Buysoundtrax and its related labels have announced four new film music CDs - re-releases of two war movie scores, BATTLE OF NERETVA by Bernard Herrmann and TOO LATE THE HERO by Gerald Fried, as well as two WWII-related scores by Lalo Schifrin - RETURN FROM THE RIVER KWAI, from 1988, and Schifrin's dramatic cantata based on his score for the TV documentary THE RISE AND FALL OF THE THIRD REICH.
CDS AVAILABLE THIS WEEK
Speak No Evil - Sune "Koter" Kolster - Svart
IN THEATERS TODAY
The Eternal Song - Armand Amar
Jane Austen Wrecked My Life - Peter Van Poehl
The Last Rodeo - Jeff Russo
Lilo & Stitch - Dan Romer
Mission: Impossible - The Final Reckoning - Max Aruj, Alfie Godfrey
The New Boy - Nick Cave, Warren Ellis
Sister Midnight - Paul Banks
COMING SOON
Aug 1
The Brutalist - Daniel Blumberg - Milan
Coming Soon
Alien: Romulus - Benjamin Wallfisch - Mutant
Anna, quel particolare piacere - Luciano Michelini - Beat
Battle of Neretva - Bernard Herrmann - Dragon's Domain
Cobra-Kai: The Final Season - Leo Birenberg, Zach Robinson - Mutant
Kill! - Berto Pisano - Quartet
Idoli controluce/…E la donna creo’ l’uomo - Ennio Morricone - Beat
Il Comissario Pepe - Armando Trovaioli - Quartet
La proprieta non e'piu un furto - Ennio Morricone - Quartet
The Penguin - Mick Giacchino - Mutant
Return from the River Kwai - Lalo Schifrin - Dragon's Domain
The Rise and Fall of the Third Reich - Lalo Schifrin - Dragon's Domain
Sinners - Ludwig Goransson - Mutant
Star Wars: Skeleton Crew - Mick Giacchino - Mutant
Too Late the Hero - Gerald Fried - Dragon's Domain
THIS WEEK IN FILM MUSIC HISTORY
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 - James Horner begins recording his score for The Land Before Time (1988)
May 23 - Recording sessions begin on Patrick Doyle’s score for Dead Again (1991)
May 23 - James Horner begins recording his score for Searching for Bobby Fischer (1993)
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 - 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)
May 26 - Bruno Nicolai born (1926)
May 26 - Miles Davis born (1926)
May 26 - William Bolcom born (1938)
May 26 - Alfred Newman begins recording his score for Man Hunt (1941)
May 26 - Nicola Piovani born (1946)
May 26 - David Torn born (1953)
May 26 - Howard Goodall born (1958)
May 26 - Jerry Goldsmith begins recording his score for The Satan Bug (1964)
May 26 - Sonny Sharrock died (1994)
May 26 - George Greeley died (2007)
May 26 - Earle Hagen died (2008)
May 27 - Rene Koering born (1940)
May 27 - Franz Waxman begins recording his score for Botany Bay (1952)
May 27 - Angelo Milli born (1975)
May 27 - James Horner records his score for Tummy Trouble (1989)
May 27 - Derek Scott died (2006)
May 28 - Victor Young begins recording his score for I Walk Alone (1947)
May 28 - Vertigo is released in theaters (1958)
May 28 - Maurice Jarre begins recording his score for The Island at the Top of the World (1974)
May 28 - Fred Karlin wins the Emmy for The Autobiography of Miss Jane Pittman; Morton Stevens wins for the Hawaii Five-O episode score “Hookman” (1974)
May 28 - Maurice Jarre records his score for Posse (1975)
May 28 - Maurice Jarre begins recording his score for Solar Crisis (1990)
May 28 - Tony Ashton died (2001)
May 28 - Johnny Keating died (2015)
May 28 - Lennie Niehaus died (2020)
May 29 - Erich Wolfgang Korngold born (1897)
May 29 - Masaru Sato born (1928)
May 29 - Vyacheslav Ovchinnikov born (1936)
May 29 - David McHugh born (1941)
May 29 - Danny Elfman born (1953)
May 29 - Ed Alton born (1955)
May 29 - Deborah Mollison born (1958)
May 29 - J.J. Johnson begins recording his score for Cleopatra Jones (1973)
May 29 - Maurice Jarre begins recording his score for Shogun (1980)
May 29 - Simon Brint died (2011)
DID THEY MENTION THE MUSIC?
