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I am currently on vacation, but in my absence you should be able to learn of any late-breaking film music-related news on our Message Board.

The latest releases from Music Box include the eighth volume of their LES B.O. INTROUVABLES series, featuring relatively obscure and previously unavailable scores, in this case Dames galantes and Priez pour nous (Raymond Alessandrini), L'addition and Tristesse et beaute (Jean-Claude Petit), L'amour propre ne le reste jamais tres longtemps (Jean-Claude Vannier) and Salute...j'arrive (Christian Pegand).

They are also releasing two CDs of scores composed by Pierre Bachelet - the light-hearted adventure GWENDOLINE (shown in the U.S. as The Perils of Gwendoline in the Land of the Yik Yak), and a re-release of their CD pairing COUP DE TETE and the Oscar winner BLACK AND WHITE IN COLOR (aka La victoire en chantant).


Coup de Tete/Black and White in Color
- Pierre Bachelet - Music Box
- Pierre Bachelet - Music Box
Les B.O. Introuvables Vol. 8
 - Raymond Alessandrini, Christian Pegand, Jean-Claude Petit, Jean-Claude Vannier - Music Box  
Two Evil Eyes - Pino Donaggio - Rustblade   


Bad Behavior - Cameron McArthur, Alice Englert
Banel & Adama - Bachar Khalife
Firebrand - Dickon Hinchliffe
I Used to Be Funny - Ames Bessada
Inside Out 2 - Andrea Datzman
Just the Two of Us - Gabriel Yared
Protocol-7 - Will Taylor
Ride - Those Who Ride With Giants
Tuesday - Anna Meredith


July 12
The Dead Don't Hurt - Viggo Mortensen - Milan
Coming Soon 
Cosa avete fatto a Solange? - Ennio Morricone - Quartet   
The David Michael Frank Collection Vol. 4 
- David Michael Frank - Dragon's Domain
Death Hunt
 - Jerrold Immel - Dragon's Domain
Franz Waxman: Legendary Hollywood Vol. 2
 - Franz Waxman - Citadel
Furiosa: A Mad Mad Saga - Tom Holkenborg - Mutant
The Golden Age of Science-Fiction Vol. 4
 - Elisabeth Lutyens, Ronald Stein - Dragon's Domain
The Humanoid
 - Ennio Morricone - Quartet
Il cittadino si ribella
 - Guido & Maurizio De Angelis - Digitmovies 
Il ginecologo della mutua
 - Renato Serio - Beat 
La pistole non discutono (Bullets Don't Argue) 
- Ennio Morricone - Beat 
Lacrima Movies Trilogy
 - Franco Micalizzi - Digitmovies 
A Pistol for Ringo/The Return of Ringo
 - Ennio Morricone - Quartet
Stelvio Cipriani Soundtracks Rarities Vol. 1
 - Stelvio Cipriani - Digitmovies  
 - Ennio Morricone - EMCD


