Intrada plans to release one new CD next week.
Varese Sarabande has announced the latest releases in their limited edition CD Club series, which can be ordered now and should already be shipping.
The romantic drama STANLEY & IRIS, starring Jane Fonda and Robert De Niro, was the final film directed by the great Martin Ritt (Hud, The Spy Who Came in from the Cold, Sounder), and featured one of John Williams's most underrated scores. Varese originally released a CD with 29 minutes of Williams' lovely score at the time of the film's 1990 release, but their new Deluxe Edition not only adds additional cues but also includes the first-ever release of Williams' 20-minute score for Ritt's 1972 romantic comedy-drama PETE 'N' TILLIE, which starred Walter Matthau and Carol Burnett and earned Oscar nominations for Julius J. Epstein's screenplay and Geraldine Page's supporting performance. (When I was 11 years old, this was my favorite movie -- I don't know if it was because it was partly shot in my home town, or because I subconsciously identified with Burnett's character, somehow realizing I would grow up to become a wisecracking redheaded spinster).
In the 1990s, it seemed like half the action films being produced could be described as "Die Hard on a...", and after Steven Seagal had his biggest hit with the "Die Hard on a battleship" Under Siege (which earned two Oscar nominations and led to director Andrew Davis and co-star Tommy Lee Jones reteaming for The Fugitive the following year), it was only to be expected that "the cook from Under Siege" (as the sequel's trailer described Seagal's character) should return for the "Die Hard on a train" sequel UNDER SIEGE 2: DARK TERRITORY. Geoff Murphy (Utu, Young Guns II) was the director this time, and the supporting cast included acclaimed stage monologuist Eric Bogosian as the villain and a 16-year-old Katherine Heigl as Seagal's daughter. The rousing score was composed by the great Basil Poledouris, and while Varese's previous Under Siege 2 release was from the era when score CDs were habitually only 30 minutes long for financial reasons, their Deluxe Edition expands Poledouris' score to a whopping 75 minutes.
Their third CD Club release is an Encore Edition re-release of their out-of-print CD of THE BLACK CAULDRON, the Disney-produced animated fantasy with a symphonic score by Elmer Bernstein, for which he re-recorded 32 minutes of his score for the Varese LP/CD (the original Bernstein score tracks were released decades later by Intrada).
CDS AVAILABLE THIS WEEK
The Black Cauldron: Encore Edition (re-recording) - Elmer Bernstein - Varese Sarabande CD Club
Fortitude - Ben Frost - Mute (import)
Guy and Madeleine on a Park Bench - Justin Hurwitz - Milan
John Williams & Steven Spielberg: The Ultimate Collection - John Williams - Sony
A Midsummer Night's Dream - Elliot Goldenthal - Zarathustra
Seguimi - Marco Werba - Kronos
Sotto Il Segno Dello Scorpione - Vittorio Gelmetti - Quartet
Stanley & Iris/Pete 'n' Tillie - John Williams - Varese Sarabande CD Club
Under Siege 2: Dark Territory: The Deluxe Edition - Basil Poledouris - Varese Sarabande CD Club
IN THEATERS TODAY
After the Storm - Hanaregumi
All Nighter - Alec Puro
Atomica - Christian Davis
Beauty and the Beast - Alan Menken - 1- and 2-disc score & song CDs on Disney
The Belko Experiment - Tyler Bates
The Devil’s Candy - Mads Heldtberg, Michael Yezerski
Mean Dreams - Son Lux
Song to Song - no original score
T2: Trainspotting - Rick Smith - Song CD on Interscope
They Call Me Jeeg - Michele Braga, Gabriele Mainetti
COMING SOON
March 24
Legion - Jeff Russo - Lakeshore
Subterranea - Michael Holmes - Giant Electric Pea (import)
Terminator 2: Judgment Day (re-release) - Brad Fiedel - UME
