Intrada has announced four new CDs to be released next week. Along with the previously announced release of Brian Tyler's score for the blockbuster superhero sequel THOR: THE DARK WORLD, there are three holiday-themed scores, all by top composers.
Before directing last year's Oscar-nominated Flight, Robert Zemeckis helmed three back-to-back films using motion capture-based animation -- The Polar Express, Beowulf, and DISNEY'S A CHRISTMAS CAROL, which featured Jim Carrey as Scrooge as well as all the Ghosts, and Gary Oldman as Bob Cratchit, Marley and Tiny Tim (seriously). As with every Zemeckis film for nearly three decades, the score was composed by two-time Oscar nominee Alan Silvestri, and his warm orchestral score, incoporating traditional themes as well as an original song, "God Bless Us Everyone," had previously received its only commercial release as a download (bah humbug!).
Director John Hancock has had an unusually varied career - along with being the director of the original, darker version of Jaws 2 (but fired a few weeks into filming and replaced by TV veteran Jeannot Szwarc), he directed the low-budget horror Let's Scare Jessica to Death, the Oscar-nominated baseball drama Bang the Drum Slowly, and the moving Nick Nolte vehicle Weeds. However, to a generation of children who grew up in the 1980s and '90s, his classic film is probably PRANCER, the 1989 fantasy about a little girl who meets one of Santa's reindeer. The cast included Sam Elliott and Cloris Leachman, and the score was composed by three-time Oscar winner Maurice Jarre. Though selections had previously been included on compilations, this is the first release of the full Prancer score.
Eight-time Emmy winner Bruce Broughton wrote the score to the 1986 Disney TV movie THE THANKSGIVING PROMISE, starring Beau Bridges, Millie Perkins and Courtney Thorne-Smith. Broughton wrote his score around the time he was doing some of his best feature work, like Silverado and Young Sherlock Holmes, and Intrada's CD is its first release.
The latest CD announced by Kritzerland pairs two previously unreleased scores for Jerry Lewis vehicles -- the science-fiction comedy VISIT TO A SMAL PLANET, based on the TV and stage play by Gore Vidal, with music by two-time Oscar winner Leigh Harline, and THE DELICATE DELINQUENT, the 1957 comedy pairing Lewis with Darren McGavin, with music by composer-arranger Buddy Bregman.
Varese Sarabande has announced upcoming CD soundtracks from two new thrillers, both due on December 10.
Chan-Wook Park's stylish thriller Oldboy has become a cult classic since its release in 2003, and an American remake has long been in the works, at one point to team star Will Smith and director Steven Spielberg (!). The U.S. OLDBOY finally opens this Thanksgiving weekend, with Spike Lee directing Josh Brolin as the man who is inexplicably imprisoned for over a decade only to be just as mysteriously set free, with Elisabeth Olsen and Sharlto Copley as the characters who may hold the key to the mystery. The film's score has had nearly as torturous a develoment as the remake itself -- the first composer announced for the project was singer-keyboardist Bruce Hornsby, who had scored Lee's Red Hook Summer. Hornsby was replaced by master minimalist Michael Nyman, making a rare return to film scoring, but even though Nyman's name appeared on many of the film's posters, the final score has been written by the Spanish composer Roque Banos (Sexy Beast, The Machinist, Intruders, Evil Dead).
Paul Walker stars in HOURS, a minimalist thriller about a man trying to keep his infant daughter alive at an abandoned hospital in the midst of Hurricane Katrina. The film's score was composed by Benjamin Wallfisch, whose other scores include Dear Wendy, The Escapist, Summer in February and Hammer of the Gods; he has also worked as an orchestrator and/or conductor for such scores as The Brothers Grimm, Robin Hood, Tower Heist and Anna Karenina.
Since Intrada's release of Max Steiner's score for the Disney production THOSE CALLOWAYS is out of print, Screen Archives and BYU are presenting a new limited release of the score with all proceeds going to film music restoration, featuring the complete Steiner score as well as a couple of previously unreleased song cues.
