Intrada has announced two new film music CDs available this week -- the Kickstarter-funded re-recording of three previously unavailable Jerry Goldsmith TV scores - PURSUIT (Michael Crichton's directorial debut, and his first collaboration with the composer), CRAWLSPACE (no relation to the Klaus Kinski film) and THE PEOPLE NEXT DOOR (remade as a feature a few years later with a Don Sebesky score); and an expanded, two-disc edition of Michael Kamen's score for the 1993 remake of THE THREE MUSKETEERS, starring Charlie Sheen, Kiefer Sutherland, Oliver Platt and Chris O'Donnell as the musketeers (as I said, 1993), co-starring Julie Delpy, Gabrielle Anwar, Rebecca De Mornay and Tim Curry.
CDS AVAILABLE THIS WEEK
Battle of Neretva - Bernard Herrmann - Dragon's Domain
Pursuit/Crawlspace/The People Next Door [re-recording] - Jerry Goldsmith - Intrada
Return from the River Kwai - Lalo Schifrin - Dragon's Domain
The Three Musketeers - Michael Kamen - Intrada Special Collection
Too Late the Hero - Gerald Fried - Dragon's Domain
IN THEATERS TODAY
Bring Her Back - Cornel Wilczek
Ghost Trail - Yuksek
Henry Johnson - Jay Wadley
Karate Kid: Legends - Dominic Lewis
Love - Peder Capjon Kjellsby
Niki - Para One
Ocean with David Attenborough - Steven Price
The Phoenecian Scheme - Alexandre Desplat
Tornado - Jed Kurzel
COMING SOON
Aug 1
The Brutalist - Daniel Blumberg - Milan
Coming Soon
Alien: Romulus - Benjamin Wallfisch - Mutant
Anna, quel particolare piacere - Luciano Michelini - Beat
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
The Rise and Fall of the Third Reich - Lalo Schifrin - Dragon's Domain
Sinners - Ludwig Goransson - Mutant
Star Wars: Skeleton Crew - Mick Giacchino - Mutant
THIS WEEK IN FILM MUSIC HISTORY
May 30 - Michael Small born (1939)
May 30 - Lalo Schifrin begins recording his score for Golden Needles (1974)
May 30 - Devendra Banhart born (1981)
May 31 - Rene Cloerec born (1911)
May 31 - Akira Ifukube born (1914)
May 31 - Mario Migliardi born (1919)
May 31 - Clint Eastwood born (1930)
May 31 - Jerry Goldsmith records his score for Studs Lonigan (1960)
May 31 - Giovanni Fusco died (1968)
May 31 - Lalo Schifrin begins recording his score for The Concorde…Airport ’79 (1979)
May 31 - Maurice Jarre begins recording his unused score for The River Wild (1994)
June 1 - Werner Janssen born (1899)
June 1 - Frank Cordell born (1918)
June 1 - Nelson Riddle born (1921)
June 1 - Tom Bahler born (1943)
June 1 - Konstantin Wecker born (1947)
June 1 - Barry Adamson born (1958)
June 1 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Emissary" (1989)
June 1 - John Debney begins recording his score for Hocus Pocus (1993)
June 2 - Frederic Devreese born (1929)
June 2 - Marvin Hamlisch born (1944)
June 2 - David Dundas born (1945)
June 2 - Alex North begins recording his score to Les Miserables (1952)
June 2 - Patrick Williams begins recording his replacement score for Used Cars (1980)
June 2 - Bill Conti begins recording his score for Cohen & Tate (1988)
June 2 - Recording sessions begin for Danny Elfman’s score to Big Top Pee-Wee (1988)
June 2 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Duet” (1993)
June 3 - Curtis Mayfield born (1942)
June 3 - Shuki Levy born (1947)
June 3 - Gail Kubik begins recording his score for The Desperate Hours (1955)
June 3 - Michael Small begins recording his score for Jaws the Revenge (1987)
June 3 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “The Jem’Hadar” (1994)
June 3 - Jerry Goldsmith begins recording his score for Small Soldiers (1998)
June 4 - Marjan Kozina born (1907)
June 4 - Irwin Bazelon born (1922)
June 4 - Oliver Nelson born (1932)
June 4 - Suzanne Ciani born (1946)
June 5 - William Loose born (1910)
June 5 - Laurie Anderson born (1947)
June 5 - Tyler Bates born (1965)
June 5 - Amanda Kravat born (1966)
June 5 - Danny Lux born (1969)
June 5 - Aesop Rock born (1976)
June 5 - David Newman begins recording his score for DuckTales The Movie: Treasure of the Lost Lamp (1990)
DID THEY MENTION THE MUSIC?
