Intrada plans to release a new multi-disc set next week.
CDS AVAILABLE THIS WEEK
American Flyers - Greg Mathieson, Lee Ritenour - Varese Sarabande
The Childhood of a Leader - Scott Walker - 4AD
Dream Is Destiny - Graham Reynolds - Lakeshore [CD-R]
Hell or High Water - Nick Cave, Warren Ellis - Milan
Justice League vs. Teen Titans/Batman Bad Blood - Frederik Wiedmann - La-La Land
Primal Fear - James Newton Howard - La-La Land
Treasure of the Yankee Zephyr - Brian May - Dragon's Domain
IN THEATERS TODAY
Ben-Hur - Marco Beltrami - Score CD-R on Sony
Disorder - Gesaffelstein - Score LP Maryland released on Parlophone (import)
Imperium - Will Bates
Kubo and the Two Strings - Dario Marianelli - Score CD on Warner Bros.
Lo and Behold, Reveries of the Connected World - Mark Degli Antoni, Sebastian Steinberg
Morris from America - Keegan DeWitt
The People vs. Fritz Bauer - Christoph M. Kaiser, Julian Maas
War Dogs - Cliff Martinez
COMING SOON
August 26
Is Paris Burning? (re-recording) - Maurice Jarre - Tadlow
A Tale of Love and Darkness - Nicholas Britell - Milan
September 2
Bersaglio Altezza Uomo - Stelvio Cipriani - Digitmovies
El Elegido - Arnau Bataller - Saimel
Foul Play - Charles Fox - Varese Sarabande
La Smagliatura - Ennio Morricone - Saimel
The Light Between Oceans - Alexandre Desplat - Lakeshore
The 9th Life of Louis Drax - Patrick Watson - Varese Sarabande
Nuestros Amantes - Roque Banos - Saimel
Un Giorno Da Leoni/La Battaglia Di El Alamein - Carlo Rustichelli - Saimel
Un Tassinaro A New York/Una Botta Di Vita - Manuel De Sica, Piero Piccioni - Digitmovies
September 9
Transpecos - Aaron Dessner, Bryce Dessner - Milan
September 16
Halt and Catch Fire - Paul Haslinger - Lakeshore
The Magnificent Seven - James Horner, Simon Franglen - Sony
Seven - Howard Shore - Howe
Snowden - Craig Armstrong, Adam Peters - Deutsche Grammophon
Stranger Things, Vol. 1 - Kyle Dixon, Michael Stein - Lakeshore
September 23
Nagasaki: Memories of My Son - Ryuichi Sakamoto - Milan
Stranger Things, Vol. 2 - Kyle Dixon, Michael Stein - Lakeshore
September 30
Denial - Howard Shore - Howe
October 7
Inferno - Hans Zimmer - Sony
October 28
Outlander: Season 2 - Bear McCreary - Madison Gate
Date Unknown
Bermude: La Fossa Maledetta - Stelvio Cipriani - CSC
Dark Waves - Alexander Cimini - Kronos
Madame Sans-Gene - Angelo Francesco Lavagnino - Alhambra
The Red Balloon/Le Voyage En Ballon - Maurice Le Roux, Jean Prodromides - Kritzerland
Under Suspicion - Christopher Gunning - Caldera
THIS WEEK IN FILM MUSIC HISTORY
August 19 - Fumio Hayasaka born (1914)
August 19 - Herman Stein born (1915)
August 19 - Luchi De Jesus born (1923)
August 19 - William Motzing born (1937)
August 19 - Ray Cooper born (1942)
August 19 - Gustavo Santaolalla born (1951)
August 19 - Elmer Bernstein begins recording his score for Desire Under the Elms (1957)
August 19 - Recording sessions begin for Bronislau Kaper's score for Butterfield 8 (1960)
August 19 - Alexander Courage's score for the Star Trek episode "The Man Trap" is recorded (1966)
August 19 - Jerry Goldsmith begins recording his score to The Illustrated Man (1968)
August 19 - Jerry Fielding records his score for the Mission: Impossible episode “The Controllers” (1969)
August 19 - Lalo Schifrin begins recording his score for Telefon (1977)
August 19 - Luchi De Jesus died (1984)
August 19 - Geoff Zanelli wins the Emmy for Into the West; Sean Callery wins his second Emmy, for the 24 episode “Day 5: 6:00 a.m. – 7:00 a.m.”; Edward Shearmur wins for Masters of Horror’s main title theme (2006)
August 20 - Raoul Kraushaar born (1908)
August 20 - Alain Goraguer born (1931)
August 20 - Stelvio Cipriani born (1937)
August 20 - Isaac Hayes born (1942)
August 21 - Constant Lambert died (1945)
August 21 - Basil Poledouris born (1945)
August 21 - Recording sessions begin for Hugo Friedhofer’s score for Two Flags West (1950)
August 21 - Joe Strummer born (1952)
August 21 - Walter Schumann died (1958)
August 21 - Gerald Fried records his score for the Mission: Impossible episode “The Widow” (1967)
August 21 - Angelo Francesco Lavagnino died (1987)
August 21 - Richard Band begins recording his score for Robo Warriors (1996)
August 21 - Alex Wurman wins the Emmy for his Temple Grandin score; Sean Callery wins his third Emmy, for the 24 episode score “Day 8: 3:00 p.m. – 4:00 p.m.; Wendy Melvoin and Lisa Coleman win for Nurse Jackie’s main title theme (2010)
