich, IndieWire
"Paying homage to the original opera with a vigorous choir, the score by celebrated composer Nicholas Britell ('Moonlight') rings as grand and eerie as the open landscapes in the couple’s journey. Britell also created the songs featured in collaboration with multiple artists including U.S-born Mexican singer-songwriter Julieta Venegas. That the actors can properly switch between Spanish and English depending on what the context calls for, taking advantage of Barrera being fully bilingual, already makes “Carmen” more believable than many international productions set in Latin America."
Carlos Aguilar, Los Angeles Times
"The ravishing images in “Carmen” evoke a powerful sense of myth, poetry, timelessness, and dreams. Each shot is exquisitely framed, every detail contributing to the haunting mood. Cinematographer Jörg Widmer, who was on the camera crew for a similarly dream-like setting for 'The Tree of Life,' gives settings that might otherwise be desolate or grimy a sense that even the bleakest environments can be beautiful, even romantic. Director Benjamin Millepied’s first feature reflects his background as a dancer and choreographer. The dance numbers are pulsatingly, pulse-poundingly erotic, and gorgeously performed and filmed. Nicholas Britell’s score has touches of an angelic choir that sometimes seems to be commenting on the story like a Greek chorus, carrying the characters forward, caressing them, or sounding an alarm. All of that makes 'Carmen' a fever dream love story of heartbreaking beauty. The name Carmen, we are told, means poem."
Neil Minow, RogerEbert.com
"Thus, a furtive flight through windswept days and glittering nights is born, with Aidan and Carmen determined to avoid capture and, once they develop trust and affection, separation. Their bond is forged through incidents as operatically stylized as the choral singing that cascades across the soundtrack, swelling and subsiding in tune with the protagonists’ hearts, beginning with a nocturnal stop at a carnival. Aidan watches Carmen dance among a group of women, who are illuminated by the rides’ twinkling lights and the fiery pinwheels spinning around them. Eventually, the pair makes it to a Los Angeles dance hall named La Sombra Pederosa and run by Masilda (the inimitable Rossy de Palma, a frequent Pedro Almodóvar collaborator), a beloved friend of Carmen’s mother, who grants them temporary protection from the hostile forces outside (embodied by a pursuing cop). It’s also a sanctuary where Aidan and Carmen’s love can fully blossom."
Nick Schager, The Daily Beast
"In the opening moments of 'Carmen,' the debut feature from director Benjamin Millepied that is a reimagining of the opera of the same name, the world we are taken into feels both vast and destructive. The Mexican desert stretches in all directions, but the beauty of the landscape is compromised by a danger that is coming over the horizon. Death comes for a dancing woman who we only get a small glimpse of before she is gunned down, robbing the titular Carmen (Melissa Barrera) of her mother and sending her on a dangerous journey across the border. As she leaves the broken wreckage of her life burning behind her, it represents a harrowing yet promising start to a film that begins to feel increasingly small. Though often a visual feast for the eye, the spell it attempts to cast is compromised by pedestrian storytelling that never cuts below the surface. Partly a musical with some well-choreographed sequences and a strong score by Nicholas Britell, it never comes together into the emotional experience it could have been over its nearly two-hour runtime."
Chase Hutchinson, Collider
"Mostly, though, Millepied’s debut -- premiering at the Toronto Film Festival and featuring rising star Melissa Barrera (in the title role) and Irish actor Paul Mescal ('Normal People') -- is a woefully pretentious and uninvolving slog, an arthouse screen-saver only sporadically ignited by its two best components: composer Nicholas Britell and Almodovar regular Rossy de Palma as a flamboyant nightclub owner-performer. There’s simmering promise at the start, as cinematographer Jorg Widmer’s camera carries us across the Chihuahuan desert to a remote house, accompanied by Britell’s choral music and de Palma’s husky voice elliptically talking of dangerous men, blood, sand and sadness. Thankfully, de Palma effortlessly enlivens any scene she’s in (getting real laughs when she flirts with Aidan), and in her character’s otherwise dreary-looking nightclub, she lands the movie’s best number with her florid gestures, ornate look and commitment to selling the insipid lyrics. And in an otherwise unremarkable score too enamored of its choral voices, the music accompanying de Palma is Britell’s shining moment, too -- a softly driving, Spanish-inflected strings-and-percussion theme you won’t mind lingering in your head long after you’ve forgotten the rest of this choppy, hollow 'Carmen.'"
