Film Score Monthly
Screen Archives Entertainment 250 Golden and Silver Age Classics on CD from 1996-2013! Exclusive distribution by SCREEN ARCHIVES ENTERTAINMENT.
Sky Fighter Wild Bunch, The King Kong: The Deluxe Edition (2CD) Body Heat Friends of Eddie Coyle/Three Days of the Condor, The It's Alive Nightwatch/Killer by Night Gremlins Space Children/The Colossus of New York, The
FSM HOME MESSAGE BOARD FSM CDs FSM ONLINE RESOURCES FUN STUFF ABOUT US  SEARCH FSM   
LOG IN
Forgot Login?
Register
Search Archives
Film Score Friday
Latest Edition
Previous Edition
Archive Edition
The Aisle Seat
Latest Edition
Previous Edition
Archive Edition
View Mode
Regular | Headlines
All times are PT (Pacific Time), U.S.A.
Site Map
Visits since
February 5, 2001:
14916936
© 2024 Film Score Monthly.
All Rights Reserved.
Return to Articles

The latest release from Intrada is a remastered edition of their three-disc release of Jerry Goldsmith's rousing symphonic score for INCHON, the Korean war epic from 1982 starring Laurence Olivier (as Gen. MacArthur!), Ben Gazzara and Jacqueline Bisset.


CDS AVAILABLE THIS WEEK

Inchon [remastered reissue] - Jerry Goldsmith - Intrada Special Collection
L'alba dell'uomo - Piero Piccioni - Beat 
Star Trek: The Original Series - The 1701 Collection vol. 4
 - Alexander Courage, Jerry Fielding, Gerald Fried - La-La Land 


IN THEATERS TODAY

Altered Reality - Andrew Morgan Smith
Bob Marley: One Love - Kris Bowers
Drift - Re Olunuga
Land of Bad - Brandon Roberts
Madame Web - Johan Soderqvist
Players - Jeff Cardoni


COMING SOON

Cliffhangers
 - Joe Harnell - Five Jays [CD-R]
The Joe Kraemer Collection Vol. 1
 - Joe Kraemer - Dragon's Domain [CD-R]
Octopussy
 - John Barry - La-La Land
Scusi, ma lei le paga le tasse?/Come rubammo la bomba atomica
 - Lallo Gori - Beat    


