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Intrada plans to release one new CD next week.


CDS AVAILABLE THIS WEEK

The Black Prince
- George Kallis - Caldera
I Don't Feel at Home In This World Anymore - Brooke Blair, Will Blair - Lakeshore
The Lost City of Z - Christopher Spelman - Filmtrax
The Promise - Gabriel Yared - Lakeshore
Viceroy's House - A.R. Rahman - Filmtrax
The Yakuza - Dave Grusin - Varese Sarabande
The Zookeeper's Wife - Harry Gregson-Williams - Filmtrax 


IN THEATERS TODAY

Abacus: Small Enough to Jail - Joshua Abrams
Awakening the Zodiac - Mark Korven
Beatriz at Dinner - Mark Mothersbaugh
Camera Obscura - Steve Moore
Capps Crossing - Greg Shields
11:55 - H. Scott Salinas
The Hero - Keegan DeWitt
The Hunter's Prayer - Federico Jusid
It Comes at Night - Brian McOmber - Score CD due June 30 on Milan
Letters from Baghdad - Paul Cantelon
Megan Leavey - Mark Isham
Middle Man - Robert Guillory
Miles - Justin Bell, Jonathan Levi Shanes
The Mummy - Brian Tyler
My Cousin Rachel - Rael Jones - Score CD on Sony
Random Tropical Paradise - Bryce Jacobs

COMING SOON

June 16
Cars 3 - Randy Newman - Disney
Cecil B. DeMille: American Epic
 - Elmer Bernstein - Tadlow
June 23
Baywatch - Christopher Lennertz - La La Land
The Big Sick - Michael Andrews - Varese Sarabande
June 30
...Continuavano A Chiamario Trinita
 - Guido & Maurizio De Angelis - Digitmovies
Dawn of War III - Paul Leonard-Morgan - Sumthing Else
Generation Iron 2 - Jeff Rona - Milan
The Handmaid's Tale - Adam Taylor - Lakeshore
House of Cards: Season 5 - Jeff Beal - Varese Sarabande
Il Sesso Della Strega
 - Daniele Patucchi - Digitmovies
It Comes at Night - Brian McOmber - Milan
Rabbit & Rogue (ballet score) 
- Danny Elfman - Sony
July 7
A Ghost Story - Daniel Hart - Milan
John Williams: Themes and Transcriptions for Piano  John Williams - Varese Sarabande
Spider-Man: Homecoming - Michael Giacchino - Sony
War for the Planet of the Apes - Michael Giacchino - Sony
July 14
2:22 - Lisa Gerrard, James Orr - Varese Sarabande
War Machine
 - Nick Cave, Warren Ellis - Lakeshore
July 21
American Gods - Brian Reitzell - Milan
Valerian and the City of a Thousand Planets - Alexandre Desplat - Europacorp
July 28
Genius - Lorne Balfe - Milan
August 4 
Free Fire - Geoff Barrow, Ben Salibury - Lakeshore
Wind River - Nick Cave, Warren Ellis - Lakeshore
September 8
Twin Peaks: The Event Series - Angelo Badalamenti - Rhino
Date Unknown
Duel in the Sun (re-recording) - Dimitri Tiomkin - Tadlow/Prometheus
Il Relitto - Angelo Francesco Lavagnino - Alhambra
La Morte Vestita Di Dollari
 - Carlo Savina - Kronos
Le Bureau Des Legendes
- Rob - Music Box
Le Hasard et la Violence
- Michel Colombier - Music Box
L'Homme en Colere/Un Papillon Sur L'Epaule
- Claude Bolling - Music Box
Nikola Tesla
 - Alfo Kabiljo - Kronos
Puppet on a Chain
 - Piero Piccioni - Silva
Scott of the Antarctic (re-recording)
 - Ralph Vaughan Williams - Dutton
State of Grace
 - Ennio Morricone - Quartet
Un Reietto Delle Isole
 - Mario Nascimbene - Kronos