Robert Abele, The Wrap
"That void gives composer Nicholas Britell room to run riot as, in a sense, the dominant voice of the film: Mixing a thundering orchestra with more eerily modern sonic details and shrieking choral arrangements, his heavily amplified soundtrack drives the action as Bizet’s own score did, matching or even aggravating the volume and tempo of the onscreen melodrama. The actors, amid all this sound and fury, can hardly compete."
Guy Lodge, Variety
THE CURSE OF BRIDGE HOLLOW - Christopher Lennertz
"From here, it’s a lot of running and screaming, with the overbearing horror score working overtime. There are plenty of perfunctory jump scares as well as some especially cheesy visual effects. But there is exactly one inspired sight gag and one funny line of dialogue, so you have those to look forward to, should you land on 'The Curse of Bridge Hollow' while absent-mindedly scrolling for timely holiday fare. And there’s a series of extremely obvious needle drops to buoy you along, from the Rockwell earworm 'Somebody’s Watching Me' to the Whodini hip-hop classic 'Freaks Come Out at Night.' By the time AC/DC’s 'Highway to Hell' came on, my 13-year-old son exclaimed: 'Oh, that’s where the budget went -- the music!' That, and copious amounts of candy."
Christy Lemire, RogerEbert.com
ENYS MEN - Mark Jenkin
"Perhaps most impressive is Jenkin’s score and use of sound design. The over-dubbed dialogue is often a microsecond out of sync and is delivered by the performers with an inhuman flatness that subtly evokes the supernatural. His punctuations of silence are wielded like weapons, but most impressive are the loudest moments when his mix of abstract tonal music is blended into a cacophony with waves crashing, blowing wind, and ominous echoes that rise from the hellish caverns below."
Leila Latif, IndieWire
"The first third burns as slowly as a bit of wet rope. Little happens: we follow The Volunteer on her day-to-day, the soundscape a mix of glitchy crackles, foreboding strings, and the gentle crash of sea against rock. That it’s shot in such a captivating manner makes the banal interesting, even gorgeous -- when Jenkin comes close to her little crank-operated radio, you see the dust hugging the inner crevices of its speakers, the rippling paint cracks, the rough fadedness of well-handled company. By dint of her isolation, there’s vanishingly little dialogue, aside from some two-way radio chatter at the beginning, where The Volunteer tells a fellow that she enjoys her seclusion. It’s obviously self-imposed, punishment by way of a geographical straitjacket; as it comes to pass, this woman has her fair share of ghosts. (And yes, the metaphor is eventually literalized, albeit with creepy verve.) "
Jack King, The Playlist
"The most remarkable thing about Jenkin’s excellent, BAFTA-winning 2019 breakout 'Bait' was how much that film’s similarly experimental -- though black-and-white -- imagery complemented the story it told. A tale of gentrification, of traditional lifestyles and professions being pushed out by newer, less artisanal technologies, its aesthetic itself felt like an analogous celebration of old-school filmmaking in an age of digital sterility. Here, the defiantly creaky early-cinema techniques are extremely cool to look at (and listen to, given Jenkin’s brooding, evocative soundscapes), but feel thematically lost at sea."
Jessica Kiang, Variety
"'Enys Men' arrives after festival runs including the Directors’ Fortnight at Cannes and the New York and London film festivals. Before that, Jenkin made a mini-splash with his 2019 film 'Bait,' winner of the BAFTA for outstanding British debut, only now getting a U.S. release. As he did in 'Bait,' here Jenkin writes, shoots, edits and does the soundscape, with an aesthetic and method of filming that are as central as any story. He creates a deliberately retro look for 'Enys Men,' reflecting the 1970s. The film was shot in 16 mm and boxy 4:3 aspect ratio, using a hand-cranked Bolex camera. The saturated colors capture the bright sea and gray cliffs, with bright pops of red from the woman’s slicker and the barely functioning generator that keeps the cottage’s lights on. The sounds are also essential, with a low humming or wind noise that Jenkin creates on a synthesizer. That handcrafted feel perfectly suits the restricted, hermetic world he creates."
Caryn James, The Hollywood Reporter
GUY RITCHIE'S THE COVENANT - Chris Benstead
"For a writer/director known for babbling spy thrillers, 'The Covenant' works best when the two leads are forced to be silent lest they tip off prowling combatants. That comes in the 'Warriors'-esque second act, brimming with no-holds-barred intensity. Some true-to-form editing techniques (choppy cuts, sudden slow motion, the works), a suspenseful violin soundscape, and dizzying tracking shots advance the plot swiftly along. Then, act two ends. All signs indicate the movie should be over, too, but fatally, it isn’t."