THIS WEEK IN FILM MUSIC HISTORY

February 16 - Alec Wilder born (1907)
February 16 - Dennis Wilson born (1920)
February 16 - Kunio Miyauchi born (1932)
February 16 - John Corigliano born (1938)
February 16 - Miklos Rozsa begins recording his score for King of Kings (1961)
February 16 - Dennis McCarthy and Kevin Kiner begin recording their score for the Star Trek: Enterprise episode “Observer Effect” (2004)
February 17 - Ron Goodwin born (1925)
February 17 - Karl Jenkins born (1944)
February 17 - Fred Frith born (1949)
February 17 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “Death Scene” (1965)
February 17 - Alfred Newman died (1970)
February 17 - Gavriil Popov died (1972)
February 17 - Bear McCreary born (1979)
February 17 - Jerry Fielding died (1980)
February 17 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Ex Post Facto” (1995)
February 17 - Samuel Matlovsky died (2004)
February 18 - Nathan Van Cleave records his score for The Colossus of New York (1958)
February 18 - John Bisharat born (1964)
February 18 - Tommy Tallarico born (1968)
February 18 - Lalo Schifrin begins recording his score for Pretty Maids All in a Row (1971)
February 18 - Nathaniel Shilkret died (1982)
February 18 - Paul Baillargeon records his score for the Star Trek: Enterprise episode “Hatchery” (2004)
February 19 - Saul Chaplin born (1912)
February 19 - Shigeru Umebayashi born (1951)
February 19 - Donald Rubinstein born (1952)
February 19 - Claudio Simonetti born (1952)
February 19 - Charles Bernstein begins recording his score for Gator (1976)
February 19 - Marvin Hamlisch begins recording his score for I Ought to Be in Pictures (1982)
February 19 - David Bell records his score for the Star Trek: Voyager episode “The Killing Game, Part 2” (1998)
February 19 - David Bell records his score for the Enterprise episode “Fusion” (2002)
February 19 - Teo Macero died (2008)
February 19 - Bob Cobert died (2020)
February 20 - Toshiro Mayuzumi born (1929)
February 20 - How the West Was Won opens in Los Angeles (1963)
February 20 - Michael A. Levine born (1964)
Feburary 20 - Robert Drasnin records his score for the Voyage to the Bottom of the Sea episode “The Wax Men” (1967)
February 20 - William Lava died (1971)
February 20 - Recording sessions begin on Jerry Goldsmith's score for Alien (1979)
February 20 - Toru Takemitsu died (1996)
February 21 - Miklos Rozsa begins recording his score for The Story of Three Loves (1952)
February 21 - Rupert Gregson-Williams born (1967)
February 21 - Ron Grainer died (1981)
February 21 - Laurence Rosenthal begins recording his score for Who'll Stop the Rain (1978)
February 21 - Basil Poledouris begins recording his score for Flesh + Blood (1985)
February 21 - Morton Gould died (1996)
February 21 - John Williams begins recording his score for Saving Private Ryan (1998)
February 22 - Angelo Francesco Lavagnino born (1909)
February 22 - Maurizio De Angelis born (1947)
February 22 - Gary Chang born (1953)
February 22 - Jerry Goldsmith records his score to Hawkins on Murder (1973)
February 22 - James Horner begins recording his replacement score for Something Wicked This Way Comes (1983)
February 22 - William Loose died (1991)
February 22 - A.R. Rahman wins the Original Score and Song Oscars for Slumdog Millionaire and its song "Jai Ho" (2009)
February 22 - Billy Strange died (2012)
February 22 - Alexandre Desplat wins his first Oscar, for The Grand Budapest Hotel score (2015)

DID THEY MENTION THE MUSIC?

THE BEEKEEPER - David Sardy, Jared Michael Fry
 
"Ayer pumps everything up with a muscular shooting style, big-ass sound design, antsy cutting and a juddering score by David Sardy and Jared Michael Fry that leans into the brooding intensity. The notion that anyone might make a beeline to turn this punch-drunk nonsense into a new Statham franchise seems unlikely. But if that were to happen, let’s hope the next installment lands a director more willing to tap into the inherent humor in its star’s almost superhuman bad-assery."
 
David Rooney, The Hollywood Reporter 

THE BREAKING ICE - Kim Leonn
 
"The action, if you can call it that, is often as not set to Kim Leonn’s bare and evocative music, which mixes gentle chords that hang in the air with more assertive moments that, like the film, somehow manage to be simultaneously meditative and propulsive."
 
Steve Pond, The Wrap 

"That energy expresses itself in a wide variety of ways. At its most exuberant, the three members of the film’s almost love triangle sprint through a bookstore in an explicit homage to 'Jules and Jim' as Kin Leonn’s lovely score twinkles over the soundtrack. Later, they look for each other in a massive ice maze, happy to be lost for once. Elsewhere -- late into one of those drunken nights where it feels like the world doesn’t exist beyond the room you’re in -- Nana cries as Xiao plays a song on his guitar. She springs a leak whenever she feels emotion, melting every night and reconstituting herself every morning. Most of these scenes are hazy but immaculately well-handled, their blank spaces thick with unrealized dreams."
 
David Ehrlich, IndieWire 
 
"And yet Chen, a Singaporean who’s made something of a theme out of unexpected connections between those outside their comfort zone ('Wet Season,' last year’s 'Drift'), keeps his lost characters’ vulnerabilities as an undercurrent. Their stabs at freedom are invariably colored (beyond Yu Jing-pin’s nimble cinematography) by a gently swirling, intangible sadness, like a frost each of them can see but know will dissipate as long as they keep moving on to the next thing. Kin Leonn’s percolating score, reminiscent of the earliest days of ambient indie soundtracks, is similarly double-sided as an aural companion: swooning and melancholy in equal measure."
 