Buysoundtrax is releasing THE ANGEL TRILOGY, a CD with music from all three of the high school prostitute drama: Angel (scored by Craig Safan), Avenging Angel (Christopher Young) and Angel III: The FInal Chapter (Berlin Game, aka Eric Allaman). The label is also releasing MUSIC FROM THE X-FILES: 20TH ANNIVERSARY CELEBRATION, featuring re-recordings of Mark Snow's music from the TV series and two feature films.
I was lucky enough to see an advance screening of the World War II-set drama THE BOOK THIEF, and while it was a well-crafted and well-acted story, the best thing about it, unsurprisingly to our readers, was the score by John Williams, his first work for a film that did not involve Steven Spielberg, George Lucas or Harry Potter since 2000's The Patriot. The score is truly lovely, and it's a marvel that at the age of 81, Williams' dramatic and compositional gifts are as strong as ever.
CDS AVAILABLE THIS WEEK
Cocoon - James Horner - Intrada Special Collection
Days of Thunder - Hans Zimmer - La-La Land
Generation Iron - Jeff Rona - Milan [CD-R]
Last Vegas - Mark Mothersbaugh - Varese Sarabande
Machete Kills - Carl Thiel, Robert Rodriguez - Morada
Restless - Danny Elfman - La-La Land
Those Calloways - Max Steiner - Screen Archives/BYU
The 25th Reich - Ricky Edwards - MovieScore Media/Kronos
IN THEATERS TODAY
The Armstrong Lie - David Kahne
Ass Backwards - Orr Rebhun, Erica Weis
The Book Thief - John Williams - Score CD due Nov. 19 on Sony
The Broken Circle Breakdown - Bjorn Eriksson
A Case of You - Mateo Messina
Casting By - Leigh Roberts
CinemAbility - Erik Lundmark
Great Expectations - Richard Hartley - Score CD on Universal (import)
How I Live Now - Jon Hopkins - Score CD on Just Music (import)
The Motel Life - David Holmes
Out Loud - Christopher Brady
The Prime Ministers: The Pioneers - Lee Holdridge
Symphony of the Soil - Todd Boekelheide
Thor: The Dark World - Brian Tyler - Score CD due Nov. 12 on Intrada/Disney
The Wind Rises - Joe Hisaishi - Score CD Kaze Tachinu on Tokuma (import)
The Counselor - Daniel Pemberton - Milan
Disney's A Christmas Carol - Alan Silvestri - Intrada/Disney
Goodbye & Amen - Guido & Maurizio DeAngelis - GDM
La Cage Aux Folles III - Ennio Morricone - GDM
Prancer - Maurice Jarre - Intrada Special Collection
The Thanksgiving Promise - Bruce Broughton - Intrada Special Collection
Thor: The Dark World - Brian Tyler - Intrada/Disney
Arrested Development - David Schwartz - Varese Sarabande
The Book Thief - John Williams - Sony
Nebraska - Mark Orton - Milan
Frozen - Christophe Beck - Disney
The Hunger Games: Catching Fire - James Newton Howard - Universal Republic
Mandela: Long Walk to Freedom - Alex Heffes - Decca
Bonnie and Clyde - John Debney - La-La Land
The Hobbit: The Desolation of Smaug - Howard Shore - Watertower
Hours - Benjamin Wallfisch - Varese Sarabande
Oldboy - Roque Banos - Varese Sarabande
Person of Interest: Season Two - Ramin Djawadi - Varese Sarabande
Saving Mr. Banks - Thomas Newman - Disney
Aegis (re-release) - Trevor Jones - Island
Agalja - Zbigniew Preisner - Quartet
Airport (re-release) - Alfred Newman - MCA (import)
Airport 1975 (re-release) - John Cacavas - MCA (import)