June 14 - Stanley Black born (1913)
June 14 - Cy Coleman born (1929)
June 14 - Coleridge-Taylor Perkinson born (1932)
June 14 - Harold Wheeler born (1943)
June 14 - Marcus Miller born (1959)
June 14 - Doug Timm born (1960)
June 14 - John Williams begins recording his replacement score for The Man Who Loved Cat Dancing (1973)
June 14 - Jerry Goldsmith begins recording his score for Islands in the Stream (1976)
June 14 - John Addison begins recording his score for The Seven-Per-Cent Solution (1976)
June 14 - Craig Safan begins recording his score, adapted from Tchaikovsky, for The Bad News Bears in Breaking Training (1977)
June 14 - David Newman records his score for Bill and Ted's Bogus Journey (1991)
June 14 - Carlos D’Alessio died (1992)
June 14 - Henry Mancini died (1994)
June 14 - James Horner begins recording his score for Clear and Present Danger (1994)
June 15 - Robert Russell Bennett born (1894)
June 15 - David Rose born (1910)
June 15 - Harry Nilsson born (1941)
June 15 - Dennis Dreith born (1948)
June 15 - Gavin Greenaway born (1964)
June 15 - Robert Drasnin records his score for The Wild Wild West episode “The Night the Wizard Shook the Earth” (1965)
June 15 - Meredith Willson died (1984)
June 15 - Manos Hadjidakis died (1994)
June 16 - Bebe Barron born (1926)
June 16 - Fred Karlin born (1936)
June 16 - Miklos Rozsa begins recording his additional music for Beau Brummell (1954)
June 16 - Psycho opens in New York (1960)
June 16 - Jerry Goldsmith begins recording his score to Justine (1969)
June 16 - James Horner begins recording his replacement score for Wolfen (1981)
June 16 - Joe Greene died (1986)
June 16 - John Barry begins recording his score for Howard the Duck (1986)
June 16 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Peak Performance” (1989)
June 17 - Einar Englund born (1916)
June 17 - Jerry Fielding born (1922)
June 17 - Martin Boettcher born (1927)
June 17 - Dominic Frontiere born (1931)
June 17 - Barry Manilow born (1943)
June 17 - George S. Clinton born (1947)
June 17 - Alfred Newman begins recording his score to How to Marry a Millionaire (1953)
June 17 - Franz Waxman begins recording his score for Career (1959)
June 17 - James Horner begins recording his score for An American Tail (1986)
June 17 - Paul Giovanni died (1990)
June 17 - David Newman begins recording his score for Coneheads (1993)
June 17 - Shirley Walker and John Carpenter begin recording their score for Escape from L.A. (1996)
June 18 - Johnny Pearson born (1925)
June 18 - Simeon Pironkov born (1927)
June 18 - Paul McCartney born (1942)
June 18 - Bernard Herrmann begins recording his score to Blue Denim (1959)
June 18 - Elmer Bernstein begins recording the soundtrack LP for The Sons of Katie Elder (1965)
June 18 - Dave Grusin begins recording his score for Three Days of the Condor (1975)
June 18 - Frederick Hollander died (1976)
June 18 - Basil Kirchin died (2005)
June 18 - Ali Akbar Khan died (2009)
June 19 - Leon Klatzkin born (1914)
June 19 - Johnny Douglas born (1920)
June 19 - Maurice Jaubert died (1940)
June 19 - Marjan Kozina died (1966)
June 19 - Bruce Broughton records his score for the Amazing Stories episode "Mr. Magic" (1985)
June 19 - Joseph Mullendore died (1990)
June 19 - Recording sessions begin for James Newton Howard’s score for Waterworld (1995)
June 20 - Carmen Dragon begins recording his score for Invasion of the Body Snatchers (1955)
June 20 - Recording sessions begin for Elmer Bernstein’s score to The Buccaneer (1958)
June 20 - Jeff Beal born (1963)
June 20 - Robert Rodriguez born (1968)
June 20 - Fred Karlin begins recording his score to Westworld (1973)
June 20 - Jaws opens in New York and Los Angeles (1975)
June 20 - Jerry Goldsmith begins recording his score for Night Crossing (1981)