Robert Abele, Los Angeles Times 

"'The Breaking Ice,' from writer/director Anthony Chen, is about three lost souls facing the frozen world outside and in. It takes place in the midst of winter, near the border of China and North Korea. The scenes of ice and snow are exquisitely composed and lit, with a score that often includes soft, shimmery chords that evoke the feeling of breathing frigid air. They also evoke the film’s tone, more a mood piece than a plot-driven, structured narrative. Chen is influenced by the French New Wave, and there are echoes of 'Bande à part' and 'Jules and Jim.' But do not let the meandering series of scenes, underscoring the characters’ aimlessness, allow you to overlook Chen's precision in even the smallest detail. One scene shows Nana, Han, and Haofeg at a distance, in an outdoor setting laid out to suggest a clock, as the score chimes to let us know that while they may feel stuck in time, it nevertheless continues."
 
Nell Minow, RogerEbert.com  

"The gentle rhythms of Hoping Chen and Soo Mun Thye’s editing and the shimmering strands of Singaporean musician Kin Leonn’s score make these loose, free-flowing episodes highly pleasurable, even as they subtly point up the fact that none of the three friends really belongs in this strange, in many ways foreign place."
 
David Rooney, The Hollywood Reporter
 
BYE BYE TIBERIAS - Amine Bouhafa
 
"While the film’s tech elements are variable, the score by Amine Bouhafa is top-notch."
 
Alissa Simon, Variety 
 
THE CRIME IS MINE - Philippe Rombi
 
"In keeping with the time period and the mood, Ozon uses newsreels, iris shots, and that good old-fashioned standby, the spinning front page, to help drive the narrative. Philippe Rombi’s score, moving from jazz inflections to pop-flavored jauntiness to more subdued strains, strikes a fine balance, evoking the period through a modern sensibility, like the story itself."
 
Sheri Linden, The Hollywood Reporter 

THE END WE START FROM - Anna Meredith
 
"Mother spends most of her days sitting by the window in desolate long-shots that suggest a post-apocalyptic Sofia Coppola movie, but Anna Meredith’s glassy score -- arriving on a breeze of flutes that soon hardens into a percussive fury more intense than anything in 'Oppenheimer' or the latest 'Mission: Impossible' -- denies us any delusion of safety. Needless to say, things go from bad to worse in a hurry, as Mother and Zeb soon find themselves separated from R and stranded in a shelter where the men fight over pillows and the women gossip about offshore communes where everyone tries to ignore what’s happening on the mainland."
 
David Ehrlich, IndieWire 

GOOD GRIEF - Rob Simonsen
 
"And Levy’s confidence extends beyond his performance. 'Good Grief' is remarkably self-assured in many ways: In its beautiful portraits of Parisian streets courtesy of cinematographer Ole Bratt Birkeland, its well thought out story arc, Jonathan Corn’s clean editing, Rob Simonsen’s emotional score. And, credit where credit is due, it isn’t every day that a film about tragedy resists the urge to bring humor or self-deprecation to the table, especially in the cynical year of 2024! The faults of 'Good Grief' are relatively few and far between, and if this directorial debut is anything to go off of, Levy has a bright filmmaking career ahead of him."
 
Aurora Amidon, Paste Magazine 
 
"With Levy’s experience in the sitcom world, it’s no surprise that the film finds its footing when it leans into the light in the darkness and finds humor in the pain. At one point, Marc says he saw his husband 'get pried out of a car like escargot' after his accident -- one of the rare sparks of real personality and voice we get from our protagonist. When the film allows Marc to be messy and angry, irritatedly proclaiming things like '“I didn’t know I’d woken up in 1988' when someone wants to smoke a cigarette at dinner, is when it’s at its most interesting. Sadly, those moments are few and far between, instead insisting on a more bland, dramatic tone that rings hollow. The sappy, sentimental score when Marc is remembering his good times with Oliver, for instance, feels rather emotionally manipulative. It’s clearly trying to make you cry instead of evoking those tears organically. It’s hard not to compare the movie to something like 'Sorry For Your Loss,' which handled the subject of being a young widow in a much more raw, nuanced way."
 