The Angel Trilogy - Craig Safan/Christopher Young/Eric Allaman - Buysoundtrax
The Best of Silent Hill - Akira Yamaoka - Perseverance
Che Casino Con Pierino/3 Supermen Contro Il Padrino - Nico Fidenco - Beat
The Doll Squad - Nicholas Carras - Monstrous Movie Music
Exploding Sun - James Gelfand - MovieScore Media/Kronos
Fitzwilly - John WIlliams - Music Box
Frida (re-release) - Elliot Goldenthal - Universal (import)
Heaven Can Wait/Racing with the Moon - Dave Grusin - Kritzerland
Jurassic Park (re-release) - John Williams - MCA (import)
The Little Wizard - Panu Aaltio, Mark Timon Barcelo, Miguel Cordeiro - MovieScore Media/Kronos
The Man from the Deep River - Daniele Patucchi - Beat
Music from The X-Files: 20th Anniversary Celebration (re-recordings) - Mark Snow - Buysoundtrax
Neinte Rose Per OSS 117 - Piero Piccioni - Beat
Patrick - Pino Donaggio - Quartet
Poveri Ma Bellie - Giorgio Fabor - Digitmovies
Recycling Lily - Phillip Schweidler, Moritz Schneider - MovieScore Media/Kronos
Rollercoaster (re-release) - Lalo Schifrin - MCA (import)
Saladino - Angelo Francesco Lavagnino - Kronos
A Secret/Menachem & Fred - Zbigniew Preisner - Quartet
Shine (re-release) - David Hirschfelder - Phillips (import)
Thief - Tangerine Dream - Perseverance
Un Dollaro Bucato - Gianni Ferrio - Digitmovies
Visit to a Small Planet/The Delicate Delinquent - Leigh Harline/Buddy Bregman - Kritzerland
Whatever Happened to Toto Baby/The Honorables - Armando Trovaoili - Digitmovies
The World Is Not Enough (re-release) - David Arnold - MCA (import)
THIS WEEK IN FILM MUSIC HISTORY
November 8 - Arnold Bax born (1883)
November 8 - Mark Suozzo born (1953)
November 8 - The Ten Commandments opens in New York (1956)
November 9 - Jerry Goldsmith begins recording his score for Lonely Are the Brave (1961)
November 9 - Stanley Myers died (1993)
November 10 - Mischa Bakaleinikoff born (1890)
November 10 - Philip Sainton born (1891)
November 10 - Carl Stalling born (1891)
November 10 - Billy May born (1916)
November 10 - Ennio Morricone born (1928)
November 10 - Victor Young died (1956)
November 10 - Bruce Broughton records his score for the Amazing Stories episode "Thanksgiving"(1986)
November 11 - Dimitri Tiomkin died (1979)
Novebmer 11 - Bruce Broughton records his score for the Amazing Stories episode "Gather Ye Acorns" (1985)
November 11 - Morton Stevens died (1991)
November 12 - Bob Crewe born (1931)
November 12 - Neil Young born (1945)
November 12 - Kenyon Hopkins begins recording his score for The Fugitive Kind (1959)
November 12 - David Shire records his score for The Godchild (1974)
November 13 - Andre Previn begins recording his score to Dead Ringer (1963)
November 13 - Henry Mancini begins recording his score for The Thief Who Came to Dinner (1972)
November 13 - Carlo Rustichelli died (2004)
November 14 - Aaron Copland born (1900)
November 14 - Wendy Carlos born (1939)
November 14 - Jean-Claude Petit born (1943)
November 14 - Yanni born (1954)
November 14 - Dave Grusin begins recording his score for The Scorpio Letters (1966)
November 14 - Sol Kaplan died (1990)
November 14 - Michel Colombier died (2004)
November 14 - Irving Gertz died (2008)
DID THEY MENTION THE MUSIC?