BONJOUR TRISTESSE - Lesley Barber
'The novel and Preminger’s film relied on the device that its protagonist was looking back on monumental events from the perspective of that title sadness, so Chew-Bose’s defiantly in-the-moment telling, kissed by Maximilian Pittner’s sun-drenched imagery, feels like a bonus at first. The director also leans nicely into interstitial shots that orient us without attitude, while her choice of music, led by Lesley Barber’s lilting score, is a real mood-setter of romance and melancholy."
Robert Abele, Los Angeles Times
JULIET & ROMEO - Evan Kidd Bogart, Justin Gray (songs & score)
"'Juliet & Romeo' essentially follows the same narrative as Shakespeare’s play, with a few deviations along the way. Rather than retreading the oft-quoted lines, the film takes liberties with its dialogue, turning most of the iconic prose into upbeat songs that prioritize rhyme over reason. The music is fun and catchy in the moment, but none of the songs really possess the necessary hook to have audiences humming them on the drive home. The catchiest of the lot are 'Better Than This,' 'Streets on Fire,' and 'I Should Write This Down.' The latter of which feels like an ode to scatterbrained creatives who have brilliant ideas that they really should write down. Notably, the three most memorable tracks are not sung by the titular Juliet (Clara Rugaard) and Romeo (Jamie Ward), who are relegated to paltry power ballads that underserve their romance."
Maggie Lovitt, Collider
"Timothy Scott Bogart’s 'Juliet & Romeo' is barely worth cracking open right now. It’s a pop music reimagine-actment of Shakespeare’s best-known play, which replaces all the original, beautiful, funny, thoughtful, endlessly quotable dialogue with lines like 'Be cool!' followed by 'This is cool!' The haunting 'Queen Mab' speech is out. Well-intentioned, swelling but indistinct pop ballads whose lyrics and performances make little impression are, unfortunately, in."
William Bibbiani, The Wrap
"The amateurish operation is frustrating from the start, seeking to mimic a storybook fantasy by using turning-page graphics and exposition-dump narration to bookend the film. The score feels synthetic and ever-present. Set-pieces that utilize original pop songs written by Bogart’s brother Evan Kidd Bogart and Justin Gray fail to inspire whimsy, imagination or awe-inducing delight. These sequences are cut to bits -- and not in a music video style -- masking the choreography and blunting the emotional impact. However, it’s admittedly cute when the lovers sing about falling in love while literally taking the plunge into a cart full of hay."
Courtney Howard, Variety
THE LEGEND OF OCHI - David Longstreth
"Music is used throughout 'The Legend of Ochi' in a unique way to convey emotion and express love as the ochis communicate with one another via warbled singing. Yuri quickly catches on to the harmonious language, which only furthers her bond with the creatures. On top of the hypnotic chorus of voices, the film boasts a remarkable score -- the first feature film score by songwriter/composer David Longstreth. The lovely technicals only heighten the film, with cinematographer Evan Prosofsky capturing the Hungarian countryside with a sprawling and nostalgic sense of magic, transforming it into an unfamiliar and curious place that may have only previously existed in imaginations. Yuri and her sidekick make their way through lush forests, cross babbling rivers, and wind-swept valleys, all captured in a sentimental nature that is mildly reminiscent of palpable '80s adventure flicks such as The Neverending Story.'"
Anna Miller, Collider
"Many films that inspired 'Ochi' were buoyed by unforgettable scores, and there are stretches of the work by Paul Manalatos [sic] that are undeniably lovely. That said, Saxon and his composer also habitually lean too heavily on their music. At least at the premiere in Sundance, the score was sometimes turned up to 11, sometimes overwhelming everything happening on screen. Coming from the world of music and crafting a vision that relies so heavily on sequences without dialogue likely led Saxon to think he needed a non-stop, expressive score. Still, it’s so constant that it might push some people out of the movie."
Brian Tallerico, RogerEbert.com
"'The Legend of Ochi' is such a welcome sight not just because it cares about something other than pushing its youngest viewers into buying branded toys. Saxon understands that the epic and the intimate can work together across Yuri and the Ochi’s odyssey. The film invokes a consistent sense of wonder and awe through the sweep of a fantasy, captured most noticeably in David Longstreth’s soaring, John Williams-esque score. And it achieves this grandiose awe without sacrificing a more homespun quality that extends beyond merely Saxon’s favoring of practical effects. A simplicity of spirit guides the entirety of 'The Legend of Ochi,' especially when capturing the dynamic between the story’s two central figures."