Dex Wesley Parra, The Austin Chronicle
"Ritchie and his regular editor James Herbert maintain a steady but propulsive pace over the two-hour duration, pushed along by a suspenseful score from Chris Benstead that makes evocative use of dissonant strings."
David Rooney, The Hollywood Reporter
ONE TRUE LOVES - Nathan Wang
"Reid and husband Alex J. Reid adapted her novel for 'One True Loves,' and while audiences would expect that having the original author on deck would lead to a more seamless transition to the screen, alas. Andy Fickman’s film is bogged down with blatant exposition, courtesy of Emma’s sister Marie (Michaela Conlin), Hallmark-esque declarations amid a bland score, and more plot holes (how did Jesse survive?!) than we care to admit."
Samantha Bergeson, IndieWire
PETITE SOLANGE - Benjamin Esdraffo
"Danger signs are apparent right from the start when Benjamin Esdraffo’s inescapable saccharine music too quickly accompanies the action. The tunes are part and parcel of the film’s entire design, from the pale filtered visuals to the ’70s-influenced clothing -- is that really a baked casserole the father serves up for dinner, and what on earth is going on with the science teacher’s mop of hair? All these throwbacks make you wonder whether the anomaly comes from the cell phones and other mod cons or the use of old-fashioned words long abandoned from most people’s vocabulary."
Jay Weissberg, Variety
RUN SWEETHEART RUN - Rob
"The well-intentioned 'Run Sweetheart Run' weaponizes the sexist realities forced upon women. However, like Smile, a similarly metaphor-heavy horror hit, 'Sweetheart' trips over itself to keep the allegory going, turning elements like Cherie’s menstruation into a plot contrivance. As she escapes the police station, Rob Coudert’s synth-heavy score is in John Carpenter mode. It’s an appropriate choice, but Carpenter always knew the message was meaningless without the scares. Cherie’s actions, like tossing a tampon to throw Ethan off her trail, don’t empower her much as they get the plot to the next stage. Unfortunately, the audience gets lost trying to figure out the one-for-one of Feste, Keith Josef Adkins, and Kellee Terrell’s script, and it’s a hurdle the film can’t clear."
Matt Schimkowitz, The Onion AV Club
SISU - Juri Seppa, Tuomas Wainola
"When the Nazis commandeer his gold, the fight to retrieve the precious substance imbues this hero with a near-supernatural determination that is as caked on as the blood and mud that finds a home in the crevices of his face. He fights across roads populated by landmines; he survives a hanging; he slices men’s throats underwater to use their escaping air bubbles for breathing so he might avoid capture. His otherworldly strength and resolve provide wonderful laughs, allowing the viewer to take immense pleasure in the gore and carnage dripping from every corner of the frame. Even the narrative’s chapter titles, simple and direct signifiers such as 'Minefield' and 'The Legend,' along with the movie’s brooding score, possess a similar dogged pursuit to Korpi’s undaunted will."
Robert Daniels, RogerEbert.com
"A significant tonal clash holds Sisu back from being the kind of fun midnight action fare the relentless advertising campaign promises. Tommila’s grounded, silent performance as Aatami, along with the fairly conventional way director Jalmari Helander, cinematographer Kjell Lagerroos, and editor Juho Virolainen frame the action, suggest a more serious revenge thriller. At the same time, the booming music, the cheesy chapter titles ('The Legend,' 'The Nazis,' 'Kill ’Em All'), and some ridiculously silly action beats (such as Aatami hitching a ride on the bottom of a plane by lodging his prospecting pick into it as it takes off) place it more firmly in the area of ludicrously fun action fare."
Pete Volk, Polygon
SOMEWHERE IN QUEENS - Mark Orton
"But even then, it never feels like much is at stake. 'Somewhere in Queens' meanders as amiably as its title, with efficient little montages and heartfelt, truthful monologues accompanied by that bane of the indie comedy/drama, the gentle guitar and piano score. You can see the conflicts and dramatic beats coming from a mile away, and the corniness of the ending is absolutely immeasurable. It’s an inoffensive and even likable picture, but not a particularly compelling one."
Jason Bailey, The Playlist
WILD LIFE - Gustavo Santaolalla, Juan Luqui
"Certainly, one element that really ups the emotional qualities of the film, which shouldn’t be underestimated, is the excellent soaring and soulful score of Gustavo Santaolalla, known for 'The Last Of Us' game and show and the films of Alejandro González Iñárritu and Juan Luqui. While this music might be familiar and even synonymous with Latin American-set narratives, the poignant music really sells many of the moving personal calamities, hardships, and struggles that the pair, and eventually Kris on her own, face."