BASTARDS [LES SALAUDS] - TIndersticks
"None of these plot developments hit the audience head-on, which works entirely in Bastards’ favor, since its conclusion is so close to that of another dark thriller from a contemporary French master that revealing its title would give the game away. But Denis’ atmospherics, as usual, carry the day: Noir is a game of hard shadows and hard cases, but Denis ('Beau Travail,' 'Friday Night') and her team of regular collaborators -- cinematographer Agnès Godard, many of the actors, and Tindersticks, who contribute an essential mood-building score -- approach it with a seductive delicacy that’s both fitting for the genre and distinct from it. Just as 'Trouble Every Day' exists on the fringes of French extreme horror, 'Bastards' is a neo-noir that doesn’t behave entirely as expected."
Scott Tobias, The Dissolve
"Working as usual with a fantastically sensual, almost electronic score by Tindersticks, Denis has crafted a noir that’s filled with the sorts of characters that usually pop up in such a film: There are no real heroes, just different shades of culpable."
Tim Grierson, Paste Magazine
“'The Bastards' is a strange and certainly not wholly successful hybrid -- there are tones and textures that remind us of everything from Refn (perhaps it’s the blue lighting and the initially spartan synth score that later thrums into an insistent Tindersticks track that plays over the whole end portion), to Jean Luc-Godard, while the couple who run the “sex den” feel like characters straight out of a David Lynch movie, and some of the thriller-ish, generic elements feel ever so slightly, well, Adrian Lyne at times. And very few of the above are names we ever expected to reference in a Claire Denis review."
Jessica Kiang, The Playlist
"Marco’s actual motivations, and the twisted truth underlying his relatives’ relationship to Laporte, remain indistinct for long stretches of Bastards, as longtime collaborator Agnes Godard's sumptuous nocturnal cinematography -- full of gorgeous shadows and constricting spaces -- and Stuart A. Staples' ominous electronica score suggest terror and chaos just up ahead. When the revelations do come, they cast the film as a nightmarish reverie about the ugly violence of love and sex, and the impotent futility of revenge sought out of abandonment guilt."
Nick Schager, Village Voice
"Most of Denis’s usual creative team is in place: cinematographer Agnes Godard, co-writer Jean-Pol Fargeau and Stuart Staples, who composed a particularly ominous and sparse Tindersticks score. The new element is the digital camera (the RED Epic) from which Denis and Godard manage to wrest the tactility that is their trademark. Close-ups of faces (incredible faces in this movie) and of bodies nearly submerged in darkness, and not a tortured pixel or any other kind of digital noise in sight."
Amy Taubin, Sight and Sound
"The mood of foreboding is established right away, as 80s electronica squalls on the soundtrack and Lola Creton picks her way, naked, through the dark streets of Paris."
Xan Brooks, The Guardian
"At turns perversely frustrating and completely engaging, 'Bastards’' composed aesthetic, intense performances and electronic score from Tindersticks is surprisingly seductive, given its subject matter, although its payoff, deliberately with-held to the last frames, is gratuitously over-stated."
Fionnula Halligan, Screen International
"Like Denis' sublimely impenetrable 'The Intruder' (2004), the point is to get hopelessly lost in the film's eerie, unsettling flow. (Frequent Denis collaborators Tindersticks assist by contributing another of their hypnotic, mood-enhancing scores.)"
Keith Ulrich, Time Out New York
"In a montage set, like much of the film, to the moody, Tangerine Dream-esque electronica score of longtime Denis collaborators Tindersticks, 'Bastards' cuts among the crime scene; a police interview with Jacques’ widow Sandra (Julie Bataille); and a nude woman -- later revealed to be Jacques and Sandra’s teenage daughter, Justine (Lola Creton) -- wandering dazed and bloody through the Paris streets. The action plays out in a fashion that is less elliptical than such recent Denis efforts as 'The Intruder' and 'White Material,' but no less fragmentary and associative in its design. Adopting a terse narrative style that seems to mirror the brutality of the film’s subject, 'Bastards' strips every scene down to its essential details, never giving the viewer more information than Marco has at any given point in the story, only finally fitting all of its puzzle pieces together in a shocking final scene. But even at its most opaque, 'Bastards' always exerts a dreamlike pull rooted in Denis’ rhythmic layerings of image, sound and music."