Marshall Shaffer, Slant Magazine
"And yet, by film’s end, we’re left with smiling admiration for its peculiarity and artistry instead of a catharsis, because too much of “'The Legend of Ochi' feels like a presentation. Good actors are game pieces more than characters, settings are backdrops more than environments and David Longstreth’s crescendo-packed orchestral score (like avant-garde John Williams in its best moments) too often feels insistent than convincing. It’s a jewel box of a film, for sure, with a nice message inside, but losing yourself in its world is where it falls short."
Robert Abele, Los Angeles Times
"It may not be anything more than that, either. For all of the film’s sensorial richness (which extends to the brilliance of its puppetry, the airy Carpathian luster of David Longstreth’s score, and the semi-nostalgic splendor of the Skull Island-like cave system the Ochi call home, which feels as much like a throwback to ’80s fantasy as it does completely lost in time), 'The Legend of Ochi' struggles for a reason to be told. Sensations abound, but a human audience might struggle to access the same emotionality the Ochi are supposedly able to mine from them."
David Ehrlich, IndieWire
"Over-scored within an inch of its life by David Longstreth (granted, it’s pretty), 'Ochi' falters in a clumsy third act that’s too predictable even for a family film (if that’s truly Saxon’s intention). There are intriguing ideas peppered throughout, but Saxon can never seem to get the pieces to coalesce. He’s also hindered by a disappointing turn from a seemingly miscast Zengel, who portrays Yuri so coldly that you find it hard to root for her (and you sort of need to). But the familiar plotline and a tone that is simply too dark at times are the movie’s biggest hindrances (even Henson’s 'The Dark Crystal' wasn’t this bleak). And despite Longstreth’s orchestral efforts, there are few heartstrings to pluck during the film’s predictable climax."
Gregory Ellwood, The Playlist
"One way in which Saxon subverts common tropes in this genre is by not giving the Ochi supernatural abilities. The young Ochi can’t heal Yuri when she gets injured. The species doesn’t have baffling strength or any other extraordinary powers,other than its ability to form a sonic connection with each other when they sing, like whales and countless other animals in our reality do. That narrative decision fits with Saxon’s ethos to use real skills (sculpting, puppetry, painting) and not only computer trickery to accomplish their lofty goals. Intertwined with the Ochi noises is David Longstreth’s transfixing score, which rings so brightly ethereal as if truly comprised from sounds captured in the forest. It’ll be one of the most unforgettable scores for a movie this year."
Carlos Aguilar, Variety
NONNAS - Marcelo Zarvos
"No subtext goes unexplained, and at times the score underlines what we already know. But the actors always find the grace notes, and there are sparks in the way everyday exchanges turn sharp with compassion. There are welcome laughs too, particularly in Bracco’s grump-meister line readings. 'Nonnas' serves up something that doesn’t make you work; rather, it invites you to sit down and enjoy."
Sheri Linden, The Hollywood Reporter
A NORMAL FAMILY - Cho Sung-woo
"Director Hur often shoots the film’s characters through windows – creating distance between them and the viewer, emphasising something unreachable and unreadable about the characters’ psyches. Additionally, there are few films that utilise music as skilfully as 'A Normal Family.' Scored by veteran composer Cho Sung-woo, the film’s riveting music is no mere ornament to the visuals, but instead, an integral, living character driving suspicion and intrigue in the story."
Sara Merican, NME
O'DESSA - Geremy Jasper, Jason Binnick
"There’s gusto in the songs, too, a soundtrack of 16 original numbers by Jasper and co-writer Jason Binnick that map O'Dessa's journey onto the evolution of American popular music. Bluesy ballads with personal lyrics eventually give way to rockabilly and even acid-rock psychedelia. Sink finally gets to show off her Broadway-honed pipes on screen; it’s a shame it took this long for her to find this kind of role, because her vocals are simply enchanting. At a time when studios are still making musicals but appear hesitant to sell them as such (who puts together a trailer for 'Wicked' with barely any footage of Cynthia Erivo and Ariana Grande singing?), here’s one that boldly proclaims what it is, with little time to rest in between music numbers. It joyfully goes from one song to the next, with the music keeping the story aloft."