Taylor Gates, Collider 

"For a film about mourning and loss, 'Good Grief' also navelgazes a lot. It’s a little too fixated on the superficial and stylish, dapper clothes for all involved, a woozy soundtrack, a glistening sheen to all the cinematography -- especially Paris at night -- and the threat of one too many slick music montages that make you wonder if the filmmaker is more captivated in the Capitale de la Mode than he is with the subject of heartache and bereavement he himself obviously wanted to grapple with. Additionally, there’s a sexiness to Paris and the film that feels incongruent and even misjudged next to the notions of meant-to-be profound sorry and suffering (Rob Simonsen’s wistful score and a pair of on-the-nose Neil Young songs do a lot of the emotional heavy lifting when the writing can’t quite get there)."
 
Rodrigo Perez, The Playlist 

"The shimmering melancholy of Rob Simonsen’s score is often left to suggest a depth of feeling that’s missing in the writing and, by extension, the performances. The script is sensitive but never terribly probing, and the movie’s intimacy more staged than lived-in. Having Sophie put Neil Young’s 'Only Love Can Break Your Heart' on the turntable while raising a glass 'to the f**king pain!' is just too on the nose to be anything but mawkish."
 
David Rooney, The Hollywood Reporter 

THE PEASANTS - Lukasz “L.U.C.” Rostkowski 
 
"Where 'Loving Vincent' was a soothing experience, quiet and contemplative, 'The Peasants' is loud and brash -- powered by an extraordinary explosion of Polish folk songs given propulsive 21st-century beats by rapper/composer Lukasz 'L.U.C.' Rostkowski -- and, it must be said, deeply upsetting. It’s the story of Jagna, played with radiant energy by Kamila Urzedowska, whose defining feature is that she’s the most beautiful girl in her small village, Lipce. Well, that’s how everyone in Lipce defines her, at least. If they looked closer, they’d see someone who’s also a talented artist, who creates intricately refined paper cutouts and cares about animals (she takes on the project of rehabilitating an injured stork). What unfolds is a story about the tragedy of having others define who you are — as remote as this 19th-century village in Poland may seem, that is a theme that remains ever-potent."
 
Christian Blauvelt, IndieWire 

"Not surprisingly, the sequences benefiting the most from the approach are the most painterly to begin with, from landscape and nature shots spanning the various seasons to a lively wedding bursting with folk dancing and music, the latter enlivened with contemporary rhythms by Polish composer/rapper Lukasz 'L.U.C.' Rostkowski. The film also pays homage to art history, a la 'Loving Vincent,' with recreations of celebrated paintings by several notable Polish artists."
 
Frank Scheck, The Hollywood Reporter 

THE PROMISED LAND - Dan Romer

"Whenever a movie needs a leading man who can bring a commanding presence defined by grim stoicism, buried compassion, and slivers of menace, it’s hard to think of a better actor for the job than Mads Mikkelsen. His latest, Nikolaj Arcel’s historical epic 'The Promised Land,' is a more personal work that clearly means a lot to him, especially when viewed in comparison to the quite uneven franchise films he’s gotten caught up in as of late. In many regards, his new Danish Western feels distinctly old-fashioned in both its tone and Mikkelsen’s measured approach to the material. It is a grim historical epic that, while not without its moments of lightheartedness, is wrapped up in a cold blanket that provides no protection from the harsh world it inhabits as composer Dan Romer's sweeping score washes over you. The film is beautiful to behold in many moments, but, much like how our own lives can be defined by striving for something approaching stability only to discover there is no underlying ground, it is also consistently bleak."
 