THIS WEEK IN FILM MUSIC HISTORY

June 9 - James Newton Howard born (1951)
June 9 - Geir Bohren born (1951)
June 9 - Louis Gruenberg died (1964)
June 9 - Chris Tilton born (1979)
June 9 - Matthew Margeson born (1980)
June 9 - Ron Jones records his score for the Star Trek: The Next Generation episode "Shades of Grey" (1989)
June 10 - Frederick Loewe born (1901)
June 10 - Don Costa born (1925)
June 10 - Randy Edelman born (1947)
June 10 - Laurent Petitgirard born (1950)
June 10 - Hugo Friedhofer begins recording his score to Above and Beyond (1952)
June 10 - Steve London born (1970)
June 10 - Marius Ruhland born (1975)
June 10 - David Shire begins recording his score to Farewell, My Lovely (1975)
June 11 - Carmine Coppola born (1910)
June 11 - Shelly Manne born (1920)
June 11 - Lennie Niehaus born (1929)
June 11 - Alexander Balanescu born (1954)
June 11 - Nicholas Carras records his score for Frankenstein’s Daughter (1958)
June 11 - David Shire begins recording his score for Paternity (1981)
June 11 - E.T. The Extra-Terrestrial opens in New York and Los Angeles (1982)
June 11 - Alan Silvestri begins recording his score for Fandango (1984)
June 12 - Richard M. Sherman born (1928)
June 12 - John Ireland died (1962)
June 12 - Klaus Badelt born (1967)
June 13 - J.S. Zamecnik died (1953)
June 13 - Paul Sawtell and Bert Shefter begin recording their score for Jack the Giant Killer (1961)
June 13 - Andre Previn begins recording his score for The Fortune Cookie (1966)
June 13 - Elmer Bernstein begins recording his score for The Great Santini (1979)
June 13 - Bruce Broughton begins recording his score for Last Rites (1988)
June 14 - Stanley Black born (1913)
June 14 - Cy Coleman born (1929)
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 - 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 - Harry Nilsson born (1941)
June 15 - Dennis Dreith born (1948)
June 15 - Gavin Greenaway born (1964)
June 15 - Meredith Willson died (1984)
June 15 - Manos Hadjidakis died (1994)

DID THEY MENTION THE MUSIC?

JAMES WHITE - Scott Mescudi
 
"When [actor Christopher] Abbott abruptly left 'Girls', there was conjecture -- some of it snarky -- that he was looking to take on darker, more challenging roles before he got typecast as an amiable punching bag. If that’s true, with 'James White' Abbott -- who will reportedly return to 'Girls' next season for a single-episode appearance -- has achieved his goal. 'James White' is the kind of role any young actor might quit a hit TV show to play: On screen for virtually every minute of a film named for his character, he’s followed in near-constant close-up by Mathyas Erdely’s nimble camera as he skids between extremes of grief and ecstasy, anxiety and hope. (The unsettling electronic score, composed by Scott 'Kid Cudi' Mescudi -- who also nicely underplays in the role of James’ best friend -- reflects James’ stormy inner state.)"
 
Dana Stevens, Slate.com

THE REVENANT - Ryuichi Sakamoto, Alva Noto

"Those helpful nudges notwithstanding, the audience is less likely to care about where Glass stands on the ethical gray scale than to revel in what 'The Revenant' ultimately seems to be about, which is physical duress at its most agonizing and repellent. Thanks to Lubezki’s stunning cinematography and Ryuichi Sakamoto’s hauntingly dispassionate score, the fight that’s most compelling throughout 'The Revenant' is the one between the beauty of its cinema and the brutality of its tale. The much-heralded bear attack is indeed staged with panting, slobbering, bloodletting verisimilitude, but in case that isn’t excruciating enough, Iñárritu confects all manner of ways to make Glass suffer, from cauterizing his own throat wound with a boiling slurry of buckshot and dirt to a stunt involving a horse that recalls Jack London’s snowy state of nature at its most pitilessly indifferent."
 