Scott Foundas, Variety
"Every bit as cold and brutal as its blunt title suggests, 'Bastards (Les Salauds)' is easier to admire than to love. Claire Denis is at the height of her powers in terms of unfaltering control, superb manipulation of mood and masterful use of music by her frequent collaborators Stuart A. Staples and British indie outfit Tindersticks. But while partisans of the director’s elliptical style will find plenty to reinforce their predisposition, others will be distanced by this grim revenge drama, which is both unrelentingly dour and unnecessarily hard to follow."
David Rooney, Hollywood Reporter
CAPITAL - Armand Amar
"'Capital' is a parable about France selling out to keep up with America's 'cowboy capitalism,' but the film's portrayal of soulless suits is so obvious and silly -- typical dialogue: 'CEOs write checks, fire people, and eat well; watch your waistline' -- that it's hard to muster more than a yawn and a giggle (the latter when a malevolent femme fatale licks globs of caviar from her knee). Little feels fresh, from the generically pulsing score to the chilly grays of Eric Gautier's cinematography to the long-suffering wife character."
Jon Frosch, IndieWIRE
“Indeed, although the narrative consists largely of impeccably dressed business types doing nothing more (or less) dramatic than talking to each other in well-appointed offices, Costa-Gavras develops such a propulsively suspenseful pace -- with no small assist from Armand Amar’s mood-enhancing Euro-tech score -- that his drama comes across as the cinematic equivalent of an engrossing page-turner you might purchase off the rack at an airport newsstand.”
Joe Leydon, Variety
"D.P. Eric Gautier’s stately, well-heeled lighting is edited to the breathless beat of non-stop corporate life and tensely scored by Armand Amar, linking the film to other memorable Costa-Gavras thrillers like 'Z,' 'State of Siege' and 'Missing.'"
Deborah Young, Hollywood Reporter
DIANA - David Holmes, Keefus Ciancia
"Tech credits are pro, and David Holmes and Keefus Ciancia’s score earns points for its surprising restraint."
Charles Gant, Variety
"Within these limitations, however, Diana is a perfectly palatable slab of superior bio-soap. It looks and feels luxurious, with handsome location shooting in Mozambique, Croatia and Pakistan from Hirschbiegel’s regular cinematographer Rainer Klausmann, and an unusually muted orchestral score co-written by Steven Soderbergh regular David Holmes.'
Stephen Dalton, Hollywood Reporter
ENDER’S GAME - Steve Jablonsky
"It feels a bit underpopulated, and Ender’s intricate cyber-battles aren’t as involving as they are on the page. But this is one of those movies in which you can’t always tell what’s inept and what’s purposefully flat. I’m inclined to cut Hood slack. In spite of the nonstop thunderous orchestral score, 'Ender’s Game' forgoes the usual rah-rah-kill-the-Alien-Other tone that powers so many of our mainstream action pictures. Whether younger audiences primed to cheer will submit to this is an open question. I hope so. The end delivers a kick that should knock the wind out of anyone.
David Edelstein, Vulture
"The scant immediate action comes from training sequences in a zero-gravity hub, and Hood utilizes Steve Jablonsky's bloated score to add ample false urgency to the exercises."
Chris Cabin, Slant Magazine
"“'Ender's Game' marks Hood's second collaboration with DP Don McAlpee [sic] after 'X-Men Origins: Wolverine,' and while the two films' budgets are nearly the same, it's shocking to see how far the duo have improved from their prior muddy mess. The story confines the action largely to within the glossy battle school halls, classrooms, and bunkrooms (production designed by Sean Haworth and Ben Procter of 'Tron: Legacy'). In doing so, Hood captures snatches of glittering deep space outside windows, and lets the ship's primary color-hued interior reinforce a sense of claustrophobia overall as Steve Jablonsky's serviceable electronic score rings out."