August 22 - Stanislas Syrewicz born (1946)
August 22 - Bronislau Kaper begins recording his score for Ride, Vaquero! (1952)
August 22 - James Dooley born (1976)
August 22 - Bruce Broughton begins recording his score for This Girl for Hire (1983)
August 22 - John Williams begins recording his score for the Amazing Stories episode "The Mission" (1985)
August 23 - Constant Lambert born (1905)
August 23 - Martial Solal born (1927)
August 23 - Ian Fraser born (1933)
August 23 - Willy Russell born (1947)
August 23 - Julian Nott born (1960)
August 23 - Alexandre Desplat born (1961)
August 23 - Howard Blake begins recording his score for S.O.S. Titanic (1979)
August 23 - Marvin Hatley died (1986)
August 23 - David Rose died (1990)
August 23 - Jurriaan Andriessen died (1996)
August 24 - Jean-Michel Jarre born (1948)
August 24 - Peter Kyed born (1963)
August 24 - Mark Lawrence died (1991)
August 24 - John Debney wins his first Emmy, for the Young Riders episode score “Kansas;” Richard Bellis wins for part 1 of It; Randy Newman wins his first Emmy, for his Cop Rock songs (1991)
August 25 - Ray Heindorf born (1908)
August 25 - Leonard Bernstein born (1918)
August 25 - John Williams begins recording his score for Bachelor Flat (1961)
August 25 - Harry Manfredini born (1943)
August 25 - Zoe Poledouris born (1973)
August 25 - Elvis Costello born (1954)
August 25 - Jack Nitzsche died (2000)
DID THEY MENTION THE MUSIC?
QUEEN OF EARTH - Keegan DeWitt
"By the same token, the film’s entire tone is fascinatingly skewed by Keegan DeWitt’s spare, ominous score, which sometimes suggests darkness of a purely psychological variety (you could hardly get more Bergmanesque than the combination of organ and tolling chimes), but elsewhere (when he offers minimalist piano à la John Carpenter) seems to warn us to expect some more overt form of brutality."
Jonathan Romney, Film Comment
"Moss is stunning as Catherine, giving a fearless, compelling performance, and Perry yet again demonstrates his versatility as a director. The filmmaker’s riff on these cinema tropes is spot-on, with special mentions to editor Robert Greene, whose fade-to-black scene endings and deftly disorienting cuts between times are unnerving, and Keegan DeWitt, whose ominous soundtrack, sometimes single piano notes, other times a mix of chimes and discordant clarinets, perfectly complement Catherine’s unraveling."
Josh Kupecki, The Austin Chronicle
"What happens in 'Queen of Earth' largely matters less than how it happens. The entire film feels like a red herring for something else. Tension and dread are summoned wholly through canny technique -- DP Sean Price Williams’s queasy zooms and claustrophobic framings, Keegan DeWitt’s discordant score, Robert Greene’s opportunely arrhythmic edits, and Moss’s mercurial mugging, which is somehow both underscored and troublingly illegible."
Eric Hynes, Film Comment
"Quite frankly, this film deserved the wider release given to the more heavily hyped and superficially similar 'I Smile Back,' which was also about a woman losing her shit in the most spectacular way. But 'Queen of Earth' surrounds Elisabeth Moss's mesmerizing performance with an actual movie, a low-key homage to Euro-horror films -- complete with an appropriately thrumming and discordant score."
Sherilyn Connelly, S.F. Weekly
"With its intimate framing, jump cuts, eerie score and unsettling visual tableaus -- Catherine and Virginia always seem at odds in their shared physical space -- 'Queen of Earth' plays like a horror. Yet, at its heart it is a devastating story of depression and its impact. Perry has written the fractured dynamic between these two women with sensitivity and brutal truth -- it’s never less than authentic, whether in moments of companionable silence, or when shared grudges bubble to the surface."
Nikki Braughan, The List
"Watching 'Queen of Earth,' you realize that every single aspect of its production is reflective, meant to refract or clarify the dual personalities at its center. Robert Greene’s offbeat editing, Williams’ claustrophobic camerawork, Keegan DeWitt’s freaky, two-toned score: All Perry’s collaborators contribute to the interrogative mode of the filmmaking."