Rafael Motamayor, IGN.com
"Jasper did the songs alongside his 'Patti Cake$' collaborator Jason Binnick, riffing on twangy country, folky Americana, early Elvis rock, and modern electronica-driven pop. Each song feels like an act of aggression, filmed without an ounce of the verve needed to sell their heightened emotions. To play these bad songs, O’Dessa needs an instrument. Thankfully, O’Dessa hasn’t just been told that she’s special, she’s inherited a (possibly magical) tool to channel that specialness. The film is filled with flashbacks to her daddy’s guitar’s mythical origin story; it all plays like Dewey Cox found himself starring in 'Jupiter Ascending.'"
Jacob Oller, AV Club
"Setting that quibble aside, a rock musical like 'O’Dessa' only works if it sufficiently rocks, and 'O’Dessa' somewhat rocks. The plentiful songs are huge or intimate or both, depending on the needs of the moment. None of them are especially amazing, and I can’t seem to hum one right now for the life of me, but I remember how they felt in the moment. The soundtrack works dramatically in the movie, and that’s all that counts while the movie is playing. But in our memories, where movies live 99% of our lives, that music hasn’t left as powerful an impression, which may hamper the film’s ability to develop its own cult following as time goes by."
William Bibbiani, The Wrap
"Throughout, the film is intercepted by various musical numbers in various styles, including folk ballads, rock melodies, and uninspired choruses highlighted by equally uninspired choreography. Few of the songs lift off the screen as being an integral part of forwarding the plot. Worse, the songs, even the pseudo-joyful ones, are empty of joy. But do not lay blame on the performers. Despite its potential, 'O'dessa' fails to fully capitalize on its talented cast."
Thom Ernst, Original Cin
"Everything about the messaging and plotting of 'O’Dessa' is shallow. The songs that O’Dessa sings to launch the revolution are forgettable ditties about 'love' and 'freedom' in a film that doesn’t define or illustrate either. One of the recurring lyrics is literally 'free, free, free, free,' and another is a variation on 'love is all you need.' Shallow messages expressed in a heartfelt manner aren’t necessarily a problem for a musical, but that requires the other stuff -- character, world-building, stakes, etc. -- to be deeper to allow the universal themes to cut through. Nothing here has any teeth; nothing hits the heart."
Brian Tallerico, RogerEbert.com
"'O’Dessa' is billed as a rock opera, and rarely goes more than a few minutes at a time before firing up another melody. (Jasper and Jason Binnick are credited for the music.) But it does itself no favors by establishing its hero as a chosen one capable of saving humankind with her guitar. There’s a reason Tenacious D only offer the tribute to the greatest song in the world, and 'Bill & Ted Face the Music' eventually decides that what matters is not Wyld Stallyns’ virtuosity but their ability to bring people together. Promising a tune that singular sets a standard that’s impossible to meet, and this film never plausibly comes near it. The songs are sweet but not especially memorable, performed by Sink in a voice that’s pretty but unremarkable, and woven into rhythms of O’Dessa’s life rather than set apart by dramatic choreography. I suppose more razzle dazzle would have gone against the idea that the flashy Plutovich is offering empty distraction while the more modest O’Dessa is offering something real. But it’s hard to imagine these numbers altering the course of a listener’s day, let alone the future of an entire society."
Angie Han, The Hollywood Reporter
THE SURFER - François Tétaz
"On a stylistic level, however, The Surfer has far more to recommend it. Pretty much the whole film is set in the same area of a beachside complex, and not a scenic area either – it’s largely just the car park. Finnegan’s dynamic direction ensures that this never feels dull or claustrophobic. It certainly helps that the color palette is so eyeball-searingly vivid; the hardest thing in the whole movie to watch isn’t any gore, or even the whole rat incident, but The Surfer’s skin after sunburn has turned it the color of a radioactive lobster. Adding more pleasurably to the sensory deluge is François Tétaz’s terrific score, which carries strains of Morricone in its mythic propulsion."
Chloe Walker, Paste Magazine
"Finnegan made some wild choices in this film, and even without the layered, unreliable plot narrative, it is still a trippy experience. The palette ranges from garish to sublime. Dayglo beach clothes and set pieces compete for visual impact with stunning views of the ocean and breathtaking sunsets. The soundtrack by François Tétaz also jars the senses with tunes that range from cheesy game show themes to spaghetti western showdown themes."