Chase Hutchinson, Collider 

"Cinematographer Rasmus Videbæk’s widescreen compositions give imposing weight to the rugged landscape; Jette Lehmann’s production design points up the contrast between the humble structures built on the desolate heath and the pompous grandeur of De Schinkel’s residence, Hald Manor; and Dan Romer’s robust orchestral score fuels the film’s epic sweep. 'The Promised Land' is a terrific story driven by skillful writing and strong performances. There’s an art to bringing vitality and modernity to historical drama, and Arcel shows a firm grasp of it."
 
David Rooney, The Hollywood Reporter 

THE NEXT TEN DAYS IN L.A.

Screenings of older films in Los Angeles-area theaters.

February 16
AMERICAN HUSTLE (Danny Elfman) [Los Feliz 3]

BIG TROUBLE IN LITTLE CHINA (John Carpenter, Alan Howarth) [BrainDead Studios]
BLONDE DEATH [Alamo Drafthouse]
CASABLANCA (Max Steiner), BEFORE SUNSET [New Beverly]
DEVIL IN A BLUE DRESS (Elmer Bernstein) [Alamo Drafthouse]
ED WOOD (Howard Shore) [Nuart]
EXISTENZ (Howard Shore) [Alamo Drafthouse]
GET OUT (Michael Abels) [Los Feliz 3]
THE GUEST (Steve Moore) [Vidiots]
HALLOWEEN III: SEASON OF THE WITCH (John Carpenter, Alan Howarth) [Vidiots]
HAROLD AND MAUDE (Cat Stevens) [New Beverly]
NIEGE (Francois Breant, Bernard Lavilliers), LA GARCE (Philippe Sarde) [Academy Museum]
THE OMEGA MAN (Ron Grainer) [Vista]
PULP FICTION [New Beverly]
REBECCA (Franz Waxman) [Egyptian]
UMBERTO D. (Alessandro Cignognini) [UCLA/Hammer]
THE WILD BUNCH (Jerry Fielding), ONE EYED JACKS (Hugo Friedhofer) [Vista]
THE WIND RISES (Joe Hisaishi) [Aero]
THE WOMAN CHASER (Daniel Luppi) [Alamo Drafthouse]

February 17
AMELIE (Yann Tiersen) [Vidiots]
BADLANDS (George Aliceson Tipton) [Los Feliz 3]
BARRY LYNDON (Leonard Rosenman) [Egyptian]
THE BICYCLE THIEF (Alessandro Cigognini) [Egyptian]
CASABLANCA (Max Steiner), BEFORE SUNSET [New Beverly]
THE CRAFT (Graeme Revell) [BrainDead Studios]
DROP DEAD GORGEOUS (Mark Mothersbaugh)  [Alamo Drafthouse]
ETERNAL SUNSHINE OF THE SPOTLESS MIND (Jon Brion) [Landmark Westwood]
THE GALAPAGOS AFFAIR: SATAN CAME TO EDEN (Laura Karpman) [Los Feliz 3]
GANJA & HESS (Sam Waymon) [Vidiots]
GHOST DOG: THE WAY OF THE SAMURAI (RZA) [Alamo Drafthouse]
THE GREAT MOUSE DETECTIVE (Henry Mancini) [Academy Museum]
HEART OF A DOG (Laurie Anderson), WATERSHIP DOWN (Angela Morley) [UCLA/Hammer]
IT FOLLOWS (Disasterpeace) [New Beverly]
LIVING IT UP (Walter Scharf) [Vista]
THE MUPPET MOVIE (Paul Williams, Kenny Ascher) [New Beverly]
THE OMEGA MAN (Ron Grainer) [Vista] 
THE PARENT TRAP (Alan Silvestri) [Vidiots]
PARIS CAN WAIT (Laura Karpman) [Aero]
PHANTOM THREAD (Jonny Greenwood) [BrainDead Studios]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THREE KINGS (Carter Burwell) [Alamo Drafthouse]
TOKYO STORY (Takanobu Saito) [Vidiots]
THE WILD BUNCH (Jerry Fielding), ONE EYED JACKS (Hugo Friedhofer) [Vista]