Sharan Shetty, Slate Magazine
"That impact pushes Catherine closer to the edge of sanity. She tells a visitor one night, 'You know, I could kill you and no one would know,' and Moss delivers the line with just the right mix of humor and truth, as if she’s only half-kidding. Perry also uses ominous music throughout 'Queen of Earth,' much like the psychological thrillers from the ‘70s that the film sometimes cribs from, raising tension through score as much as action. We feel something bad is going to happen. Will Catherine kill herself? Kill someone else?"
Brian Tallerico, RogerEbert.com
"Meanwhile, Keegan DeWitt’s dissonant score -- which can’t help but bring to mind the arthouse films of the 1960s and ’70s -- goes a long way to establishing and maintaining mood, much as the composer’s cool-jazz-style music did for 'Listen Up Philip.' That mood is goosebump-inducing unease, often unnervingly in tune with Moss’ performance, which is all the more fascinating because it’s essentially unreadable, positioning Catherine as a figure of both sympathy and threat."
Iganatiy Vishnevetsky, The Onion AV Club
"Shot by Sean Price Williams ('Listen Up Philip,' 'Somebody Up There Likes Me'), the chilly naturalism gives an ironic texture to all the beautiful surroundings. Often tightly framed, the claustrophobic restrictiveness is appropriately repressive. Moments of evocatively layered superimposition play into the film’s dreamy qualities and ideas about memory often captured in ephemeral flashbacks. Scored with a disquieting tenor by Keegan DeWitt, the movie’s arresting final image -- a chilling shot both breathtaking and devilishly wicked -- tips its cap with impish lullabies reminiscent of 'Rosemary’s Baby.'"
Rodrigo Perez, The Playlist
"By the time Catherine exits 'Queen of Earth,' her frown has turned upside down and a grimace of abject misery has transformed into a vision of manic happiness as if she had traded in her tragedy mask for a comedy one. That it’s unclear which face is scarier, more unnerving, is in keeping with the director Alex Ross Perry’s gift for destabilization, for setting a mood only to violently upend it with cutting looks, dissonant musical chords and off-kilter camera angles. That Catherine seems to be swapping theater masks even as Ms. Moss brings tremendous depth of feeling to the role is in line with the arch self-consciousness of 'Queen of Earth,' an art film in quotation marks. There are times in 'Queen of Earth' when Mr. Perry, who’s content to skim the surface rather than break it, comes across like an exceptionally gifted student trying his hand at art-cinema pastiche. To that end, it can be entertaining to watch him flip through its playbook, trying out oblique angles and off-center staging while the composer Keegan DeWitt’s dissonant, mood-altering score samples the Euro-style hits."
Manohla Dargis, New York Times
"Not much happens apart from that; Perry is more interested in capturing a mood than in telling a story. Yet that mood is potent, evoking Catherine's mental torment. 'Queen of Earth' makes use of only a few locations -- most of the action takes place in and around the lake house -- so the action feels constricted even when little is happening. Perry shoots most of the film in extreme close-up and long takes, thrusting viewers into Catherine's head space. And Keegan DeWitt's frightening chamber score overwhelms practically every scene, emphasizing the emotional violence of the drama. Watching the film is a discomforting experience; one is constantly reminded of Catherine's confinement within her physical location, within her relationship with Virginia, and ultimately within herself. This sort of ugly, codependent relationship is hardly limited to the rich; neither is the fear of becoming a stranger to oneself. Catherine and Virginia might be constrained in their perspectives, but ultimately Perry's concerns are universal. His deliberate breaks with naturalism -- his expressionistic lighting, his pervasive use of the chilly score -- emphasize the characters' emotions over their social background. Even if you find Catherine and Virginia repugnant, you can still relate to them on a gut level."
Ben Sachs, The Chicago Reader
"The flashbacks in 'Queen of Earth' are like little Proustian splinters that lodge under the skin of the characters as they run their hands along the bannisters of the past. Perry, who excels at finding cinematic analogs for the time-shifting narrative devices common in literature, gives the movie the superstructure of a diary, delineated into daily chapters, and within each of those chapters moves nimbly back and forth between now and then. Whenever we are, the small wooden house is a constant, rarely parted from and seeming ever more like a Bunuelian prison from which the characters are unable to leave. The wonderfully eerie tone (enhanced by composer Keegan DeWitt’s minimalist, atonal piano score) keeps you on a razor’s edge of uncertainty as to whether a murder or a reconciliation -- or both -- lurks just around the bend."
Scott Foundas, Variety
"The script doesn’t always provide a deep enough understanding of Catherine. There are hints that she had a traumatic relationship with her father, a prominent artist who may have been involved in some financial misdeeds that led to his death. But Perry isn’t yet a gifted enough writer to fill in the complexities of this relationship through oblique verbal exposition. He does deserve credit for making the most of a minuscule budget, with an effective visual evocation of the isolated setting and a haunting score by Keegan De Witt."