Bradley Gibson, Film Threat
"Sun and sea are in every frame. Golden light dapples on Cage’s face. Aerial shots of water are used as scene wipes and their crashing noise underscores his psychic distress. Radek Ladczuk’s psychedelic camerawork loves dramatic zooms and lenses that make bodies blend and distort, underscoring how easily someone can slide from comfortable to wretched, and the grandly mystical soundtrack by François Tétaz is wonderful, even if it uses enough wind chimes to summon Poseidon."
Amy Nicholson, Los Angeles Times
"Right from the title card, Finnegan pulls the audience into the hot hell of the Surfer’s world, whether we like it or not. Cage is immediately engaging, making his slow mental downfall all the more visceral, as if we feel every knock against the step down into utter madness. It’s a technically excellent film, with Finnegan handpicking different cinematic tools to create as disorienting an experience as possible. There’s a palpable sense of dread, even when the imagery shows nothing but natural beauty and François Tétaz’s score sounds straight out of a Disney movie. Quick zoom-ins of Cage’s tormented face insert an element of Shakespearian tragedy, which is fitting due to the very 'King Lear'-esque story. A man so blinded by his pursuit of glory that he can’t see that every decision he makes only sets him further away from his ultimate goal, ignoring the pleas of those with his best intentions at heart, is the basic plot of both Shakespeare and Finnegan’s works."
Emma Kiely, Collider
"'The Surfer' does, but he soon returns by himself in his Lexus, calling his mortgage broker to seal the deal on the house purchase. As it turns out, he’s now competing with another bidder, upping the Surfer’s anxiety. Director Finnegan echoes his frazzled state of mind by employing an array of smeary close-ups, bewildering snapshots of a mysterious figure standing in the surf, zooms into the blinding sun, a score of menacing tones and twinkling, and a deafening audioscape of chirping crickets, crashing waves, and squawking birds that sound as if they’re laughing at the man. From the get-go, 'The Surfer' feels off-kilter, and it’s not long before it feels stricken with heat stroke -- charred, scarred, and incapable of seeing straight or thinking clearly."
Nick Schager, The Daily Beast
"There is still much to enjoy and admire here if you can stay on the film’s wavelength without getting frustrated. In addition to successfully channeling the punishing atmosphere of such works as 'Wake in Fright' in particular, 'The Surfer' also features compelling narrative allusions to American author John Cheever’s short story 'The Swimmer' and Frank Perry’s 1968 film adaptation; a few sections of composer François Tétaz’s score for 'The Surfer' even recall Marvin Hamlisch’s music in Perry’s film."
Josh Slater-Williams, IndieWire
WHEN FALL IS COMING - Evgueni & Sacha Galperine
"Everything is just so, from the rich autumnal palette in the production and costume design to the typically sparse but evocative score from the brothers Evgueni and Sacha Galperine (who seem to be everywhere from here to 'Emmanuelle' to 'Baby Reindeer' at the moment)."
Leslie Felperin, The Hollywood Reporter
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
May 23
BARBIE (Mark Ronson, Andrew Wyatt) [Academy Museum]
THE DEPARTED (Howard Shore) [Egyptian]