FRIENDSHIP - Keegan DeWitt
"Perhaps that’s because DeYoung wants to preserve the quiet desperation of Craig’s life, which he does with aplomb (the bitter chill of Andy Rydzewski’s cinematography and the diaphanous pulse of Keegan DeWitt’s score lend crucial layers of texture). Or perhaps that’s just because he knows that Robinson can pan enough priceless gold from the kind of interstitial moments that most comedies would pave right over. One of the movie’s funniest bits is a stand-alone episode that finds Craig putting too much coffee in his cup and trying to deal with it in the middle of a business meeting; another starts with a guy bumping into his wife’s chair at a restaurant."
David Ehrlich, IndieWire
HALLOW ROAD - Lorne Balfe, Peter Adams
"Anvari and cinematographer Kit Fraser deserve praise for their ability to draw us into a minimalist woodland chiller using nothing but shadowy landscape outlines, frantic expressions, and a cellular phone. It's a remarkable experiment but still experimental in a way that'll leave some passengers behind. Please stay for an 'Easter egg' in the credits that illuminates the storytelling further, but don't be surprised if you're left debating the plot's intentions after it's over. How the film ends, and the choice Anvari makes will divide audiences -- but you can't deny that the filmmaker sustains an impressive heap of pressure on an endless drive. As wheels keep turning, and Lorne Balfe's score (plus a rearrangement of Depeche Mode's 'Behind the Wheel') whispers unsettling rhythms set against flashes of crooked branches, 'Hallow Road' becomes a beguiling mythical mystery."
Matthew Donato, Collider
"Aided by the moody synths and turbulent strings of Lorne Balfe and Peter Adams’ atmospheric score (which incorporates elements of Depeche Mode’s 'Behind the Wheel'), Anvari’s movie strikes a keen balance between psychological thriller and eerie folkloric horror. Its disturbing ambiguities take on whole new shadings after an unexpected reveal in the end credits."
David Rooney, The Hollywood Reporter
ROSARIO - Brooke Blair, Will Blair
"Her phone also allows her to find a way to beat the entity, because why not, and when her phone goes dead, she conveniently finds some books that have answers. It's lazy storytelling made insufferable at times when Rosario speaks out loud in awkward dialogue so she can explain the plot to the audience instead of trusting us to be smart enough to figure it out. Even 'Rosario''s score gets frustrating, as the same generic music plays over and over on a loop, trying not to create but keep an atmosphere, when quiet would work better in many scenes. Thankfully, 'Rosario' doesn't fall into the jump scare trap. There are no scenes of a dead grandma or evil spirits jumping out to a loud musical cue."
Shawn Van Horn, Collider
THE SHROUDS - Howard Shore
"Leave it to our preeminent corporeal-fusion fantasist ('The Fly,' 'Videodrome,' 'Crash,' 'eXistenZ') to envision a near-future 21st-century vision of techno-intrigue that, in conjunction with lifestyle enhancements we already have -- biotech devices, Karsh’s self-driving car and AI avatar assistant -- feels closer to reality than Cronenberg’s ever imagined before. So much of what he’s explored on screen has come true: Everything is a creative convenience, a threat and a turn-on. And there, like an old friend, is Cronenberg’s regular composer Howard Shore with a synth moan to keep the mood unnerving."
Robert Abele, Los Angeles Times
"Cassel’s slowly eroding smarm makes it amusing enough to watch Karsh fumble his way deeper and deeper into the maze of his own emotions (presumably as a means of sparing Cronenberg from suffering the same fate), even though the direction is so sedate and antiseptic off that it often feels as if the film isn’t moving forward at all. The flat aesthetic -- and Howard Shore’s complementary score, which supplies more of the same numbing drone that he gave to 'Crimes of the Future' -- befits a story about a man struggling to deny the colorlessness of life after loss, and looking in all of the wrong places for a vibrancy that might take its place. 'I lived in Becca’s body,' he tells someone, in a vintage piece of Cronenbergian syntax. 'It was the only place I really lived.'"