Stephen Farber, Hollywood Reporter
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, Arclight, Crest, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.
August 19
THE BAD NEWS BEARS (Jerry Fielding), THE BAD NEWS BEARS IN BREAKING TRAINING (Craig Safan) [New Beverly]
ERASERHEAD (Peter Ivers) [Nuart]
FRIDAY THE 13TH (Harry Manfredini), SUMMER CAMP NIGHTMARE (Ted Neeley, Gary Chase), SLEEPAWAY CAMP II: UNHAPPY CAMPERS (James Oliverio) [Cinematheque: Aero]
THE HEROES OF TELEMARK (Malcolm Arnold) [UCLA]
JASON AND THE ARGONAUTS (Bernard Herrmann), THE 7TH VOYAGE OF SINBAD (Bernard Herrmann) [Cinematheque: Egyptian]
KILL BILL VOL. 1 (The RZA) [New Beverly]
August 20
THE BAD NEWS BEARS (Jerry Fielding), THE BAD NEWS BEARS IN BREAKING TRAINING (Craig Safan) [New Beverly]
CUL-DE-SAC (Christopher Komeda), LORD LOVE A DUCK (Neal Hefti) [Cinematheque: Aero]
IN SEARCH OF NOAH'S ARK (Don Perry) [New Beverly]
JACKASS, JACKASS NUMBER TWO, JACKASS 3D [Cinematheque: Egyptian]
LONELY ARE THE BRAVE (Jerry Goldsmith), STRANGERS WHEN WE MEET (George Duning) [UCLA]
STARSHIP TROOPERS (Basil Poledouris) [New Beverly]
August 21
THE GOONIES (Dave Grusin) [Arclight Hollywood]
IN SEARCH OF NOAH'S ARK (Don Perry) [New Beverly]
JUGGERNAUT (Ken Thorne), CUBA (Patrick Williams) [New Beverly]
MYSTERIOUS ISLAND (Bernard Herrmann), EARTH VS. THE FLYING SAUCERS (Mischa Bakaleinikoff)[Cinematheque: Egyptian]
OUR MAN FLINT (Jerry Goldsmith), MODESTY BLAISE (John Dankworth) [Cinematheque: Aero]
TREMBLING BEFORE G-D (John Zorn) [UCLA]
August 22
THE FIFTH ELEMENT (Eric Serra) [Arclight Santa Monica]
JUGGERNAUT (Ken Thorne), CUBA (Patrick Williams) [New Beverly]
August 23
PAN'S LABYRINTH (Javier Navarrete) [Arclight Sherman Oaks]
SPACE JAM (James Newton Howard) [Arclight Hollywood]
THE THIRD PART OF THE NIGHT (Andrzej Korzynski) [Silent Movie Theater]
August 24
THE FRESHMAN, THE KID BROTHER [New Beverly]
ONCE UPON A TIME IN THE WEST (Ennio Morricone) [Arclight Culver City]
August 25
THE FRESHMAN, THE KID BROTHER [New Beverly]
STARSHIP TROOPERS (Basil Poledouris) [Arclight Hollywood]
August 26
A CAT IN THE BRAIN (Fabio Frizzi) [Silent Movie Theater]
KILL BILL VOL. 2 (The RZA, Robert Rodriguez) [New Beverly]
THE KNACK (John Barry), PETULIA (John Barry) [New Beverly]
THE MUMMY (Jerry Goldsmith) [Nuart]
THE NUTTY PROFESSOR (Walter Scharf), THE LADIES MAN (Walter Scharf) [Cinematheque: Aero]
August 27
THE JUGGLER (George Antheil), PATHS OF GLORY (Gerald Fried) [UCLA]
THE KING OF COMEDY (Robbie Robertson), FUNNY BONES (John Altman) [Cinematheque: Aero]
THE KNACK (John Barry), PETULIA (John Barry) [New Beverly]
SAFETY LAST! [New Beverly]
TITICUT FOLLIES [Silent Movie Theater]
THE WICKER MAN (Angelo Badalamenti) [New Beverly]
A WOMAN OF THE WORLD [Silent Movie Theater]
August 28
ARTISTS AND MODELS (Walter Scharf), HOLLYWOOD OR BUST (Walter Scharf) [Cinematheque: Aero]
LAWRENCE OF ARABIA (Maurice Jarre) [Arclight Hollywood]
ROBIN AND MARIAN (John Barry), BUTCH AND SUNDANCE: THE EARLY DAYS (Patrick Williams) [New Beverly]
SAFETY LAST! [New Beverly]
TITICUT FOLLIES [Silent Movie Theater]
20,000 LEAGUES UNDER THE SEA (Paul Smith), THE VIKINGS (Mario Nascimbene) [UCLA]
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