We're Going on a Bear Hunt - Stuart Hancock - Sony (import)
March 31
The Boss Baby - Hans Zimmer, Steve Mazzaro - Backlot
Die Hard (re-release) - Michael Kamen - La La Land
Ghost in the Shell - Clint Mansell - Lakeshore
Logan - Marco Beltrami - Lakeshore
April 7
The Comedian - Terence Blanchard - Blue Note
The Game of Thrones Symphony - Ramin Djawadi - Silva
Power Rangers - Brian Tyler - Varese Sarabande
April 28
On Golden Pond - Dave Grusin - Varese Sarabande
May 5
Life - Jon Ekstrand - Milan
June 2
Max & Me - Mark McKenzie - Sony (import)
Date Unknown
Adam Resurrected - Gabriel Yared - Caldera
Bloudim - Emil Viklicky - Kronos
1898 Los Ultimos De Filipinas - Roque Banos - Saimel [CD-R]
Fast Company - Fred Mollin - Dragon's Domain
The 5th Musketeer - Riz Ortolani - Quartet
Il Magistrato/Difendo Il Mio Amore - Renzo Rossellini - Saimel
La Ragazza di Bube - Carlo Rustichelli - Digitmovies
Legend of the Lich Lord - Bruno Valenti - Howlin' Wolf
L'insegnante Viene a Casa - Franco Campanino - Digitmovies
Livide - Raphael Gesqua - Kronos
Monster from Green Hell - Albert Glasser - Kritzerland
Orca - Ennio Morricone - Music Box
Panic/Fitzerald (Last Call) - Brian Tyler - Howlin' Wolf
Princesse Alexandra - Serge Franklin - Music
Shadowgate - Rich Douglas - Howlin' Wolf
Timemaster - Harry Manfredini - Dragon's Domain
Two for the Road - Henry Mancini - Kritzerland
THIS WEEK IN FILM MUSIC HISTORY
March 17 - Alfred Newman born (1901)
March 17 - Tadashi Hattori born (1908)
March 17 - Karl-Heinz Schafer born (1932)
March 17 - John Sebastian born (1944)
March 17 - Benjamin Bartlett born (1965)
March 17 - Billy Corgan born (1967)
March 17 - Chris Bacon born (1977)
March 17 - Georges Delerue begins recording his score for Memories of Me (1988)
March 17 - Ernest Gold died (1999)
March 17 - Jean Prodromides died (2016)
March 18 - William Lava born (1911)
March 18 - John Kander born (1927)
March 18 - Yoko Kanno born (1964)
March 18 - Frank Ilfman born (1970)
March 18 - Clinton Shorter born (1971)
March 18 - Guillaume Roussel born (1980)
March 18 - John Phillips died (2001)
March 19 - Jean Weiner born (1896)
March 19 - Dimitri Tiomkin wins Oscars for High Noon’s score and song (1953)
March 19 - Anthony Marinelli born (1959)
March 19 - George Garvarentz died (1993)
March 20 - Michel Magne born (1930)
March 20 - John Cameron born (1944)
March 20 - Miklos Rozsa wins his second Oscar, for A Double Life score (1948)
March 20 - Franz Waxman wins his second consecutive Best Score Oscar, for A Place in the Sun (1952)
March 20 - Elmer Bernstein begins recording his score for The Tin Star (1957)
March 20 - Amit Poznansky born (1974)
March 20 - Stu Phillips records his score for the Buck Rogers in the 25th Century episode “The Hand of Goral” (1981)
March 20 - Ray Cook died (1989)
March 20 - Georges Delerue died (1992)
March 20 - Johnny Pearson died (2011)
March 21 - Antony Hopkins born (1921)
March 21 - Gary Hughes born (1922)
March 21 - Mort Lindsey born (1923)
March 21 - Alex North begins recording his score for Spartacus (1960)
March 21 - Alexander Courage records his score for the Lost in Space episode "The Mechanical Men" (1967)
March 21 - Miklos Rozsa begins recording his score to The Green Berets (1968)
March 21 - John Williams wins his fifth Oscar, for his Schindler's List score (1994)
March 22 - Stephen Sondheim born (1930)
March 22 - Angelo Badalamenti born (1937)
March 22 - Andrew Lloyd Webber born (1948)
March 22 - Goran Bregovic born (1950)
March 22 - Wally Badarou born (1955)
March 22 - Zeltia Montes born (1979)
March 22 - Miklos Rozsa begins recording his score for Time After Time (1979)
March 22 - Bebo Valdes died (2013)
March 23 - Alan Blaikley born (1940)
March 23 - Michael Nyman born (1944)
March 23 - David Grisman born (1945)