JAWS (John Williams) [Alamo Drafthouse]
JAWS (John Williams) [Los Feliz 3]
JAWS (John Williams) [New Beverly]
KILLER KLOWNS FROM OUTER SPACE (John Massari) [Vista]
THE LAKE HOUSE (Rachel Portman) [Vidiots]
MIDNIGHT COWBOY (John Barry) [Aero]
MUPPETS FROM SPACE (Jamshied Sharifi) [Nuart]
NIGHT RAIDERS (Moniker) [Academy Museum]
PEGGY SUE GOT MARRIED (John Barry) [Vidiots]
RAGING BULL [New Beverly]
STAR WARS EPISODE I - THE PHANTOM MENACE (John Williams) [Fine Arts]
STAR WARS EPSIODE II - ATTACK OF THE CLONES (John Williams) [Fine Arts]
THE STRAIGHT STORY (Angelo Badalementi) [Vista]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
May 24
CECIL B. DEMENTED (Basil Poledouris, Zoe Poledouris) [Vidiots]
CRIMSON TIDE (Hans Zimmer) [Egyptian]
DEEP BLUE SEA (Trevor Rabin) [New Beverly]
THE DOORS [Vidiots]
THE EMPIRE STRIKES BACK (John Williams) [Fine Arts]
GHOST IN THE SHELL (Kenji Kawai) [Egyptian]
HAIL THE CONQUERING HERO (Werner Heymann) [Los Feliz 3]
ICE AGE: THE MELTDOWN (John Powell) [Academy Museum]
IT HAPPENED ONE NIGHT [Vista]
JAWS (John Williams) [Alamo Drafthouse]
JAWS (John Williams) [New Beverly]
JAWS (John Williams) [Vidiots]
KILLER KLOWNS FROM OUTER SPACE (John Massari) [Vista]
OUTBACK [WAKE IN FRIGHT] (John Scott) [Los Feliz 3]
THE PRODUCERS (John Morris) [Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
ROLLING THUNDER REVUE [Aero]
ROSEMARY'S BABY (Christopher Komeda) [BrainDead Studios]
A SIMPLE LIFE (Wing-Fai Law) [Academy Museum]
STAR WARS (John Williams) [Fine Arts]
STAR WARS EPISODE III - REVENGE OF THE SITH (John Williams) [Fine Arts]
WHO FRAMED ROGER RABBIT (Alan Silvestri) [Vidiots]
May 25
AIRPLANE! (Elmer Bernstein) [Aero]
ALIEN (Jerry Goldsmith) [BrainDead Studios]
ALIENS (James Horner) [BrainDead Studios]
DESTROY ALL MONSTERS (Akira Ifukube) [Vidiots]
HOW TO GET AHEAD IN ADVERTISING (Rick Wentworth, David Dundas) [Los Feliz 3]
IT HAPPENED ONE NIGHT [Vista]
JAWS (John Williams) [Alamo Drafthouse]
JAWS (John Williams) [Egyptian]
JAWS (John Williams) [New Beverly]
THE MASTER (Jonny Greenwood) [Academy Museum]
NIGHT RAIDERS (Moniker) [Academy Museum]
ONCE UPON A TIME IN THE WEST (Ennio Morricone) [aERO]
RETURN OF THE JEDI (John Williams) [Fine Arts]
SHREK 2 (Harry Gregson-Williams) [Vidiots]
STAR WARS: THE FORCE AWAKENS (John Williams) [Fine Arts]
THE THIN RED LINE (Hans Zimmer) [Egyptian]
May 26
BLOW-UP (Herbie Hancock) [Los Feliz 3]
CHINATOWN (Jerry Goldsmith) [Egyptian]
DEVIL IN A BLUE DRESS (Elmer Bernstein), ONE FALSE MOVE [New Beverly]
EX MACHINA (Ben Salisbury, Geoff Barrow) [Academy Museum]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [Egyptian]
JAWS (John Williams) [Aero]
JAWS (John Williams) [Alamo Drafthouse]
MOULIN ROUGE (Craig Armstrong) [Vidiots]
STAR WARS EPISODE III: REVENGE OF THE SITH (John Williams) [Fine Arts]
STAR WARS: THE LAST JEDI (John Williams) [Fine Arts]
STAR WARS: THE RISE OF SKWALKER (John Williams) [Fine Arts]
TO CATCH A THIEF (Lyn Murray) [Vidiots]
WALK HARD: THE DEWEY COX STORY (Michael Andrews) [Culver]
May 27
DEVIL IN A BLUE DRESS (Elmer Bernstein), ONE FALSE MOVE [New Beverly]
THE LIVING DAYLIGHTS (John Barry) [Culver]
MANILA IN THE CLAWS OF LIGHT (Max Jocson) [Vidiots]
RICH AND FAMOUS (Georges Delerue) [Los Feliz 3]
May 28
DUET FOR CANNIBALS [Vidiots]
EX MACHINA (Ben Salisbury, Geoff Barrow) [Academy Museum]
THE GREAT ESCAPE (Elmer Bernstein) [Academy Museum]