David Ehrlich, IndieWire
"Howard Shore’s largely restrained music and a hushed, quiet tone until Karsh’s nightmares begin to get the better of him. Then there are visions of his wife returning, losing pieces of her body one by one. 'I’ve been in a strange, dark place since Becca died,' Karsh says at one point -- and it’s no surprise that in Cronenberg’s hands, that place gets stranger and darker."
Steve Pond, The Wrap
"The film’s opening credits sequence features a bunch of swirling dots that eventually form into the outline of a woman. Allied with the insinuating low-pitched electronic droning of Howard Shore’s score, the sequence dissolves into a dreamy vision of a man looking into the prehistoric-looking underground surroundings of a nude female corpse before Douglas Koch’s camera zooms right into the yelling man’s mouth and snaps us back into reality: to Karsh Relikh (Cassel) having his teeth inspected by his dentist, Dr. Hofstra (Eric Weinthal)."
Kenji Fujishima, Slant Magazine
SNEAKS - Terrace Martin
"'Sneaks' is an exciting, funny, heartwarming, joyful, and endearingly wise adventure, set in a dazzlingly vibrant New York City, with lively music by composer Terrace Martin and songs from producer Mustard. Plus many shoe puns, for example: 'We don’t talk, we Converse.' As we hear in the opening song, 'My sneaks can do anything; it’s like magic right in front of me.'"
Nell Minow, RogerEbert.com
"Though the story wears down its tread, strong performances elevate the material. Mackie, Fishburne, Lawrence, Bailey and David all pour a ton of heart into their vocal dynamics, allowing nuanced vulnerability and a bubbly buoyancy to shine through, keeping us tethered to the emotional pull of the picture. Humor tends to be too meta, but when it’s funny, the jokes work to good effect. The animation style delivers a decent, if budget-conscious, aesthetic impersonation of the 'Spider-Verse' films. The highlight here is the animators’ homage to 'Toy Story' as the sneakers switch to their inanimate form when humans are around, flopping on the ground in a similar fashion. Plus, the score by Terrace Martin and the soundtrack containing original songs by Mustard give the picture a complementary sonic identity."
Courtney Howard, Variety
THE TROUBLE WITH JESSICA - Matt Cooper, Matt Winn
"The title and theme of 'The Trouble with Jessica' echo one of Alfred Hitchcock’s lesser films, 'The Trouble with Harry,' better remembered now more for Shirley MacLaine’s debut performance and the gorgeous fall scenery than for its chilly dark humor about a dead body that keeps being moved around. Here, the title character, Jessica (Indira Varma), is dead for most of this film, and it is also darkly humorous, sometimes lacerating, but not at all chilly. The tone is heightened and the stakes are savage as the score turns from classical to urgent, dissonant jazz."
Nell Minow, RogerEbert.com
"This central slice of 'The Trouble with Jessica' is meant to read as a chaotic farce, balancing the evolving grievances and frayed emotional states of the core four characters against the ever-present threat of discovery in their macabre business. The hijinks, however, have a tendency to fall flat, the humor straining against improbable situations that are largely undersold by the cast. It feels like a project that was designed to be a more bombastic, one act stage play, and even at less than 90 minutes here it can feel like we’re stalling for time. Particularly when Winn attempts to push things in more ribald and risque directions, it all feels rather hollow. Even the jazz-centric score seems miscalculated, feeling distractingly intrusive at times as it barges into conversations like a fifth wheel."
Jim Vorel, Paste Magazine
THE UGLY STEPSISTER - Kaada, Vilde Tuv
"On top of that, Blichfeldt inserts plenty of dark humor and satire to lighten what could have been a very, very depressing movie. It helps that Lea Myren is a delightful lead who can lean both into that comedic edge and the painful and Elvira's quiet desperation. In fact, Myren plays Elvira with such delicacy that it's hard not to root for her to win even when we know it won't happen -- even when we know just what kind of man the prince is. (He's no peach, Agnes, good luck with that one!) And while the message is incredibly overt and not at all subtle, Blichfeldt's whimsical and fun approach to storytelling, along with fantastic cinematography by Marcel Zyskind and a pop-y upbeat score, means that there's never a dull moment in 'The Ugly Stepsister.'"