Ann Hornaday, Washington Post
 
"'God is a squirrel,' Fitzgerald says during this scene. It's the kind of line one would expect to find in a Werner Herzog film, and indeed many critics have pointed out that 'The Revenant' owes a debt to the German director. Like Herzog's 'Aguirre, the Wrath of God' (1972) and 'Fitzcarraldo' (1982), 'The Revenant' is preoccupied with a man trying to overpower the natural world and, by proxy, the assumed physical limitations of his species. Herzog, however, is obsessed with the absurd dialectical struggle between nature's cruelty and human beings' compassion and reverie. His films have a humor and visual poetry largely absent from 'The Revenant,' in which nature seems unfathomably enormous -- a fearsome, awesome, overpowering presence. This vision is largely attributable to Lubezki, because apart from the photography, Hardy's performance, and Bryce Dessner, Carsten Nicolai, and Ryuichi Sakamoto's moving score, everything in 'The Revenant' feels botched or horribly mismanaged (many crew members left the production, complaining of horrible conditions and treatment by Iñárritu). In the past few years Lubezki has worked on four films, Oscar nominees all, that attempt to visualize daunting, colossal, and even cosmic subjects: existence ('The Tree of Life'), space ('Gravity'), ego ('Birdman'), nature ('The Revenant'). Though they were made by three different directors, the way they address larger-than-life topics despite problematic scripts makes them feel like the output of one person. That person is Emmanuel Lubezki; with each successive film he confounds and exceeds my expectations."
 
Tal Rosenberg, Chicago Reader

"But such a possibility is short-lived: Soon enough, Glass is left alone to fend for himself, at which point most of the Native American figures are reduced to little more than scowling, vicious plot devices. Needless to say, 'Meek’s Cutoff' this is not: Rather than complicating the relationship between American settlers and various tribes, 'The Revenant' presents the latter group as fearsome, one-note companions wielding vicious tools and beastly tempers. This mainly points to a lack of sophistication in the storytelling as a whole, since the movie does contain attempts to convey genuine bonds between the two groups. But these token acknowledgments feel oddly forced, particularly once Glass teams up with another nomadic sort whose world has been destroyed by the white man. The abrupt music cue when the pair realize they have something in common plays like the worst kind of dime store political correctness."
 
Eric Kohn, IndieWire
 
"Consequently, the power of this filmmaking pair, with their unbroken, 360-degree action scenes, is in conveying frontline danger so primal you forget about the virtuosic feats of shot-making choreography involved. The technical achievements extend, too, to veteran production designer Jack Fisk’s evocative frontier structures, Jacqueline West’s richly textured harsh-climate clothing, and the seamless effects work. Credit must also go to the mélange of atmospheric music by the trio of Bryce Dessner, Alva Noto and the great Ryuchi Sakamoto."
 
Rober Abele, The Wrap

"The hauntingly spare tenor and relentless punishment of 'The Revenant' may not be the easiest sit at times, but there is much to admire. Superstar cinematographer Emmanuel Lubezki’s panoramic vistas and breathtakingly choreographed action set pieces -- the majority of the movie is shot in gorgeous, soft-hued natural light -- make him a shoo-in at this year’s Oscar race. Ryuichi Sakamoto’s plangent score is subtle, but emotionally poignant, and, of course, Leonardo DiCaprio palpably scorches in scenes of brutal affliction and hot-blooded retribution. One scene in particular, with Glass crippled and immobile, losing one of his loved ones right before his eyes, is one of the most wrenching moments you’ll have seen on screen this year. DiCaprio’s visceral rage is so devastating, he appears as if he’ll break into full-blown seizures at any moment."
 
Rodrigo Perez, IndieWire

"Many have said the same about Terrence Malick's dreamy visions of a lost America, especially 'The New World.' Malick is a poet; Inarritu's more of an entrails guy. Like 'The New World,' 'The Revenant' was photographed by the remarkable Emmanuel Lubezki, who fully deserved his back-to-back Oscars for his work on 'Gravity' and 'Birdman.' He's a maestro of ravishing natural light, along with flowing, extended lines of action, unfolding in both real and brilliantly fabricated single takes. Inarritu's film is worth seeing, on balance, largely for Lubezki's contributions, though it has many other fine elements, notably a subtly powerful musical score by Bryce Dessner, Alva Noto and Ryuichi Sakamoto."
 