HOW TO GET AHEAD IN ADVERTISING (Rick Wentworth, David Dundas) [Los Feliz 3]
JAWS (John Williams) [Alamo Drafthouse]
MISSISSIPPI BURNING (Trevor Jones), HOOSIERS (Jerry Goldsmith) [New Beverly]
POOR THINGS (Jerskin Fendrix) [BrainDead Studios]
SWITCHBLADE SISTERS [Alamo Drafthouse]
May 29
HOW TO GET AHEAD IN ADVERTISING (Rick Wentworth, David Dundas) [Los Feliz 3]
MISSISSIPPI BURNING (Trevor Jones), HOOSIERS (Jerry Goldsmith) [New Beverly]
A MOST WANTED MAN (Herbert Gronemeyer) [Academy Museum]
THE NORTHMEN (Robin Carolan, Sebastian Gainsborough) [BrainDead Studios]
THE SUGARLAND EXPRESS (John Williams) [Academy Museum]
UNCOMMON VALOR (James Horner) [Los Feliz 3]
May 30
ALTERED STATES (John Corigliano) [Vista]
THE BRIDGES OF MADISON COUNTY (Lennie Niehaus) [Aero]
CRYSTAL FAIRY & THE MAGICAL CACTUS (Pedro Subercaseaux) [Los Feliz 3]
EX MACHINA (Ben Salisbury, Geoff Barrow) [Academy Museum]
FRANCES HA, GIRLFRIENDS (Michael Small) [New Beverly]
MAGIC MAGIC (Danny Bensi, Saunder Jurriaans) [Los Feliz 3]
MID90S (Trent Reznor, Atticus Ross) [Nuart]
PLATOON (Georges Delerue) [New Beverly]
ROPE [Academy Museum]
THE SPOOK WHO SAT BY THE DOOR (Herbie Hancock) [UCLA/Hammer]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
May 31
ALTERED STATES (John Corigliano) [Vista]
ANTICHRIST (Kristian Eidnes Andersen) [BrainDead Studios]
THE APPLE (Coby Recht) [New Beverly]
AT BERKELEY [Los Feliz 3]
CHARLIE'S ANGELS (Edward Shearmur) [Vista]
ELEMENTAL (Thomas Newman) [Academy Museum]
THE ELEPHANT MAN (John Morris) [Vidiots]
FRANCES HA, GIRLFRIENDS (Michael Small) [New Beverly]
GOOD TIME (Daniel Lopatin) [BrainDead Studios]
THE LITTLE MERMAID (Alan Menken) [New Beverly]
MICHAEL CLAYTON (James Newton Howard) [Vidiots]
MICROCOSMOS (Bruno Coulais) [Vidiots]
NOTHING BUT A MAN [UCLA/Hammer]
PERFECT DAYS [BrainDead Studios]
PRIDE & PREJUDICE (Dario Marianelli) [Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SATURDAY NIGHT FEVER (David Shire) [Los Feliz 3]
THE SPOOK WHO SAT BY THE DOOR (Herbie Hancock) [UCLA/Hammer]
UNCOMMON VALOR (James Horner) [Los Feliz 3]
Jun 1
BEHIND THE DOOR [Los Feliz 3]
THE BREAKING POINT [Los Feliz 3]
CHARLIE'S ANGELS (Edward Shearmur) [Vista]
DOGTOOTH [Aero]
FRANCES HA, GIRLFRIENDS (Michael Small) [New Beverly]
FUNNY GAMES [Egyptian]
IKIRU (Fumio Hayasaka) [Egyptian]
LIMBO (Kenji Kawai) [Los Feliz 3]
THE LITTLE MERMAID (Alan Menken) [New Beverly]
LITTLE MURDERS (Fred Kaz) [Egyptian]
THE MIST (Mark Isham) [Aero]
MOMMIE DEAREST (Henry Mancini) [Academy Museum]
THE PROPOSITION (Nick Cave) [Aero]
RRR (M.M. Keeravani) [Vidiots]
THE VIRGIN SUICIDES (Air) [Academy Museum]
WHEN HARRY MET SALLY... (Marc Shaiman) [Alamo Drafthouse]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Anna Karenina (Marianelli); Our Kind of Traitor (Zarvos); Beauty and the Beast (Menken); Darkest Hour (Marianelli); Rebecca (Mansell); Cyrano (Dessner); Barbie (Ronson/Wyatt); Humoresque (Waxman, various); Johnny Guitar (Young); The Best of Everything (Newman)
Read: The Man Who Canceled Himself, by David Handler
Seen: Play Dirty [2025]; The Wolf Man [1942]; The Mummy [1932]; Thunderball; Final Destination Bloodlines; Doubt; Sleep Dealer; Synecdoche, New York; Madonna: Truth or Dare
Watched: Gorky Park; The Knick ("Do You Remember Moon Flower?", "This Is All We Are")
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