ATLAS - Andrew Lockington
"Then you have the confounding sentiments that AI, in any shape or form, is beneficial to humanity. Though we shouldn’t expect what’s essentially 'content' for couch-surfers to deliver heady, philosophically pointed arguments about the relationship between people and AI, it’s a shame that Atlas and Smith don’t get into sharper discussions about the issue, considering it’s the one thing blocking the protagonist from transforming into her more enlightened self. It’s baffling how the filmmakers betray humans: Not only do they anthropomorphize a machine by assigning it a quick wit and emotional soul (one Andrew Lockington’s swelling score insists it has), they also inadvertently cast it as the sacrificial hero, continually putting it in harm’s way at the behest of the heroine’s quest."
Courtney Howard, The Onion AV Club 
DOG GONE - Emily Bear
"The screenplay by Nick Santora skillfully smooths out the story, with strong control of tone by director Stephen Herek, a fine score by Emily Bear, and cinematographer Michael Martinez making the best possible use of the beautiful Georgia landscape that stands in for a Virginia setting."
Neil Minow, 
"This exhaustively sanitized, overly saccharine take on the hero’s journey is certainly nothing new, but it remains rather uninteresting. With a family both wealthy enough to support a multi-week hiatus from work to look for their dog, and white enough that everyone and their mothers apparently want to help them out, the Marshalls run into little to no obstacles over the duration of their quest. If this doesn’t sound unimaginative enough, 'Dog Gone''s Disney score and inspirational Hallmark-card script might as well guarantee that Gonker is going to get back to his old antics in no time at all."
Aurora Amidon, Paste Magazine 
IF - Michael Giacchino
"In the end, the fun of the premise and the emotional crux of the story never intertwine. That disconnect cheapens the earnestness of the film’s construction, making even Janusz Kaminski and Michael Giacchino’s wonderful work feel like cheap smash grabs for the heartstrings. Krasinski’s material isn’t cynical in the slightest but seems unable or unwilling to settle on what exactly it wants to say until the pre-credits sequence: a montage of ancillary characters from the film meeting their imaginary friends again as adults that is so simple and moving, it makes the bewildered nature of the rest of the film feel even more unfortunate in retrospect."
Justin Clark, Slant Magazine
"John Krasinski’s 'IF' (it’s an acronym for 'Imaginary Friend') is a strange movie. It’s tonally discombobulated and nowhere near as enchanting as Michael Giacchino’s score seems to think it is. It’s distractingly derivative of the Cartoon Network series 'Foster’s Home for Imaginary Friends' and J.A. Bayona’s 'A Monster Calls' and the 90s favorite 'Drop Dead Fred,' but originality isn’t nearly as important as effective storytelling. And 'IF' has neither."
William Bibbiani, The Wrap
"'IF' begins by showing us a mostly silent recording of a happy family who is eventually forced to reckon with cancer. Much like 'Up' (especially considering this film has a whimsical yet devastating score by Michael Giacchino), we learn everything we need to know about this family via these old video clips. Still, some of the best moments in 'IF' come from embracing that mixture of joy among the sorrow, which is particularly the case in the truly beautiful moments this film captures in the third act. Once this world is established and we know these characters, 'IF' becomes truly powerful in trying to get these IFs reunited with their former owners. These aren’t grand gestures that the film is trying to capture, instead, showing the small support that we all need. The way Krasinski films these scenes, along with two-time Oscar-winning cinematographer Janusz Kaminski and Giacchino’s sweeping score, he’s able to capture the beauty in the simple joys of life, and the small moments that can make all the difference. Even just being told that things are going to be okay can make a massive impact, and it’s wonderful that Krasinski can capture that in the film’s third act."
Ross Bonaime, Collider
"Any child over 5 will predict the Keyser Söze twist in Bea and Cal’s relationship. But this is a film that spells out its intentions for an audience still learning its ABCs, a film where Michael Giacchino’s misty violins never stop insisting how to feel, where Krasinski’s goofy dad literally wears a heart on his chest."
Amy Nicholson, The New York Times
"That’s too bad, because 'IF' does have a classical look and feel to its visuals, an old-school and big-hearted quality sorely missed in cinema aimed at younger viewers these days. Everything from the magical lens of frequent Steven Spielberg DP Janusz Kaminski to Jess Gonchor’s opulent production design and Michael Giacchino’s disarmingly melancholic score beg for a film with as much writerly finesse to rise to the occasion. If only."
Tomris Laffly, Variety
"There’s also real cinematic craftsmanship on display in every aspect, from Janusz Kaminski’s elegant cinematography that gives the proceedings a warm, burnished glow to Michael Giacchino’s elegiac score that accentuates the story’s sadder elements without becoming too treacly. The performances are impeccable, with young Fleming anchoring the proceedings with real emotional depth and Reynolds displaying his trademark comedic chops without overdoing it."
Frank Scheck, The Hollywood Reporter 