March 23 - Trevor Jones born (1949)
March 23 - Aaron Copland wins his only Oscar, for The Heiress score (1950)
March 23 - Philip Judd born (1953)
March 23 - Damon Albarn born (1968)
March 23 - Lionel Newman re-records pre-existing Jerry Goldsmith cues for The Last Hard Men’s replacement score (1976)
March 23 - Hal Mooney died (1995)
March 23 - Michael Linn died (1995)
March 23 - James Horner begins recording his score for Braveheart (1995)
March 23 - James Horner wins his first and last Oscars, for Titanic's score and song; Anne Dudley wins the third Comedy or Musical Score Oscar, for The Full Monty (1998)
March 23 - Elliot Goldenthal wins his first Oscar, for the Frida score (2003)
DID THEY MENTION THE MUSIC?
BAND OF ROBBERS - Joel P. West
"Still, the amount of economy, wit, and good-natured invention on the part of the Nees and their cast is fantastic to see. While it is rather obvious to pinpoint the influences behind some of their genre riffs, the riffs are well-executed, visually dynamic, and coupled with a catchy score by Joel P. West and sourced tunes like 'Yama Yama' by the Yamasuki Singers. The end result may read as a gussied-up 'Funny or Die' conceit at times, but through a surprising dramatic focus and well-written script it still performs wonderfully as an absurdist crime comedy with a wicked streak."
Charlie Schmidlin, IndieWire
"And that becomes a real problem once the Nees shift gears down the stretch, moving from aping Wes Anderson to doing their best Coen brothers riffs. It gets harder to laugh at Tom’s idiotic schemes or his friends’ sloppiness once the people they cross paths with actually start getting arrested, stabbed, and shot. 'Band Of Robbers' isn’t excessively violent, but the casualties -- coupled with the use of chapter headings and a surging score -- suggests a film with much more gravity and purpose than this. There’s an element of parlor trickery here that the movie’s never entirely able to overcome. Really, its best sequence is the closing montage, which strings together about a half-dozen images from the books that didn’t make it into 'Band Of Robbers'' main story. There, the Nee brothers merely nod to Twain, in scenes that look rougher and more spontaneous -- and not so damnably civilized."
Noel Murray, The Onion AV Club
HEART OF A DOG - Laurie Anderson
"'Heart of a Dog' is the kind of film that attracts labels like 'experimental,' and I suppose it is, in its mixed-media collage of home movies, newsreel and CCTV footage, re-enactments and intertitles, backed by a lyrical score Anderson composed herself. Her sense of time, space, theme and reality is non-linear and digressive. But she also knows how to connect the dots into stories that don't feel in the least inaccessible or choppy, except perhaps in repeated segues to reveries about the post-Sept. 11 surveillance society that feel jarringly inorganic and nowhere as fresh or lively as her musings on Lolabelle's death or her mother's, or on how to properly mourn someone you've lost. (Crying is not allowed; giving stuff away is encouraged.)"
Ella Taylor, NPR
"Arguably, 'Heart Of A Dog' might struggle as an written essay. However, paired with the striking, looping, battered, and jittery visuals and animations, and the lush score, the essay becomes an experience. An experimental musician and visual artist with four decades of experience, Anderson has the prowess to do much of the work of 'Heart Of A Dog' on her own (or at least make it feel done on her own), which lends a personal aspect that the film would likely flounder without. The only true misstep in the production is the familiar and lively voiceover that is often oddly juxtaposed with the blustering and brooding scenario surrounding it."