Rodrigo Perez, The Playlist
"Bucking a recent trend that has begun to get on my nerves, 'Wild Life' doesn’t treat Doug’s death as a late-film twist. The documentary begins with Kris and several people in her sphere, including Chin, climbing a Chilean peak that was important to Doug as she reflects on his corporeal absence but his spiritual presence. His death is included here in an animated sequence that, punctuated by the swelling score from Gustavo Santaolalla and Juan Luqui, is moving without being excessively graphic."
Daniel Fienberg, The Hollywood Reporter
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
May 19
ALIEN (Jerry Goldsmith) [New Beverly]
COLLATERAL (James Newton Howard) [Los Feliz 3]
EASTERN CONDORS (Ting Yat Chung) [Academy Museum]
ENOUGH SAID (Marcelo Zarvos) [Aero]
FIGHT CLUB (Dust Brothers) [BrainDead Studios]
FUNNY GAMES [Los Feliz 3]
INGLORIOUS BASTERDS [New Beverly]
THE MASTER (Jonny Greenwood) [BrainDead Studios]
SORCERER (Tangerine Dream) [New Beverly]
WANDA [Los Feliz 3]
May 20
AN AMERICAN TAIL (James Horner) [Academy Museum]
BEYOND THE BLACK RAINBOW (Jeremy Schmidt) [New Beverly]
BULLITT (Lalo Schifrin) [Alamo Drafthouse]
CACHE, CODE UNKNOWN [Aero]
CLOSELY WATCHED TRAINS (Jiri Sust) [BrainDead Studios]
DRIVEWAYS (Jay Wadley) [Alamo Drafthouse]
FRIENDS WITH MONEY (Craig Richey) [Los Feliz 3]
GROSSE POINTE BLANK (Joe Strummer) [Los Feliz 3]
KAPO (Carlo Rustichelli) [BrainDead Studios]
MEN IN BLACK (Danny Elfman) [BrainDead Studios]
ODD COUPLE (Frankie Chan), SKINNY TIGER AND FATTY DRAGON [Academy Museum]
PLEASE GIVE (Marcelo Zarvos) [Los Feliz 3]
RACE FOR YOUR LIFE, CHARLIE BROWN (Ed Bogas) [New Beverly]
SORCERER (Tangerine Dream) [New Beverly]
THE SWORD AND THE SORCERER (David Whitaker) [Los Feliz 3]
May 21
ACE IN THE HOLE (Hugo Friedhofer) [BrainDead Studios]
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [Academy Museum]
HOW TO GET AHEAD IN ADVERTISING (David Dundas, Rick Wentworth) [BrainDead Studios]
MISSING YOUNG WOMAN (Todd Boekelheide) [Academy Museum]
PICKPOCKET [Los Feliz 3]
PLUS ONE (Leo Birenberg) [Alamo Drafthouse]
RACE FOR YOUR LIFE, CHARLIE BROWN (Ed Bogas) [New Beverly]
SORCERER (Tangerine Dream) [New Beverly]
STRAY DOGS [BrainDead Studios]
VICIOUS LIPS (Michael McCarty) [Los Feliz 3]
THE WHITE RIBBON [Los Feliz 3]
THE WIZARD (J. Peter Robinson) [Alamo Drafthouse]
ZODIAC (David Shire) [Aero]
May 22
JUDGMENT NIGHT (Alan Silvestri) [Los Feliz 3]
TO LIVE AND DIE IN L.A. (Wang Chung) [Los Feliz 3]
TRICK BABY (James Bond), WILLIE DYNAMITE (J.J. Johnson) [New Beverly]
May 23
BLUE VELVET (Angelo Badalamenti), RIVER'S EDGE (Jurgen Kneiper) [New Beverly]
THE LURE (Ballady i Romanse) [Alamo Drafthouse]
NASHVILLE [Academy Museum]
SHOWGIRLS (David A. Stewart) [Los Feliz 3]
TIGHTROPE (Lennie Niehaus) [Alamo Drafthouse]
THE WARRIORS (Barry DeVorzon) [Los Feliz 3]
May 24
AMORES PERROS (Gustavo Santaolalla) [BrainDead Studios]
BLUE VELVET (Angelo Badalamenti), RIVER'S EDGE (Jurgen Kneiper) [New Beverly]
DON'T LOOK BACK, I'M NOT THERE [Aero]
THE LURE (Ballady i Romanse) [Alamo Drafthouse]