February 18
BEAU TRAVAIL (Charles Henri de Pierrefeu, Eran Tzur) [Alamo Drafthouse]
CASABLANCA (Max Steiner), BEFORE SUNSET [New Beverly]
CEMETERY MAN (Manuel De Sica) [Los Feliz 3]
DAYS OF HEAVEN (Ennio Morricone) [Vidiots]
DICK (John Debney) [Alamo Drafthouse]
DO THE RIGHT THING (Bill Lee) [Aero]
EXISTENZ (Howard Shore) [Alamo Drafthouse]
EXOTICA (Mychael Danna) [Vidiots]
LIVING IT UP (Walter Scharf) [Vista] 
MALLRATS (Ira Newborn) [BrainDead Studios]
THE MUPPET MOVIE (Paul Williams, Kenny Ascher) [New Beverly]
RAY (Craig Armstrong) [Academy Museum]
REBECCA (Franz Waxman) [Egyptian]
THE SAGA OF GOSTA BERLING [UCLA/Hammer]
SESAME STREET PRESENTS: FOLLOW THAT BIRD (Van Dyke Parks, Lennie Niehaus) [Vidiots]
THE VIRGIN SUICIDES (Air) [Alamo Drafthouse]
THE WILD BUNCH (Jerry Fielding) [Fine Arts]
THE WILD BUNCH (Jerry Fielding), ONE EYED JACKS (Hugo Friedhofer) [Vista] 
WINCHESTER '73 [Egyptian] 

February 19
ALL THE PRESIDENT'S MEN (David Shire) [Egyptian]
BARBIE (Mark Ronson, Andrew Wyatt) [Aero]
THE BICYCLE THIEF (Alessandro Cigognini) [Egyptian]
EXISTENZ (Howard Shore) [Alamo Drafthouse]
FLOWER DRUM SONG (Richard Rodgers, Alfred Newman), THE MAIN ATTRACTION (Andrew Adorian) [Vista]
HOLLYWOOD 90028 (Basil Poledouris) [Los Feliz 3]
INHERENT VICE (Jonny Greenwood) [BrainDead Studios]
MARS ATTACKS! (Danny Elfman) [Los Feliz 3]
RRR (M.M. Keeravaani) [Vidiots]
UPTOWN GIRLS (Joel McNeely), NEW YORK MINUTE (George S. Clinton) [New Beverly]
THE VIRGIN SUICIDES (Air) [Alamo Drafthouse]

February 20
BOTTOMS (Leo Birenberg, Charli XCX) [Los Feliz 3]
THE 'BURBS (Jerry Goldsmith) [Vidiots]
EASY RIDER [Landmark Pasadena]
FLOWER DRUM SONG (Richard Rodgers, Alfred Newman), THE MAIN ATTRACTION (Andrew Adorian) [Vista] 
SET IT UP (Laura Karpman) [Los Feliz 3]
UPTOWN SATURDAY NIGHT (Tom Scott), HARLEM NIGHTS (Herbie Hancock) [New Beverly]
THE WOMAN CHASER (Daniel Luppi) [Alamo Drafthouse]

February 21
ARMY OF SHADOWS (Eric Demarsan) [Los Feliz 3]
BARABBAS (Mario Nascimbene) [Vista]
BLONDE DEATH [Alamo Drafthouse]
THE DIVING BELL AND THE BUTTERFLY (Paul Cantelon) [Academy Museum]
EXISTENZ (Howard Shore) [Alamo Drafthouse] 
THE STATE OF THINGS (Jurgen Kneiper) [Los Feliz 3]
THERE WILL BE BLOOD (Jonny Greenwood) [BrainDead Studios]
UPTOWN SATURDAY NIGHT (Tom Scott), HARLEM NIGHTS (Herbie Hancock) [New Beverly]