Therese Lacson, Collider
"The film indulges Elvira’s fantasies with blasts of ethereal, anachronistic synth music and brief, hazy dream sequences; that the movie’s ostensible present doesn’t quite feel real also adds to the protagonist’s helplessness. A happy future for her seems impossible, and the cold hard light of reality is itself a bleak twilight. With her mouth full of braces, her narrow eyebrows, her zits, her full figure, and her fondness for hidden Danishes, Elvira is no match for the graceful, angelic, blond, blue-eyed Agnes, who might be a vision of perfection but also becomes spiteful and scheming towards her stepfamily after the death of her father. Of course, who can entirely blame Agnes? The family’s so poor now that Rebekka refuses even to bury dear old Otto, opting instead to let Agnes’s father rot in a dark backroom as flies and maggots gradually consume his carcass. Also, Agnes has been shtupping the stable-boy Isak (Malte Gårdinger), and when Rebekka finds them together she kicks the young man (still naked) off the grounds, thus embracing her fate as the cruel, heartless stepmother of fairy lore."
Bilge Ebiri, New York
"There will be those who question the categorization of 'The Ugly Stepsister' as a horror film in the course of watching it, particularly around the halfway point. To a certain point, it disguises itself as largely a black comedy of manners, a fanciful combination of the absurdist aesthetics of Yorgos Lanthimos with the enraged feminism and class commentary of Emerald Fennell. Its anachronistic soundtrack, blending synths and keys with traditional instrumentation, unmoors it from any concrete time and space, placing it into some kind of dreamy and surreal place between reality and a fairy tale realm. But oh, once the truly horrific imagery arrives, you’d better believe it makes its presence felt. The end result becomes a film that would be patently impossible to release in U.S. theaters without an NC-17 rating, if the MPA were to rate it -- not with the parade of body parts, blood and body fluids eventually on display. If the film has any theatrical appearances at all beyond its eventual arrival streaming on Shudder, you can rest assured that it will be unrated."
Jim Vorel, Paste Magazine
"'The Ugly Stepsister” begins with the tragically forced communion of two families as the brace-faced, ringleted Elvira (Lea Myren) arrives via carriage at a Victorian estate in Sweden. The grounds are a swirl of 18th-century gothic details, recognizable to Grimm heads who can already smell the inevitability of awful events locking into place, and hazy, dreamlike ‘70s arthouse vibes, in part thanks to the postmodern title cards and a soundtrack of harps and synthesizers. In other words, here’s a classic story outfitted into something perhaps more bracingly modern -- even if its storytelling techniques, female body horror aside, largely are traditional."
Ryan Lattanzio, IndieWire
"Technical credits are substantial for this period-fantasy production. Sabine Hviid’s art direction and Manon Rasmussen’s costume design are handsome, shot by cinematographer Marcel Zyskind with gauzy fairytale lighting as needed. The new-age music used is not precisely period-accurate but eclectic and memorable. Molly Lewis’s 'Crushed Velmet' used over the main titles and several Vilde Tuv cues leave a lasting impression and add another winking, modernist meta layer. The ballroom scenes use Mozart, Beethoven and Strauss."
Ankit Khunjhunwala, The Playlist
"There is a prevailing sense of snark and sarcasm threaded throughout the film that lessens some of the emotional impact it seems to be occasionally reaching for. In everything from the often incongruous score to the staging and sudden zooms, which results in some of the most unique and strange framings of genitals you’ll ever see, 'The Ugly Stepsister' has its swollen tongue firmly in cheek. This leaves elements feeling more superficial than sincere and is where, even with their connective tissue, it falls short of something like 'The Substance.' Where that film had moments of genuine, wide-ranging emotion, like when its central character takes a long look at herself in the mirror before coming apart, 'The Ugly Stepsister' is less interested in slowing down for more thoughtful beats. It’s all about hurtling towards the conclusion. It can make the film not just a punishing one, as that comes with the territory, but a fleeting one where the interiority of the characters can get a little lost in the shuffle of the spectacle on display."
Chase Hutchinson, The Wrap
"'The Ugly Stepsister' aims for a diffuse fairy-tale setting: somewhere in Europe, sometime in the 19th century. This spell is broken during the aforementioned dance, a Busby Berkekely-inspired number that plays like something out of an episode of 'Bridgerton.' The influence of Sofia Coppola and 'Marie Antionette' is visible as well, particularly in the 1980s-inspired synthesizer soundtrack, which pairs perfectly with the pink fog in Elvira’s girlish daydreams."