"All this material is presented by Bellocchio and his co-screenwriter Susanna Nicchiarelli (a director herself) not as a cooly observed case study in which bare facts are laid out, but something more in the spirit of a grand, tragic opera, or an epic movie melodrama from an earlier time that that would’ve been shot either in burnished black-and-white or feverish Technicolor, depending on the decade. Francesco Di Giacomo’s cinematography seems to have been modeled on Old Masters like Rembrandt. There's a hint of Gordon Willis’ work in the 'Godfather' trilogy in the way that single-source lighting falls on clothing and faces. Fabio Massimo Capogrosso’s busy, booming orchestral score helps unify a script that might have otherwise seemed too terse or schematic. It regularly reminds you of which side the movie is on (the 'kidnapping, bullying and oppression are bad' side) even when 'Kidnapped' is investing its most disturbing characters with complexity -- and reminding you that just because the main players have been reduced to just a wee bit more than their plot functions in the interests of efficiency (the running time is two hours and change) doesn’t mean they aren’t full human beings."
Matt Zoller Seitz, 

"Throughout his life, Edgardo remained faithful to the church. In the film, one gets the sense that the director, in not wanting to rob the adult Edgardo (Leonardo Maltese) of his agency, even if it was woefully compromised, resorts to a horror-inflected score and overdramatic scenes of parental anguish to make clear the devastating consequences of a child separated from his family. The heightened drama seems hardly necessary."
Lisa Kennedy, The New York Times 
"Despite the cool, screeching, horror-like score and some memorable moments, Kidnapped plays more like a heavy sigh than an absorbing adaptation of history. Its tense, shadowed cinematography has moments, but ultimately feels incomplete, not fully considered. Landscape shots of Rome and surrounding areas at night, of which there are many, are kitschy and unpalatably colored -- like darker Thomas Kinkades, images that belong in a children’s fantasy book or a Disney princess live-action remake."
Luke Hicks, The Film Stage 

"The fact Eduardo died in 1940, just a year after Bellocchio was born is a reminder that this iteration of the Catholic Church was not that long ago. And while the filmmaker has a better grasp on conveying well-staged melodrama than many of his contemporaries half his age (Fabio Massimo Capogrosso’s score and Francesco Di Giacomo‘s cinematography assist), the heart of the story somehow still gets lost. Even a final scene that should capture the tragedy of this tale falls surprisingly flat. And that is likely because the narrative’s focus simply veers too far away from Eduardo’s life."
Gregory Ellwood, The Playlist 
"Suffering from a slightly leaden script (co-written by Bellocchio and 'Nico 1988' director Susanna Nicchiarelli), and strangely ignoring all but the most cursory sense of outside political context during this extraordinarily turbulent time, 'Kidnapped' makes the strongest impression in pure craft terms -- the soundtrack, featuring several well-selected classical pieces alongside Fabio Massimo Capogrosso’s score, is especially impeccable. There’s an almost fetishistic attention to small details, such as the little fondue pot of bubbling, blood-red wax that Felletti uses to seal his dire declarations, or the rustling opulence of Sergio Ballo and Daria Calvelli’s superb period-accurate costuming. Whether evoking the candlelit interiors of the Mortara home or the street locations of 1800s Bologna, or using Italy’s grand estates to double for the Vatican (the famous Room of the World Map in the Villa Farnese is a particularly evocative avatar for the Pope’s office), DP Francesco Di Giacomo’s painterly camerawork ensures that the film has a visual richness that it never quite achieves thematically."
Jessica Kiang, Variety 

"Filled with the director’s typical operatic flourishes -- cameras floating down corridors or over balconies as characters race toward disaster, emotional crescendos set to a racing score by Fabio Massimo Capogrosso -- it can also be a rather stuffy affair, with lots of dramatic speeches and religious symbolism that runs the gamut from satirical to heavy-handed. What seems to fascinate Bellocchio most about the story is not really the characters, who come across as stereotypes whether they’re Jews or Catholics, but what it says about an epoch when the highly reactionary Pope Pius IX began to lose power in the face of the newly founded Kingdom of Italy."
Jordan Mintzer, The Hollywood Reporter 
"Energized by a Matthew Compton score of simmering ominousness, 'The Last Stop in Yuma County' builds to its finale with the same precision that typifies its every move. Rather than getting cute or losing his nerve, Galluppi embraces his chosen genre’s bleak heart right to the bitter end, staging his concluding face-off amidst the vast plains, where the sand whips through the air, the blue sky looms large overhead, and escape is a fleeting fantasy. A fitting companion piece to everything from Robert Siodmak’s 1946 'The Killers' to James Foley’s 1990 'After Dark, My Sweet,' it’s a faithful bit of noir nastiness that -- like Charlotte’s rhubarb pie -- is to die for."
Nick Schager, The Daily Beast 