February 22
BARABBAS (Mario Nascimbene) [Vista]
HENRY & JUNE [New Beverly]
THE SOCIAL NETWORK (Trent Reznor, Atticus Ross) [Los Feliz 3]

February 23
BLAZING SADDLES (John Morris) [Vista]
DAYS OF HEAVEN (Ennio Morricone) [Los Feliz 3]
A FISTFUL OF DOLLARS (Ennio Morricone), FOR A FEW DOLLARS MORE (Ennio Morricone) [Vista]
HENRY & JUNE [New Beverly]
I'M NO LONGER HERE [UCLA/Hammer]
MAGIC MIKE XXL [Vidiots]
THE MASTER (Jonny Greenwood) [BrainDead Studios]
NAPOLEON DYNAMITE (John Swihart) [Nuart]
PULP FICTION [New Beverly]
RUSHMORE (Mark Mothersbaugh) [New Beverly]
SPELLBOUND (Miklos Rozsa) [Egyptian]
TWIN PEAKS FIRE WALK WITH ME (Angelo Badalamenti) [Alamo Drafthouse]

February 24
ACTION JACKSON (Herbie Hancock, Michael Kamen) [Vidiots]
THE AMERICAN FRIEND (Jurgen Kneiper) [BrainDead Studios]
BLACK NATIVITY (Raphael Saadiq, Laura Karpman) [Los Feliz 3]
BLAZING SADDLES (John Morris) [Vista] 
BREAKIN' 2: ELECTRIC BOOGALOO [New Beverly]
BUCK AND THE PREACHER (Benny Carter) [Academy Museum]
FENCES (Marcelo Zarvos) [Alamo Drafthouse]
A FISTFUL OF DOLLARS (Ennio Morricone), FOR A FEW DOLLARS MORE (Ennio Morricone) [Vista] 
GREASE 2 [Vidiots]
HANS CHRISTIAN ANDERSEN (Frank Loesser, Walter Scharf) [Vista]
IT HAPPENED ONE NIGHT, THE AWFUL TRUTH (Ben Oakland) [New Beverly]
THE MASQUE OF THE RED DEATH (David Lee) [Los Feliz 3]
MUPPET TREASURE ISLAND (Hans Zimmer) [Vidiots]
NANNY (Bartek Gliniak, Tanerelle) [Los Feliz 3]
THE PHILADELPHIA STORY (Franz Waxman) [Vidiots]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Vidiots]
SPELLBOUND (Miklos Rozsa) [Egyptian]
THE TREE OF LIFE (Alexandre Desplat) [Los Feliz 3]
VARSITY BLUES (Mark Isham) [Alamo Drafthouse]
WINCHESTER '73 [Egyptian]
THE WITCHES (Stanley Myers) [New Beverly]
A WRINKLE IN TIME (Ramin Djawadi) [Academy Museum]

February 25
AMERICAN PIE  (David Lawrence) [Alamo Drafthouse]
CRUEL INTENTIONS (Edward Shearmur) [Alamo Drafthouse]
A DOG'S COURAGE (Ji-soo Lee) [UCLA/Hammer]
A FISTFUL OF DOLLARS (Ennio Morricone), FOR A FEW DOLLARS MORE (Ennio Morricone) [Vista]  
HANS CHRISTIAN ANDERSEN (Frank Loesser, Walter Scharf) [Vista] 
IT HAPPENED ONE NIGHT, THE AWFUL TRUTH (Ben Oakland) [New Beverly]
KIKI'S DELIVERY SERVICE (Joe Hisaishi), PORCO ROSSO (Joe Hisaishi), NAUSICAA OF THE VALLEY OF THE WIND (Joe Hisaishi) [Egyptian]
THE LURE (Ballady i Romanse) [BrainDead Studios]
SLEEPY HOLLOW (Danny Elfman) [Alamo Drafthouse]
3 WOMEN (Gerald Busby) [Vidiots]
12 YEARS A  SLAVE (Hans Zimmer) [Academy Museum]
WERCKMEISTER HARMONIES (Mihaly Vig) [Los Feliz 3]
THE WITCHES (Stanley Myers) [New Beverly]