Gary Garrison, IndieWire
"Laurie Anderson's 'Heart of a Dog' is not just a movie but a guided meditation, drawing viewers into a state of peaceful contemplation from which they can consider such subjects as death, loss, and unconditional love. Over soothing music (which she composed herself), Anderson addresses these topics in tranquil, informal voice-over narration, as though engaging one in conversation."
Ben Sachs, Chicago Reader
"From a sensory point of view, the film is a pleasure, the images having been manipulated in various ways to evocative effect, Anderson’s voiceovers proving more amusing than not, and the music taking mostly lively turns. But most of all, you leave feeling that Lolabelle was very lucky in her choice of owner."
Todd McCarthy, Hollywood Reporter
INTRUDERS - Frederik Wiedmann
"Less than a home run, then, 'Intruders' is still an efficiently engineered suspenser, with solid performances and a tight pace. Polished tech/design work encompasses an old-school, orchestral-sounding score by Frederik Wiedmann."
Dennis Harvey, Variety
LOST IN THE SUN - Daniel Hart
"'Lost in the Sun' gets most elements right in order to put together one of those gritty and melancholic southern crime dramas, except for when it comes to producing a unique screenplay and direction that rises above mediocrity. Robert Barocci’s cinematography captures the desolation of southern highways with static and grand vista shots worthy of the film his lens is clearly aping, The Coen Brothers’ nihilist masterpiece 'No Country For Old Men.' Meanwhile, Mike Choi’s deftly paced editing makes sure the audience soaks in Barocci’s solid DP work without resorting to needless quick cuts or narrative gimmicks in order to create a more 'modern' or 'edgy' indie. And Daniel Hart’s subtle yet effectively somber score, although derivative of many examples of the genre, infuses the film with just enough dramatic credibility."
Oktay Ege Kozak, The Playlist
"Seventeen minutes into 'Lost in the Sun,' John Wheeler (Josh Duhamel) runs back to the bus stop where he’s abandoned Louis (Josh Wiggins), a recently-orphaned 13-year-old who John picked up at Louis’s mom’s funeral. As he runs, a musical cue which I can only assume is called 'John Has an Important, Life Affirming Revelation' swells. This is usually a scene that happens much later in a movie, but 'Lost in the Sun' is super-subversive: It doesn’t even try to pretend you don’t know why John, a petty criminal, would run back to grab the deadweight of which he has just rid himself, even though he doesn’t say why out loud until 100 minutes later. An hour and eight minutes into the film, Louis wakes up to find John gone, wanders around the house where they’re squatting, and finds John staring into a sunrise as 'Sunrise of New Convictions' swells."
Marc Abraham, Paste Magazine
LOVE THE COOPERS - Nick Urata
"'Love the Coopers' does, at least, sound sensational, with 'Little Miss Sunshine' composer and DeVotchKa rocker Nick Urata, aided by 'music archivist' T-Bone Burnett, who assembles a mix of Christmas carols old and new, including ones by Robert Plant and Alison Krauss, Fleet Foxes, The Cats and the Fiddle, and Bob Dylan."
Tim Appelo, The Wrap
SPOTLIGHT - Howard Shore
"The film invests the Globe's exposé with a certain Hollywood sheen, which makes for easy viewing despite the heady subject matter. It's easy to fall under such a spell, but a savvy viewer will be able to see beyond the luster that -- snappy pacing and moving Howard Shore soundtrack notwithstanding -- 'Spotlight' tells a crucial story of morals that still resonates amid continued injustices.