Michael Phillips, Chicago Tribune

"Iñárritu doesn't entirely overcome his longtime issues with 'The Revenant.' Among his films like 'Birdman,' 'Babel,' and '21 Grams,' this one comes furthest in escaping his tendency toward facile, shallow conclusions, delivered with vast self-importance. The dialogue can be naked and obvious -- that flashback metaphor about the strength of the storm-tossed tree gets repeated at least two times too many. But relatively little time is wasted on talk, and when Iñárritu lets Lubezki's images and Ryuichi Sakamoto's eerie score speak for him, any sense of pontificating falls away in the gravity of the world they capture. Still, it's worth debating what exactly the point of 'The Revenant' is. Stripped of all its considerable craft, it's yet another basic betrayal-and-revenge story, the kind that's mostly satisfying because it indulges a fantasy. Malick's visually similar films always seem to reach for enlightenment and the ineffable; Herzog is obsessed with the infinite possibilities of human ambition. It's unclear whether Iñárritu has any broader philosophical agenda worthy of the craft he showcases here."
 
Tasha Robinson, The Verge
 
"That's the movie. And a visceral punch in the gut it is. You could gripe about the excess of carnage and lack of philosophical substance. But surviving nature is Iñárritu's subject, and he delivers with magisterial brilliance. As does the haunting score by Ryuichi Sakamoto, Alva Noto and Bryce Dessner."
 
Peter Travers, Rolling Stone

"As the surviving trappers flee with whatever pelts they can salvage, we feel not just ambushed but surrounded -- by the attackers lurking just off screen, by the dense trees looming in Lubezki’s deep-focus compositions, and perhaps most of all by the astonishing sound design, which transforms the music of babbling brooks, rustling trees, thunderous hoofbeats, falling bodies and anguished screams into a wild symphony of woodland chaos. These sounds will be joined, in due course, by Ryuichi Sakamoto and Alva Noto’s artfully modulated, never-repetitive score, which begins as a series of low, synth-like rumbles that gather melodic force and power as the film progresses."
 
Justin Chang, Variety
 
"Having handled such notable prior evocations of frontier America as 'Days of Heaven,' 'The New World' and 'There Will Be Blood,' production designer Jack Fisk is entirely in his element here, as is another Terrence Malick regular, costume designer Jacqueline West. The score by Ryuichi Sakamoto and Alva Noto, with additional music by Bryce Dessner, is effectively ominous and grim."
 
Todd McCarthy, Hollywood Reporter

THE NEXT TEN DAYS IN L.A.

Screenings of older films, at the following L.A. movie theaters: AMPASAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianArclightLACMANew BeverlyNuartSilent Movie Theater and UCLA.

June 9
BEYOND THE VALLEY OF THE DOLLS (Stu Phillips) [Nuart]
GRINDHOUSE: PLANET TERROR (Robert Rodriguez, Graeme Revell) [New Beverly]
THE MALTESE FALCON (Adolph Deutsch), KEY LARGO (Max Steiner) [UCLA]
STAR TREK -- THE MOTION PICTURE (Jerry Goldsmith), THE BLACK HOLE (John Barry) [New Beverly]
STAR TREK II: THE WRATH OF KHAN (James Horner) [Cinematheque: Aero]
VARIETY (John Lurie) [Silent Movie Theater]
THE WRAITH (Michael Hoenig, J. Peter Robinson) [Silent Movie Theater]

June 10
BEFORE THE FLOOD (Trent Reznor, Atticus Ross) [Cinematheque: Aero]
THE BLACK HOLE (John Barry) [New Beverly]
DESPERATE LIVING (Chris Lobinger) [Silent Movie Theater]
KLUTE (Michael Small) [Silent Movie Theater]
THE OMEGA MAN (Ron Grainer) [New Beverly]
STAR TREK -- THE MOTION PICTURE (Jerry Goldsmith), THE BLACK HOLE (John Barry) [New Beverly]
THE TREASURE OF THE SIERRA MADRE (Max Steiner), THE ASPHALT JUNGLE (Miklos Rozsa) [UCLA]