The first-time writer-director, Francis Galluppi (the name sounds European but he’s from Los Angeles), establishes his chops in the unblinking opening shot, which lasts for close to two minutes. As a thrumming, dread-soaked neo-’50s score plays, we see an image as carefully framed as an Edward Hopper painting. It’s a dusty highway, with a motel to the left (but the sign, cut off by a wall, just says “TEL”), and there are buzzing flies and a hint of a cloud passing overhead.
Owen Gleiberman, Variety 

RETROGRADE - H. Scott Salinas
"The scenes at Kabul Airport made the front pages of newspapers around the world. The footage in the documentary is terrifying and heart-rending. H. Scott Salinas' score is mournful, elegiac, and -- it goes without saying --tremendously sad. When paired up with the faces of women, men, and children, where nerves and despair are almost on the surface of the skin, the full weight of the catastrophe unfolding is felt."
Sheila O'Malley,

"In one of his more impressive gets, Heineman makes his way into a Taliban leadership meeting during which spooky music murmurs in the background as a firebrand riles up the crowd. As he rhapsodizes about the brutal aggressions of the power-hungry West, one might start to think the guy’s onto something, until he pins all the unrest on the machinations of those nefarious Jews. Nonetheless, the scene illustrates a crucial core of contradiction in the tangled web of motivations that fueled the past twenty years of disaster, a complicated grey area in which the opposite of the wrong thing isn’t necessarily right. Heineman’s thesis that because leaving has gone so poorly, staying would’ve necessarily been better is incorrect at best, and disingenuous at worst. He wants to think structurally, aware that America can and does flatten other nations beneath our clumsy footfalls. He just can’t -- or won’t -- see the whole structure out of apparent fear that it’ll be too unflattering for all involved, including him, the army’s useful launderer of their image-sanitizing talking points."
Charles Bramesco, The Playlist

"Much like her directorial debut, 'Body at Brighton Rock,' Roxanne Benjamin’s sophomore feature feels like a throwback to an era when horror movies were more fun. While it’s set in the present day and is certainly not a nostalgia picture, it features plenty of stylistic elements that could have made it the highest-grossing horror flick of 1986. A synth-heavy score that sounds like it’s ripped straight from a John Carpenter movie. A title card written in That Stephen King Book Cover Font. And an unabashed willingness to have zany fun without slipping into the dreaded 'self-awareness' that plagues so many scary movies these days. While it’s a premise we’ve seen many times before, 'There’s Something Wrong with the Children' punches above its weight by doing all the little things right. T.J. Cimfel and David White’s script is built like a Swiss watch, setting up countless twists without ever wasting a line. They wisely never tell us what this magical cliff in the woods actually does, allowing the mysterious plot device to take on 'Pulp Fiction' briefcase status in our imaginations. On the infrequent occasions when the plot hits a lull, it’s immediately bailed out by a badass music cue from The Gifted’s stellar score. And the colorist really deserves a raise because the climax unfolds in a series of sunset hues that turns the adventures of these creepy kids into genuinely gripping cinema."
Christian Zilko, IndieWire 

"This dynamic works in 'There’s Something Wrong with the Children''s favor. The only element that brings the movie down is The Gifted’s score, which too often threatens to overwhelm what’s happening on screen, instead of enhancing it. But Benjamin keeps the audience’s focus where it belongs: on Ben; on those rascally, infested children; on the existential panic of parenthood; and especially on the woods from which, in Benjamin’s vision, nothing good emerges."
Andy Crump, Paste Magazine 

"Every time the camera focus on one of the kids’ malicious look, it remains static for a second too long, spoiling any doubt one could have about the nature of the tiny monsters. The camera also pans and tilts in unusual ways to underline the creepiness of the setting. Unfortunately, that also happens in dramatic scenes that lose their emotional impact. Then there’s the matter of sound editing. While the original songs by The Gifted are great on their own, when every moment of silence needs to be filled with an eerie soundtrack, there’s no breathing moment to just connect with the characters."
Marco Vito Oddo, Collider 


Screenings of older films in Los Angeles-area theaters.