Maya Lekach, SF Weekly
"The uniformly strong ensemble cast largely avoids any grandstanding moments, and manufactured drama is swerved, while Howard Shore’s sober score is applied with restraint. Bradlee Sr’s exhortation was one ultimately heeded by the real Spotlight unit, the Globe forgoing early publication until the facts were unassailable. Rigorous and patient to the last, McCarthy’s film is a becoming tribute to their due diligence."
Matthew Taylor, Sight and Sound
"It’s another feat, then that the film looks as good as it does: DP Masonobu Takayanagi‘s photography (which will also be seen in 'Black Mass') is never showy but it is graceful. And there is a lot of it: McCarthy seems to have ample material to work from in the edit in order to make montages of people poring over lists of names line by line, not just cinematic (Howard Shore‘s sensitive piano-based score helps here too), but actually kind of thrilling."
Jessica Kiang, The Playlist
"As much of the film avoids exaggeration, the explanatory nature of certain exchanges stands out. 'If it takes a village to raise a child, it takes a village to abuse one,' asserts one journalist, with the spirit of Aaron Sorkin inexplicably beneath his wings. That issue is compounded by McCarthy’s near-sacred reverence for his subjects, a tendency that’s especially frustrating near the end, when Schrieber delivers a didactic speech about journalistic ethics as Howard Shore’s music swells."
Eric Kohn, Indiewire
"Although the story is shocking, 'Spotlight' is a refreshingly subdued picture. It’s fast-paced, but characters rarely scream at each other (there is one scene where that happens, and it feels a bit like an outlier) or face intense situations. It’s a slow burn where the emotional impact comes from the victims’ tales and the outrage over the cover-up rather than any embellishments. Howard Shore’s piano-heavy score and Masanobu Takayanagi’s balanced cinematography help provide contours and shading to the world; nothing needs to be heightened, only respected."
Matt Goldberg, Collider
"There’s a very famous shot in the 1976 classic 'All The President’s Men' of Woodward and Bernstein seated at a table, paging through stacks of pertinent documents, as the camera slowly pulls back to reveal the full size and scope of the room. It’s the movie in a nutshell: two journalists with their noses to the grindstone, discovering just how far back the conspiracy they’re investigating really reaches. Spotlight, from writer-director Tom McCarthy ('The Station Agent,' 'Win Win'), never conveys its themes with any such formal elegance; it’s more workmanlike, with a repetitive piano score by Howard Shore that labors a little too hard to underline the nobility of what we’re seeing. But that iconic shot, or one like it, wouldn’t be out of place here, as McCarthy’s film has been built in the same gripping procedural mode as Alan J. Pakula’s, with a comparable interest in the mundane daily duties -- the nuts and bolts, the nitty gritty -- of honest reporting. Like 'All The President’s Men,' it’s a muckraker movie that celebrates the power of the press by actually showing journalists doing their job, pen and notebook in hand."
A.A. Dowd, The Onion AV Club
"Gordon Willis managed to do some great things photographically with the newsroom setting in 'All the President's Men,' but this film is exceedingly plain visually, while Howard Shore's low-key score becomes monotonous."
Todd McCarthy, Hollywood Reporter
"But with the help of some solid performances and James Horner's heart-squeezing, throat-constricting score (one of the last he composed before his death in June), 'The 33' holds your attention and pushes the required buttons. It starts above ground, at an outdoor party where miners eat, drink, dance, impersonate Elvis Presley and engage in some necessary preliminary exposition. By the time they pile into the bus for work the next morning, we are acquainted with the most important figures. Once the earth shifts and a giant rock seals them into a refuge hundreds of feet down, we know the function each one will play."
A.O. Scott, New York Times
"Director Patricia Riggen charts the cave-in and ensuing rescue efforts to stirring if conventional effect, abetted by one of the late James Horner's final scores."
