Intrada plans to announce one new release next week.
CDS AVAILABLE THIS WEEK
Boquitos Pintadas - Waldo de los Rios - Rosetta
Cantabrico - Santi Vega - Rosetta
Hyperspace - Don Davis - Dragon's Domain
The Long Road Home - Jeff Beal - Varese Sarabande
Mully - Benjamin Wallfisch - Varese Sarabande
The Rendezvous - Austin Wintory - Varese Sarabande
24 Hours to Live - Tyler Bates - Varese Sarabande
IN THEATERS TODAY
Delirium - Nathan Whitehead
Den of Thieves - Cliff Martinez
Django - Warren Ellis
Forever My Girl - Brett Boyett
Freak Show - Dan Romer
Humor Me - Gabriel Mann
Kangaroo: a Love-Hate Story - David Bridie
The Midnight Man - Olaf Pyttlik
Mom and Dad - Mr. Bill
My Art - Will Epstein
The Revival - Lucas Carey
Showdown in Manila - Sean Murray
Step Sisters - Laura Karpman, Raphael Saadiq
This Giant Papier-Mache Boulder Is Actually Really Heavy - Karl Steven
12 Strong - Lorne Balfe
COMING SOON
January 26
Babylon Berlin - Johnny Klimek, TomTykwer - BMG (import)
Hangman - Frederik Wiedmann - Varese Sarabande
February 2
In the Fade - Joshua Homme - Milan
The Mercy - Johann Johannsson - Deutsche Grammophon
Star Trek: Discovery - Jeff Russo - Lakeshore
February 9
Beauty and the Beast: Disney Legacy Edition - Alan Menken - Disney
Churchill - Lorne Balfe - Filmtrax
A Fantastic Woman - Matthew Herbert - Milan
Hostiles - Max Richter - Deutsche Grammophon
Mark Felt - The Man Who Brought Down the White House - Daniel Pemberton - Filmtrax
Maze Runner: The Death Cure - John Paesano - Sony
Phantom Thread - Jonny Greenwood - Nonesuch
February 16
The Commuter - Roque Banos - Varese Sarabande
Date Unknown
Ivan the Terrible - Sergei Prokofiev - Capriccio
L'Art d'Aimer/Le Jeune Marie/Un Amour Interdit - Luis Bacalov - Music Box
Le Grand Meaulnes - Jean-Pierre Bourtayre - Disques CineMusique
Lisa - Gabriel Yared - Caldera
Mia Moglie E' Una Bestia - Bruno Zambrini - Beat
Salvatore - Questa e La Vita - Paolo Vivaldi - Kronos
Sheherazade - Andre Hossein - Disques CineMusique
Thi Mai, Rumbo a Vietnam - Fernando Velazquez - Quartet
Un Ciel Radieux - Rob - Music Box
THIS WEEK IN FILM MUSIC HISTORY
January 19 - Gerard Schurmann born (1924)
January 19 - Stu Phillips born (1929)
January 19 - Michael Boddicker born (1953)
January 19 - Jerome Moross begins recording his score to The Adventures of Huckleberry Finn (1960)
January 19 - Recording sessions begin for Cyril Mockridge’s score to The Man Who Shot Liberty Valance (1962)
January 19 - John Williams records his score for The Ghostbreaker (1965)
January 19 - Jerry Goldsmith begins recording electronic cues for Logan's Run (1976)
January 19 - David Shire records his score for the Amazing Stories episode "Moving Day" (1987)
January 19 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Life Support” (1995)
January 19 - Bjorn Isfalt died (1997)
January 20 - Emil Newman born (1911)
January 20 - Recording sessions begin for Miklos Rozsa's score for Double Indemnity (1944)
January 20 - John Beal born (1947)
January 20 - Franz Waxman begins recording his score to Untamed (1955)
January 20 - Bronislau Kaper begins recording his score to The Prodigal (1955)
January 20 - Pedro Bromfman born (1976)
January 20 - Christopher Young’s scores for the Twilight Zone episodes “A Matter of Minutes” and “A Small Talent for War” are recorded (1986)
January 20 - Basil Poledouris records his score for the Twilight Zone episode “Monsters!” (1986)
January 20 - Gerry Mulligan died (1996)
January 20 - Recording sessions begin for John Powell’s score to Agent Cody Banks (2003)
January 21 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “An Unlocked Window” (1965)
January 21 - Peer Raben died (2007)
January 22 - Sid Ramin born (1919)
January 22 - J.J. Johnson born (1924)
January 22 - Al Kasha born (1937)
January 22 - Miklos Rozsa begins recording his score for The Strange Love of Martha Ivers (1946)
January 22 - Velton Ray Bunch (1948)
January 22 - Keith Forsey born (1948)
January 22 - Ben Mink born (1951)
January 22 - Marc Blitzstein died (1964)
January 22 - Alexander Courage's score to the Star Trek pilot, "The Cage," is recorded (1965)
January 22 - Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “The Guardians” (1981)
January 22 - Christopher Palmer died (1995)