June 14
CONAN THE DESTROYER (Basil Poledouris) [Nuart]
DUNE (Toto) [BrainDead Studios]
HOLLYWOOD 90028 (Basil Poledouris) [Alamo Drafthouse]
JODOROWSKY'S DUNE (Kurt Stenzel) [BrainDead Studios]
KILL BILL: VOL. 2 (RZA, Robert Rodriguez) [New Beverly]
QUIZ SHOW (Mark Isham) [Vidiots]
REPO MAN (Steven Hufsteter, Humberto Larriva) [New Beverly]
SLUMS OF BEVERLY HILLS (Rolfe Kent) [Academy Museum]

June 15
ALADDIN (Alan Menken) [New Beverly]
AMERICAN PSYCHO (John Cale) [Los Feliz 3]
THE BIRDCAGE (Jonathan Tunick) [Alamo Drafthouse]
CITIZEN KANE (Bernard Herrmann) [Egyptian]
DOUBLE INDEMNITY (Miklos Rozsa) [Academy Museum]
FIELD OF DREAMS (James Horner) [Alamo Drafthouse]
FROM RUSSIA WITH LOVE (John Barry) [Palace]
GO FISH (Brendan Dolan, Jennifer Sharpe) [Academy Museum]
HARD TO BE A GOD (Viktor Lebedev) [Los Feliz 3] 
HOLD THAT BLONDE! (Werner Heymann) [Vista]
MEN IN BLACK (Danny Elfman) [Landmark Westwood]
MI VIDA LOCA (John Taylor) [Palace]
OCEAN'S ELEVEN (David Holmes), OCEAN'S TWELVE (David Holmes), OCEAN'S THIRTEEN (David Holmes) [Aero] 
THE ROAD WARRIOR (Brian May) [Egyptian]
ROCK 'N' ROLL HIGH SCHOOL [BrainDead Studios]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SINGIN' IN THE RAIN (Nacio Herb Brown, Lennie Hayton) [Academy Museum]
THIS MUST BE THE PLACE (David Byrne, Will Oldham) [Egyptian]

June 16
ALADDIN (Alan Menken) [New Beverly] 
BLADE RUNNER (Vangelis) [BrainDead Studios]
CREMASTER 4 (Jonathan Bepler), CREMASTER 1 (Jonathan Bepler) [Egyptian]
THE GODFATHER (Nino Rota) [Egyptian]
THE GODFATHER PART II (Nino Rota) [Egyptian]
HOLD THAT BLONDE! (Werner Heymann) [Vista]
THE HOURS AND TIMES [Academy Museum]
INDIANA JONES AND THE LAST CRUSADE (John Williams) [Alamo Drafthouse]
TO KILL A MOCKINGBIRD (Elmer Bernstein) [Los Feliz 3]

June 17
FATAL TERMINATION (David Wu) [Los Feliz 3]
INCENDIES (Gregoire Hetzel) [BrainDead Studios]
PET SEMATARY (Elliot Goldenthal) [Alamo Drafthouse]

June 18
MOONLIGHT (Nicholas Britell) [Landmark Pasadena]
NAKED ACTS (Cecilia Smith) [Los Feliz 3]
WHITE HEAT (Max Steiner), THE PUBLIC ENEMY [New Beverly]
X (Tyler Bates, Chelsea Wolfe) [Alamo Drafthouse]

June 19
BUCK AND THE PREACHER (Benny Carter) [Los Feliz 3]
DO THE RIGHT THING (Bill Lee) [Alamo Drafthouse]
WHITE HEAT (Max Steiner), THE PUBLIC ENEMY [New Beverly]

June 20
AMARCORD (Nino Rota) [New Beverly]
NAKED ACTS (Cecilia Smith) [Los Feliz 3]
THE PROPOSAL (Aaron Zigman) [Los Feliz 3]
THE WATERMELON WOMAN (Paul Shapiro) [Academy Museum]