Neil Smith, Total Film
"The film doesn't quite work in the end, although the novel approach has to be at least partly credited to Patricia Riggen, the Mexican-American director. Her first feature, the 2008 'Under the Same Moon,' was a powerful tale of the sacrifices of a working mother. The sacrifices here - and the feelings - are even bigger. Yet like that debut film, 'The 33' occasionally gets confused, and occasionally goes overboard. Some problems are annoying, but not major - like the score by the late James Horner. Horner could do great work - 'Titanic,' 'Braveheart' and 'Star Trek II: The Wrath of Khan" are all his - but he could also be overwhelming and, as Riggen showed in the music she chose for her first film, she likes overwhelming. (They both liked obvious, too - as if terrified we'll otherwise forget we're in Latin America, every moment is backed by plaintive guitars and mournful flutes.)"
Stephen Whitty, Newark Star-Ledger
"Chile’s 2010 mining disaster -- and the thrilling rescue of all 33 men trapped underground -- played out on a globally televised stage in front of an estimated 1 billion viewers. Far be it for any movie to try to duplicate those numbers (much less a suspenseful climax), but Patricia Riggen’s dumb-as-dirt dramatization does a particularly awkward job of it, favoring several miners with TV-ready tics (the angry guy, the Elvis fanatic, etc.) and ladling on late composer James Horner’s most jaunty and aggressive score."
Joshua Rothkopf, Time Out New York
"These stock characters suffer and make inspirational speeches and suffer some more as the late James Horner's score reinforces every profundity. When real news footage is used, it's a welcome reminder that something serious did happen."
Jeff Baker, The Oregonian
"The low-light camerawork by Checco Varese is quite remarkable and the scenes of the mine crumbling are riveting -- and the only time the film feels truly original. Kudos to director Patricia Riggen ('Under the Same Moon,' 'Girl in Progress') for marshaling this big ensemble; she’s a filmmaker with great heart and it’s a shame that more of her empathy doesn’t come through. The atypically heavy-handed score by James Horner, to whom the film is dedicated, does not offer the composer a fitting epitaph. 'The 33' opens with the notice that every year 12,000 miners die in accidents around the world, and closes with reminders that the San José mine owners were deemed not guilty of negligence and that the 33 have never been compensated for their trauma. Next time someone tries to tell this saga on film, I suggest they frame it as a crime story."
Marjorie Baumgarten, The Austin Chronicle
"The CGI-assisted cave-in is a thrilling disaster-movie sequence that communicates the cave’s vast scope and the seeming impossibility of any rescue. And while she goes painfully over the top with a fantasy sequence that has the starving miners collectively hallucinating about food, all to the operatic strains of Bellini’s 'Casta Diva' from 1831’s 'Norma,' at least it suggests a strong, confident directorial point of view and a sense of humor. But the film is gratingly emphatic about its primary-color emotions, especially via James Horner’s miserablist score. And it becomes strident and simplistic as it rushes to compact months of incident into two hours."
Tasha Robinson, The Wrap
"The location shooting reps a consistent plus, with Checco Varese’s camera getting a tactile quality from a Colombian mine while caressing the majestic desert exteriors. The musical theme, by the late James Horner, is nothing if not persistent."
Scott Tobias, 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, Arclight, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.