June 11
BACK TO THE FUTURE (Alan Silvestri), BACK TO THE FUTURE PART II (Alan Silvestri), BACK TO THE FUTURE PART III (Alan Silvestri) [Cinematheque: Aero]
THE BLACK HOLE (John Barry)  [New Beverly]
HONEYSUCKLE ROSE (Willie Nelson), THE SEDUCTION OF JOE TYNAN (Bill Conti) [New Beverly]
NIGHT HAS A THOUSAND EYES (Victor Young) [UCLA]


June 12
HONEYSUCKLE ROSE (Willie Nelson), THE SEDUCTION OF JOE TYNAN (Bill Conti) [New Beverly]

June 13
FIRST SPACESHIP ON VENUS (Gordon Zahler), MARS NEEDS WOMEN [New Beverly]
HAROLD AND MAUDE (Cat Stevens) [Silent Movie Theater]
LIKE WATER FOR CHOCOLATE (Leo Brouwer) [LACMA]
LOVE JONES (Darryl Jones) [AMPAS]
TWIN PEAKS FIRE WALK WITH ME (Angelo Badalamenti) [Silent Movie Theater]

June 14
THE BEGUILED (Don Siegel)  [New Beverly]
THE LEATHER BOYS (Bill McGuffie) [Silent Movie Theater]
TWIN PEAKS FIRE WALK WITH ME (Angelo Badalamenti) [Silent Movie Theater]

June 15
THE DARK CRYSTAL (Trevor Jones) [Cinematheque: Egyptian]
JUMPIN' JACK FLASH (Thomas Newman), BIG (Howard Shore) [New Beverly]

June 16
FIGHT CLUB (Dust Brothers) [Nuart]
FUNERAL PARADE OF ROSES (Joji Yuasa) [Silent Movie Theater]
GRINDHOUSE: DEATH PROOF [New Beverly]
MEETING PEOPLE IS EASY [New Beverly]
RAZZIA SUR LA CHNOUF (Marc Lanjean), THE NIGHT AFFAIR (Jean Yatove) [Cinematheque: Aero]
ROBOCOP (Basil Poledoris), STARSHIP TROOPERS (Basil Poledouris) [New Beverly]
TRON (Wendy Carlos) [Cinematheque: Egyptian]
WHICH WAY IS UP? (Mark Davis, Paul Riser) [Silent Movie Theater]

June 17
BUCK ROGERS: PLANET OUTLAWS [New Beverly]
THE COMPANY OF WOLVES (George Fenton) [Silent Movie Theater]
ELEVATOR TO THE GALLOWS (Miles Davis), LE MONTE-CHARGE (Georges Delerue) [Cinematheque: Aero]
FUNERAL PARADE OF ROSES (Joji Yuasa) [Silent Movie Theater]
THE GIRL FROM STARSHIP VENUS (John Shakespeare, Derek Warne) [New Beverly]
POLTERGEIST (Jerry Goldsmith) [Cinematheque: Egyptian]
ROBOCOP (Basil Poledoris), STARSHIP TROOPERS (Basil Poledouris) [New Beverly]
SAFE CONDUCT (Antoine Duhamel) [Cinematheque: Aero]
THE THING (Ennio Morricone) [Cinematheque: Egyptian]

June 18
AN AMERICAN TAIL (James Horner) [UCLA]
BUCK ROGERS: PLANET OUTLAWS [New Beverly]
E.T. THE EXTRA-TERRESTRIAL (John Williams) [Cinematheque: Egyptian]
FUNERAL PARADE OF ROSES (Joji Yuasa) [Silent Movie Theater]
GATES OF THE NIGHT (Joseph Kosma) [Cinematheque: Aero]
MEETING PEOPLE IS EASY [New Beverly]
MOULIN ROUGE (Georges Auric), IN THIS OUR LIFE (Max Steiner) [UCLA]
SHOOT OUT (Dave Grusin), SHOWDOWN (David Shire) [New Beverly]
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Comments (2):Log in or register to post your own comments
Great! Shootout and Showdown playing together. Just one more reason for me to confuse Dave Grusin and David Shire...

Great! Shootout and Showdown playing together. Just one more reason for me to confuse Dave Grusin and David Shire...

Maybe because Shire is one of my top ten faves, I have trouble imagining confusing those two. For me, Shire is perhaps the most underrated film composer ever.

Grusin, on the other hand...

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