Charlie Schmidlin, The Playlist
"Though it’s largely a virtue, writer-director Gavin Hood’s brisk pacing proves to be something of a liability during the movie’s climactic twist. Hood handles the scene without patronizing; the characters never bluntly state what happened, inviting the audience to realize its implications alongside Ender. However, because Hood proceeds to the next bit of plot as quickly as possible (accompanied, as always, by the arpeggiated chords, walls of synth-brass, and big loud drums of the score), he robs the scene of any emotional potency."
Ignatiy Vishnevetsky, The Onion
"Even so, the sleek production design (by 'Tron: Legacy’s' Sean Haworth and Ben Procter) and costumes (created by another 'Tron: Legacy' alum, Christine Bieselin Clark) suggest a sleek, stylish future. Steven Jablonsky’s mostly-digital score, which sounds like Daft Punk plus strings, cements the film’s debt to that recent Disney reboot, and yet, 'Ender’s Game' pushes the vidgame dynamic even further, as the characters progress, level by level, game by game, toward their epic showdown with the Formics."
Peter Debruge, Variety
LAST LOVE [formerly MR. MORGAN'S LAST LOVE] - Hans Zimmer
"The two unlikely friends begin to hit it off and serve as plainly ideal father-daughter surrogates for each other, enjoying rowboats and hot dogs together. 'I could use a little chaos in my life,' Matthew says upon dripping some ketchup on his tie, and for a good while, 'Last Love' seems to be That Kind Of Movie, complete with the warm-cool color palette of Michael Bertl’s cinematography and an uncharacteristically flighty score from tentpole fixture Hans Zimmer."
William Goss, The Dissolve
"This is a glacially paced movie, filled with sickly picture postcard imagery that seems designed to put you to sleep. The 'sprightly' score is so basically retiring and uninvolved that it even seems to whisper, 'Go to sleep…just go to sleep.'"
Dan Callahan, RogerEbert.com
"Though the basic elements would appear to be here for a geriatric crowdpleaser in the 'Quartet'/'Best Exotic Marigold Hotel' vein, the pic’s funereal pacing and relentlessly downbeat tone hew closer to a watered-down TV-movie version of 'Amour,' with a treacly Hans Zimmer score subbed for Schubert."
Scott Foundas, Variety
"The main problem of 'Mr. Morgan’s Last Love' is a structural one, as it is really two films in one. In the first story, which roughly takes up the first half, Mr. Morgan wallows in his grief until he literally bumps into Pauline on a bus and the two strike up an unexpected friendship. The screenplay, written by the director, is very observant here and neatly (if occasionally barely) devoid of clichés, something even echoed in the score of the first half-hour, a gentle theme from composer Hans Zimmer with a spark of youth and hope to it. Shot on location in Paris and St. Malo, Brittany, with interiors done in Belgium and Germany (the main co-producing countries), the film looks fine on what must have been a modest budget. Costume designer Maira Ramedhan Levi dresses Pauline in a series of see-through blouses that give the kind-hearted girl a strange Lolita-ish vibe, while Zimmer's score becomes more predictable as the action develops.
Boyd Van Hoeij, Hollywood Reporter
LET THE FIRE BURN - Christopher Mangum
"Structured around the filmed public hearings that took place five months later, 'Let The Fire Burn' also incorporates MOVE-approved propaganda films, live local-news coverage of the May altercation, and recorded depositions. Goosed along by Chris Mangum’s supple, understated score, Osder and Bangerter seamlessly intertwine their diverse footage with the skill of dramatists, grippingly and mournfully building toward the fateful 1985 confrontation as different speakers testify to the mind-set of both Philadelphia law enforcement and MOVE."