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

Heard:
The Young Lions (Friedhofer); The Good Thief (Goldenthal); The Fugitive Kind (Hopkins); The Golden Child (Barry); The Brave One (Marianelli); Killing Eve (Unloved)

Read: I Knew You Could Do It!, by Frances Reneau

Seen: The Outlaw Josey Wales; Pale Rider; To Kill a Tiger; The Great Race; 2023 Oscar Nominated Live Action Shorts; 2023 Oscar Nominated Documentary Shorts; My Bloody Valentine [1981]; Perfect Days; Out of Darkness; A Goofy Movie; Bebe's Kids; The Zone of Interest; Io capitano

Watched: The Night the Bridge Fell Down, Part Two; Masters of Sex ("Three's a Crowd"); The Twilight Zone ("The Odyssey of Flight 33")

Return to Articles Author Profile
Comments (1):Log in or register to post your own comments
THE PEASANTS - Lukasz “L.U.C.” Rostkowski

"Where 'Loving Vincent' was a soothing experience, quiet and contemplative, 'The Peasants' is loud and brash -- powered by an extraordinary explosion of Polish folk songs given propulsive 21st-century beats by rapper/composer Lukasz 'L.U.C.' Rostkowski -- and, it must be said, deeply upsetting. It’s the story of Jagna, played with radiant energy by Kamila Urzedowska, whose defining feature is that she’s the most beautiful girl in her small village, Lipce. Well, that’s how everyone in Lipce defines her, at least. If they looked closer, they’d see someone who’s also a talented artist, who creates intricately refined paper cutouts and cares about animals (she takes on the project of rehabilitating an injured stork). What unfolds is a story about the tragedy of having others define who you are — as remote as this 19th-century village in Poland may seem, that is a theme that remains ever-potent."

Christian Blauvelt, IndieWire

"Not surprisingly, the sequences benefiting the most from the approach are the most painterly to begin with, from landscape and nature shots spanning the various seasons to a lively wedding bursting with folk dancing and music, the latter enlivened with contemporary rhythms by Polish composer/rapper Lukasz 'L.U.C.' Rostkowski. The film also pays homage to art history, a la 'Loving Vincent,' with recreations of celebrated paintings by several notable Polish artists."

Frank Scheck, The Hollywood Reporter



I just want to say that, to my great surprise, a RAPPER composed my #1 favorite film score of 2023. As soon as I heard it the first time last month while working on my IFMCA nomination ballot, I knew it was in my top 3. But the more I listened to it, the more it just blew my mind with how good it was. An exciting and fresh new voice in the world of film music, and I hope this project leads to more for him.

Yavar

Film Score Monthly Online
The Talented Mr. Russo
Nolly Goes to the Scoring Stage
Peter's Empire
The Immaculate Bates
Mancini and Me
David in Distress
Furukawa: The Last Airbender
Mogwai on Mogwai
Rise of the Inon
Forever Young
Ear of the Month Contest: Elmer Time, Vol. 2
Today in Film Score History:
April 21
Charles Fox begins recording his score for The New, Original Wonder Woman (1975)
David Bell records his score for the Star Trek: Deep Space Nine episode “Soldiers of the Empire” (1997)
Eddie Sauter died (1981)
Franz Waxman begins recording his score to The Story of Ruth (1960)
Georges Delerue begins recording his unused score for Something Wicked This Way Comes (1982)
Jerry Goldsmith begins recording his score to Wild Rovers (1971)
John McCabe born (1939)
Mundell Lowe born (1922)
Recording sessions begin for Michel Colombier’s score to Colossus: The Forbin Project (1969)
Steve Dorff born (1949)
Velton Ray Bunch records his score for the Star Trek: Enterprise episode “The Council” (2004)
FSMO Featured Video
Video Archive • Audio Archive
Podcasts
© 2024 Film Score Monthly. All Rights Reserved.
Website maintained and powered by Veraprise and Matrimont.