June 21
ALL THAT JAZZ (Ralph Burns) [Egyptian
AMARCORD (Nino Rota) [New Beverly]
ARRIVAL (Johann Johannsson) [BrainDead Studios]
CABARET (John Kander, Ralph Burns) [Egyptian]
DEAD OR ALIVE (Koji Endo) [Nuart]
DEEP RED (Giorgio Gaslini) [Alamo Drafthouse]
DUNE (Toto) [New Beverly]
GUY AND MADELEINE ON A PARK BENCH (Justin Hurwitz) [Los Feliz 3]
FASTER, PUSSYCAT! KILL! KILL! (Paul Sawtell, Bert Shefter) [Vista]
KILL BILL: VOL 2 (RZA, Robert Rodriguez) [New Beverly]
MS. 45 (Joe Delia) [BrainDead Studios]
QUINCEANERA (Micko, Victor Bock) [Academy Museum]
TAXIDERMIA (Albert Markos, Amon Tobin) [Los Feliz 3]
VAMPIRE'S KISS (Colin Towns) [Alamo Drafthouse]

June 22
BE KIND REWIND (Jean-Michel Bernard) [Landmark Westwood]
BILL & TED'S EXCELLENT ADVENTURE (David Newman) [New Beverly]
BLADE RUNNER 2049 (Benjamin Wallfisch, Hans Zimmer) [BrainDead Studios]
CLUELESS (David Kitay) [Academy Museum]
THE EXILES [Academy Museum]
FASTER, PUSSYCAT! KILL! KILL! (Paul Sawtell, Bert Shefter) [Vista]
HELLO, DOLLY! (Jerry Herman, Lennie Hayton, Lionel Newman) [Egyptian]
LITTLE SHOP OF HORRORS (Alan Menken, Miles Goodman) [Los Feliz 3]
LIQUID SKY (Slava Tsukerman, Brenda I. Hutchinson, Clive Smith)  [BrainDead Studios]
NAKED ACTS (Cecilia Smith) [Los Feliz 3]
NIGHT WARNING (Bruce Langhorne) [New Beverly]
POPSTAR: NEVER STOP NEVER STOPPING (Matthew Compton) [Los Feliz 3]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart] 
SMILEY FACE (David Kitay), SCARY MOVIE 2 [New Beverly]
SORRY TO BOTHER YOU (Nate Brenner, Merrill Garbus) [Los Feliz 3]
THE SOUND OF MUSIC (Richard Rodgers, Irwin Kostal) [Egyptian]
WHO FRAMED ROGER RABBIT (Alan Silvestri) [Academy Museum]
THE WIZARD (J. Peter Robinson) [Alamo Drafthouse]

June 23
ANNIE (Charles Strouse, Ralph Burns) [Egyptian]
BILL & TED'S EXCELLENT ADVENTURE (David Newman) [New Beverly]
FORBIDDEN ZONE (Danny Elfman) [Los Feliz 3]
HUKKLE (Balazs Barna, Samu Gryllus) [Los Feliz 3]
SMILEY FACE (David Kitay), SCARY MOVIE 2 [New Beverly]
SMOG (Piero Umiliani) [Academy Museum]
SWEET CHARITY (Cy Coleman) [Egyptian]
TREMORS (Ernest Troost) [BrainDead Studios]
YOU CAN'T TAKE IT WITH YOU (Dimitri Tiomkin) [Academy Museum]


Trembling Before G-d (Zorn); The Hours (Glass); Die, Mommie, Die! (McCarthy); The Event (Beck, various); Latter Days (Allaman, various); Bad Education (Iglesias); A Home at the End of the World (Sheik, various); Imaginary Heroes (Lurie/Ottman, various); Kinsey (Burwell); Mysterious Skin (Budd/Guthrie)

Read: Bluebeard, by Kurt Vonnegut, Jr.

Seen: The Lost World: Jurassic Park; Gaslight; Bad Boys: Ride or Die; Young Woman and the Sea

Watched: Star Trek: Discovery ("All Is Possible"); Alfred Hitchcock Presents ("Place of Shadows"); Ritual of Evil

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