Tim Grierson, Screen International
"The ingeniously interwoven archival material compensates for whatever context may be lacking in Osder’s found-footage approach. Christopher Mangum’s wonderfully subtle score adds a critical dimension to the flow of unmediated imagery."
Ronnie Scheib, Variety
THE NEXT TEN DAYS IN L.A.
Screenings of older films, at the following L.A. movie theaters: AMPAS, American Cinematheque: Aero, American Cinematheque: Egyptian, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.
THE DISCREET CHARM OF THE BOURGEOISIE, THAT OBSCURE OBJECT OF DESIRE [New Beverly]
JFK (John Williams) [Arclight Hollywood]
MANIAC COP 2 [Nuart]
MY MAN GODFREY (Charles Previn), THE HALF NAKED TRUTH (Max Steiner) [UCLA]
THE DISCREET CHARM OF THE BOURGEOISIE, THAT OBSCURE OBJECT OF DESIRE [New Beverly]
SHORT CUTS (Mark Isham) [Cinematheque: Aero]
STAGE DOOR (Roy Webb), 5TH AVENUE GIRL (Russell Bennett) [UCLA]
YOU'RE NEXT (Jasper Justin Lee, Kyle McKinnon, Mads Heidtberg, Adam Wingard) [Silent Movie Theater]
BLUME IN LOVE [Silent Movie Theater]
THE EAST IS RED, RED DETACHMENT OF WOMEN (Zhun Huang) [UCLA]
PAPER MOON [New Beverly]
ANNIE HALL [Arclight Sherman Oaks]
LA FEMME NIKITA (Eric Serra) [Silent Movie Theater]
SENSE AND SENSIBILITY (Patrick Doyle), HOWARDS END (Richard Robbins) [Cinematheque: Aero]
THE MARRYING KIND (Hugo Friedhofer) [LACMA]
BERLIN (Lou Reed), GET CRAZY (Michael Boddicker) [New Beverly]
BERLIN (Lou Reed), GET CRAZY (Michael Boddicker) [New Beverly]
42ND STREET [Cinematheque: Aero]
THE GODFATHER (Nino Rota) [Cinematheque: Egyptian]
LABYRINTH (Trevor Jones) [Nuart]
NEW YORK STORIES, FOUR ROOMS (Combustible Edison) [New Beverly]
REDES (Silvestre Revueltas), LET'S GO WITH PANCHO VILLA (Silvestre Revueltas) [LACMA]
VALLEY GIRL [New Beverly]
YELLOW EARTH (Zhao Jiping), RED SORGHUM (Zhao Jiping) [UCLA]
ALICE DOESN'T LIVE HERE ANYMORE [Silent Movie Theater]
NEW YORK STORIES, FOUR ROOMS (Combustible Edison) [New Beverly]
QUE VIVA MEXICO [LACMA]
RAVENOUS (Michael Nyman, Damon Albarn) [New Beverly]
SHAUN OF THE DEAD (Daniel Mudford, Pete Woodhead), HOT FUZZ (David Arnold), THE WORLD'S END (Steven Price) [Cinematheque: Egyptian]
TRUE HEART SUSIE [Cinematheque: Egyptian]
THE YOUNG GIRLS OF ROCHEFORT (Michel Legrand) [UCLA]
INVASION OF THE BODY SNATCHERS (Carmen Dragon), THE THING FROM ANOTHER WORLD (Dimitri Tiomkin) [New Beverly]
ORLANDO (David Motion, Sally Potter) [Silent Movie Theater]
THE PRINCESS BRIDE (Mark Knopfler) [UCLA]
SO'S YOUR OLD MAN, RUNNING WILD [UCLA]
WEST SIDE STORY (Leonard Bernstein, Saul Chaplin,Johnny Green, Sid Ramin, Irwin Kostal) [Cinematheque: Egyptian]