MEAN GUNS (Tony Riparetti) [Los Feliz 3]
TIGHTROPE (Lennie Niehaus) [Alamo Drafthouse]
May 25
BLUE VELVET (Angelo Badalamenti), RIVER'S EDGE (Jurgen Kneiper) [New Beverly]
CRAZY SIX (Tony Riparetti) [Los Feliz 3]
MASCULIN FEMININ (Jean-Jacques Debout), THE FRENCH DISPATCH (Alexandre Desplat) [Aero]
May 26
THE ADDAMS FAMILY (Marc Shaiman) [Los Feliz 3]
THE EMPIRE STRIKES BACK (John Williams) [Fine Arts]
FUNNY GAMES [Los Feliz 3]
INGLORIOUS BASTERDS [New Beverly]
MEANTIME (Andrew Dickson) [BrainDead Studios]
MERMAIDS (Jack Nitzsche) [New Beverly]
OBSERVE AND REPORT (Joseph Stephens) [BrainDead Studios]
RAISING ARIZONA (Carter Burwell), MOONSTRUCK (Dick Hyman) [New Beverly]
RETURN OF THE JEDI (John Wiliams) [Fine Arts]
SHE SHOOTS STRAIGHT (Lowell Lo), LICENSE TO STEAL (Richard Yuen) [Academy Museum]
STAR WARS (John Williams) [Fine Arts]
May 27
ANTZ (Harry Gregson-Williams, John Powell) [BrainDead Studios]
BON VOYAGE, CHARLIE BROWN! (Ed Bogas, Judy Munsen) [New Beverly]
THE CONVERSATION (David Shire) [Aero]
THE CABIN IN THE WOODS (David Julyan) [New Beverly]
CHAIN CAMERA (Blake Leyh) [Los Feliz 3]
GODZILLA (Akira Ifukube) [Los Feliz 3]
HER (William Butler, Owen Pallett), BLUE VALENTINE (Grizzly Bear) [Aero]
LADY BIRD (Jon Brion) [Los Feliz 3]
MR. NICE GUY (J. Peter Robinson) [Academy Museum]
MUPPETS MOST WANTED (Christophe Beck) [Academy Museum]
ON THE TOWN (Leonard Bernstein, Roger Edens, Lennie Hayton) [Alamo Drafthouse]
RAISING ARIZONA (Carter Burwell), MOONSTRUCK (Dick Hyman) [New Beverly]
SEVEN SAMURAI (Fumio Hayasaka) [BrainDead Studios]
STAR WARS EPISODE I: THE PHANTOM MENACE (John Williams) [Fine Arts]
STAR WARS EPISODE II: ATTACK OF THE CLONES (John Williams) [Fine Arts]
STAR WARS EPISODE III: REVENGE OF THE SITH (John Williams) [Fine Arts]
May 28
THE BEST YEARS OF OUR LIVES (Hugo Friedhofer) [Alamo Drafthouse]
CLOSE ENCOUNTERS OF THE THIRD KIND (John Williams) [Aero]
DUNE (Hans Zimmer) [Academy Museum]
GOLDENEYE (Eric Serra) [Alamo Drafthouse]
HUSTLERS [Alamo Drafthouse]
MARIE ANTOINETTE [Los Feliz 3]
MY WINNIPEG [Los Feliz 3]
RAISING ARIZONA (Carter Burwell), MOONSTRUCK (Dick Hyman) [New Beverly]
STAR WARS: THE FORCE AWAKENS (John Williams) [Fine Arts]
STAR WARS: THE LAST JEDI (John Williams) [Fine Arts]
STAR WARS: THE RISE OF SKYWALKER (John Williams) [Fine Arts]
WONDER WOMAN (Rupert Gregson-Wiliams) [Los Feliz 3]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: American Utopia on Broadway (Byrne); Home of the Brave (Anderson); Jazz on a Summer's Day (various); The Molly Maguires (Strouse); Let It Be (Beatles); The Last Waltz (various); Inchon (Goldsmith); The Panic in Needle Park (Rorem)
Read: The Innocent Bystanders, by James Munro
Seen: Hypnotic; Evil Dead Rise; Air; Are You There God? It's Me, Margaret; Love Again; Goodfellas; Rodin; Slithis; Smoking Causes Coughing
Watched: Person of Interest ("Get Carter"); The Venture Bros. ("Arrears of Science"); Westworld ("Que Sera, Sera"); Four Times That Night; Succession ("Sh*t Show at the F**k Factory")
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