March 17
THE HATEFUL EIGHT (Ennio Morricone) [Cinematheque: Aero]
HOWL'S MOVING CASTLE (Joe Hisaishi) [Nuart]
KURONEKO (Hikaru Hayashi), ONIBABA (Hikaru Hayashi) [New Beverly]
POINT BREAK (Mark Isham), ROAD HOUSE (Michael Kamen) [Cinematheque: Egyptian]
PULP FICTION [New Beverly]
STARSHIP TROOPERS (Basil Poledouris) [Silent Movie Theater]
WITCHTRAP (Randy Miller) [Cinematheque: Egyptian]
March 18
KILLER KLOWNS FROM OUTER SPACE (John Massari), THE FUNHOUSE (John Beal), BLOOD HARVEST (George Daugherty) [Cinematheque: Egyptian]
KURONEKO (Hikaru Hayashi), ONIBABA (Hikaru Hayashi) [New Beverly]
MAMBA (James C. Bradford), CHEER UP AND SMILE [UCLA]
THE MASTER (Jonny Greenwood) [Cinematheque: Aero]
THE MONSTER SQUAD (Bruce Broughton) [New Beverly]
NIGHTWING (Henry Mancini) [New Beverly]
NOISE [Silent Movie Theater]
ORPHEUS (Georges Auric) [Silent Movie Theater]
March 19
BLOW OUT (Pino Donaggio) [Silent Movie Theater]
DOC (Jimmy Webb), RANCHO DELUXE (Jimmy Buffett) [New Beverly]
GOD'S STEP CHILDREN, SHE DEVIL [UCLA]
INTERSTELLAR (Hans Zimmer) [Cinematheque: Aero]
THE MEMORY OF JUSTICE [AMPAS]
THE MONSTER SQUAD (Bruce Broughton) [New Beverly]
THE PASSENGER [Silent Movie Theater]
PLANET OF THE APES (Jerry Goldsmith), THE OMEGA MAN (Ron Grainer) [Cinematheque: Egyptian]
March 20
BLACK SWAN (Clint Mansell) [Arclight Hollywood]
CAPE FEAR (Bernard Herrmann) [Arclight Culver City]
DOC (Jimmy Webb), RANCHO DELUXE (Jimmy Buffett) [New Beverly]
INFERNAL MACHINE (Samuel Kaylin), SLEEPERS EAST (Samuel Kaylin) [UCLA]
March 21
THE HOUSE THAT SCREAMED (Waldo de los Rios), PIECES (Stelvio Cipriani, Carla Maria Cordio) [New Beverly]
OUT OF AFRICA (John Barry) [LACMA]
REAR WINDOW (Franz Waxman) [Arclight Sherman Oaks]
March 22
THE COWBOYS (John Williams), THE CULPEPPER CATTLE CO. (Tom Scott) [New Beverly]
RIVER OF GRASS (John Hill), THE WATERMELON WOMAN (Paul Shapiro) [UCLA]
March 23
THE COWBOYS (John Williams), THE CULPEPPER CATTLE CO. (Tom Scott) [New Beverly]
March 24
ONLY ANGELS HAVE WINGS (Dimitri Tiomkin), BLONDE VENUS [New Beverly]
PULP FICTION [New Beverly]
THIS GUN FOR HIRE (David Buttolph), QUIET PLEASE, MURDER (Emil Newman) [Cinematheque: Egyptian]
2001: A SPACE ODYSSEY [Cinematheque: Aero]
March 25
ALL THE PRESIDENT'S MEN (David Shire) [Silent Movie Theater]
DEMONLOVER (Sonic Youth) [Silent Movie Theater]
THE KING AND THE MOCKINGBIRD (Wojciech Kilar) [Silent Movie Theater]
MINISTRY OF FEAR (Victor Young), ADDRESS UNKNOWN (Ernst Toch) [Cinematheque: Egyptian]
ONLY ANGELS HAVE WINGS (Dimitri Tiomkin), BLONDE VENUS [New Beverly]
ROOKIE OF THE YEAR (Bill Conti) [New Beverly]
2001: A SPACE ODYSSEY [Cinematheque: Aero]
VAMPIRE'S KISS (Colin Towns) [New Beverly]
March 26
CLEAN (David Roback, Tricky, Brian Eno) [Silent Movie Theater]
THE FIREMAN'S BALL (Karel Mares), INTIMATE LIGHTING (Josef Hart, Oldrich Korte) [New Beverly]
LADY ON A TRAIN, ESCAPE IN THE FOG [Cinematheque: Egyptian]
ROOKIE OF THE YEAR (Bill Conti) [New Beverly]
2001: A SPACE ODYSSEY [Cinematheque: Aero]
W.R.: MYSTERIES OF THE ORGANISM (Bojana Marijan) [Silent Movie Theater]
|