Katie Rife, IGN.com
"At its strongest, 'The Ugly Stepsister' finds new entry points into a familiar thesis. Blichfedlt’s interpretation of this fairytale can be especially visually striking. DP Marcel Zyskind’s claustrophobic gaze, Mahon Rasmussen’s dramatic costuming and Sabine Hviid and Klaudia Klimka-Bartczak’s moody production design, coupled with the anachronistic music choices, help Blichfeldt in conjuring a world that reveals the more grotesque elements of beauty."
Lovia Gyarkye, The Hollywood Reporter
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles area theaters.
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]
MIDNIGHT RUN (Danny Elfman) [Alamo Drafthouse]
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]
June 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]
LAST CHANTS FOR A SLOW DANCE (Jon Jost), DEADENZ [Los Feliz 3]
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]
June 2
THE CRIMSON PIRATE (William Alwyn), THE FLAME AND THE ARROW (Max Steiner) [New Beverly]
HAPPY GILMORE (Mark Mothersbaugh) [Vidiots]
THE LAST AMERICAN VIRGIN [Los Feliz 3]
MAD MAX: FURY ROAD (Tom Holkenborg) [Culver]
MEN BEHIND THE SUN (Liping Wang) [Los Feliz 3]
MIDNIGHT RUN (Danny Elfman) [Alamo Drafthouse]
MISSING (Vangelis), THE CONFESSION (Giovanni Fusco) [Egyptian]
SOMBRE (Alan Vega), LA VIE NOUVELLE (Etant Donnes) [Aero]
June 3
THE CHILDHOOD OF A LEADER (Scott Walker), YOUNG TORLESS (Hans Werner Henze) [Aero]
CRISTIANE F. (Jurgen Kneiper) [Los Feliz 3]
MIDNIGHT RUN (Danny Elfman) [Alamo Drafthouse]
MILLER'S CROSSING (Carter Burwell) [Egyptian]
UN LAC [Los Feliz 3]
THE WARRIORS (Barry DeVorzon), ESCAPE FROM NEW YORK (John Carpenter, Alan Howarth) [New Beverly]
WHEN HARRY MET SALLY... (Marc Shaiman) [Alamo Drafthouse]
June 4
FRAMEUP (Jon A. English) [Los Feliz 3]
LITTLE MISS SUNSHINE (Mychael Danna) [Academy Museum]
MELANCHOLIA [Egyptian]
MIDNIGHT RUN (Danny Elfman) [Alamo Drafthouse]
TENEBRE (Mortante-Pignatelle-Simonetti) [Alamo Drafthouse]
THE WARRIORS (Barry DeVorzon), ESCAPE FROM NEW YORK (John Carpenter, Alan Howarth) [New Beverly]
WHEN HARRY MET SALLY... (Marc Shaiman) [Alamo Drafthouse]
June 5
THE LITTLE SHOP OF HORRORS (Fred Katz) [Academy Museum]
SURE FIRE (Erling Wold), THE BED YOU SLEEP IN (Erling Wold) [Aero]
35 SHOTS OF RUM (Tindersticks) [Aero]
TROUBLE EVERY DAY (Tindersticks) [Egyptian]
VOX LUX (Scott Walker) [Los Feliz 3]
THE WARRIORS (Barry DeVorzon), ESCAPE FROM NEW YORK (John Carpenter, Alan Howarth) [New Beverly]
WITHNAIL & I (Rick Wentworth, David Dundas) [Los Feliz 3]
THE WORLD TO COME (Daniel Blumberg) [Los Feliz 3]
June 6
BASTARDS (Stuart Staples), WHITE MATERIAL (Stuart Staples) [Aero]
COME AND SEE (Oleg Yanchenko) [Aero]
CRUISING (Jack Nitzsche) [Vista]
DAYS OF BEING WILD (Terry Chan) [Nuart]
DEAD OR ALIVE (Koji Endo) [Vidiots]
HAPPINESS (Robbie Kondor) [Egyptian]
INCEPTION (Hans Zimmmer) [New Beverly]
LAST DAYS [Los Feliz 3]
LE CIRCLE ROUGE (Eric Demarsan) [New Beverly]
MANILA IN THE CLAWS OF LIGHT (Max Jocson) [Los Feliz 3]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
THE PRODUCERS (John Morris) [Vidiots]
REBEL (Joseph Delacorte) [BrainDead Studios]
THE ROOM (Mladen Milicevic) [Landmark Westwood]
TASTE OF CHERRY [Los Feliz 3]
WATERSHIP DOWN (Angela Morley) [Aero]
WHITE CHICKS (Teddy Castellucci) [Academy Museum]
WHO CAN KILL A CHILD? (Waldo de los Rios) [Los Feliz 3]
WHO FRAMED ROGER RABBIT (Alan Silvestri) [Vidiots]
June 7
BEAU TRAVAIL (Charles Henri de Pierrefeu, Eran Tzur) [Egyptian]
BOYZ N THE HOOD (Stanley Clarke) [Vidiots]
CLUELESS (David Kitay) [Academy Museum]
CRUISING (Jack Nitzsche) [Vista]
DAY OF WRATH [Egyptian]
FORBIDDEN GAMES (Narciso Yepes) [Los Feliz 3]
FRUITVALE STATION (Ludwig Goransson) [Aero]
FUNERAL PARADE OF ROSES (Joji Yuasa) [Vidiots]
THE GOONIES (Dave Grusin) [Culver]
GRAVE OF THE FIREFLIES [Aero]
HEDWIG AND THE ANGRY INCH (Stephen Trask) [New Beverly]
HIGH LIFE (Stuart Staples) [Egyptian]
THE INCREDIBLY TRUE ADVENTURES OF TWO GIRLS IN LOVE (Terry Dame) [UCLA/Hammer]
LE CIRCLE ROUGE (Eric Demarsan) [New Beverly]
MARKETA LAZAROVA (Zdenek Liska) [Los Feliz 3]
MONEYBALL (Mychael Danna) [Los Feliz 3]
NEVER LET ME GO (Rachel Portman) [Los Feliz 3]
THE PARENT TRAP (Paul Smith) [Academy Museum]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SULLIVAN'S TRAVELS (Leo Shuken, Charles Bradshaw) [Vista]
THE SWEET HEREAFTER (Mychael Danna) [Los Feliz 3]
TEENAGE MUTANT NINJA TURTLES (John Du Prez) [New Beverly]
VICTOR/VICTORIA (Henry Mancini) [Vidiots]
WELCOME TO THE DOLLHOUSE (Jill Wisoff) [Aero]
THE WIZ (Charlie Smalls, Quincy Jones) [Vidiots]
YOU'VE GOT MAIL (George Fenton) [Alamo Drafthouse]
June 8
DEATH BECOMES HER (Alan Silvestri) [Academy Museum]
HANNA K. (Gabriel Yared) [Los Feliz 3]
INTERSTELLAR (Hans Zimmer) [Fine Arts]
LE CIRCLE ROUGE (Eric Demarsan) [New Beverly]
PELE: BIRTH OF A LEGEND (A.R. Rahman) [UCLA/Hammer]
SULLIVAN'S TRAVELS (Leo Shuken, Charles Bradshaw) [Vista]
TEENAGE MUTANT NINJA TURTLES (John Du Prez) [New Beverly]
THE WAR OF THE WORLDS (Leith Stevens) [Academy Museum]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: The Caretakers/The Young Doctors (Bernstein); Mommie Dearest (Mancini); Feud: Bette vs. Joan (Quayle); The Mirror Crack'd (Cameron); The Burning (Wakeman); Class (Bernstein); Little Shop of Horrors (Menken); Blue Collar (Nitzsche); I Know What You Did Last Summer (Debney); Thriller: Late Date (Goldsmith); The Miracle (Bernstein); Cutter's Way (Nitzsche); Tourist Trap (Donaggio); Inside Daisy Clover (Previn); A Mistress for the Summer (Delerue); Samson and Delilah (Young); An Officer and a Gentleman (Nitzsche, various); When a Stranger Calls (Kaproff)
Read: 7 Steps to Midnight, by Richard Matheson
Seen: Pavements; Better Days; Night Raiders; A Simple Life; Hurry Up Tomorrow; The Master; Mission: Impossible - The Final Reckoning; The Accountant 2; Blow-Up
Watched: Mystery Science Theater 3000 ("Beyond Atlantis"); Iceman
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