January 22 - Billy May died (2004)
January 23 - Walter Greene born (1910)
January 23 - Marty Paich born (1925)
January 23 - George Aliceson Tipton born (1932)
January 23 - Dick DeBenedictis born (1937)
January 23 - Casablanca released in theaters (1943)
January 23 - Alfred Newman begins recording his score to The President's Lady (1953)
January 23 - David Arnold born (1962)
January 23 - Riz Ortolani died (2014)
January 24 - Muir Mathieson born (1911)
January 24 - Norman Dello Joio born (1913)
January 24 - Joseph Carl Breil died (1926)
January 24 - Nico Fidenco born (1933)
January 24 - Neil Diamond born (1941)
January 24 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “The Jar” (1964)
January 24 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Conundrum” (1992)
January 25 - Albert Glasser born (1916)
January 25 - Antonio Carlos Jobim born (1927)
January 25 - Benny Golson born (1929)
January 25 - Tobe Hooper born (1943)
January 25 - Hans-Erik Philip born (1943)
January 25 - Jerry Goldsmith begins recording his score for Poltergeist (1982)
January 25 - Paul J. Smith died (1985)
January 25 - James Horner begins recording his score for A Far Off Place (1993)
January 25 - Gregory Smith records his score for the Star Trek: Deep Space Nine episode “Field of Fire” (1999)
January 25 - Normand Corbeil died (2013)
DID THEY MENTION THE MUSIC?
DISORDER - Gesaffelstein
"The pull of the battleground comes into sharp relief at home, when Vincent pulls two guns from a storage case under the tiny bed in his childhood home. The metallic cocking of these pistols is sharp and tactile, and as unnerving as Vincent’s panic attacks, which are scored to washes of choral music before diverging into either shrieking pizzicato or pulsing, synth-based techno. 'Disorder''s soundtrack, by the French DJ Gesaffelstein, occasionally seems to have 'The Shining' on its mind, but its boldest flourishes unabashedly recall Chromatics’s contributions to Drive. They help Vincent maintain an aura of romantic melancholy, even as he succumbs to fits of anxiety and violence."
Christopher Gray, Slant Magazine
"'Disorder''s extreme interiority is reflected in the original title, Maryland, the name of the Whalids’ gated villa, where Vincent first arrives as part of a security team of French army veterans hired for a party and stays on after being offered 3,000 euros to watch Jessie and her son for a week while the husband is away on unspecified business. The emphasis is on threatened space and incursion, even on the soundtrack. (The score, by French tech house star Gesaffelstein, blends seamlessly with the ominous sound design, but Winocour also makes inspired, disruptive use of tracks by Azealia Banks and Major Lazer.) The party sequence, which runs about 15 minutes, shows early on how Winocour can turn non-events like a guest not being on the guest list or Vincent being asked to fetch some ice into points of tension."
Ignatiy Vishnevetsky, The Onion AV Club
"Vincent’s eyes dart nervously from left to right as he jogs along in fatigues with the rest of his troop. A heart-thumping soundtrack à la John Carpenter (but really from techno artist Gesaffelstein) builds intensity until the subtle beep of a hearing test ekes its way through the cacophony. Now in a quiet room, Vincent struggles to identify the direction of the beeps. Are they coming from the right or the left? The sounds signal danger to him, and as the story progresses, the danger could truly be anywhere, an anxiety evoked masterfully by Winocour’s tight focus on her shell-shocked protagonist."
April Wolfe, LA Weekly
"A restless, complex soundscape is the third star of 'Disorder.' Flipping bluntly between disquieting silence and feverishly layered metallic chatter, the tonal contrasts of Gwennole Le Borgne’s sound editing take auds in and out of Vincent’s head with evocative economy, abetted by the skittering electronic pulse of the score by French techno DJ Gesaffelstein. Georges Lechaptois’ snooping, cool-hued cinematography is a valuable asset to proceedings, and Samuel Deshors’ excellent production design gives the suspense sequences a firm geometry, while perceptively serving the contemporary upstairs-downstairs aspect of the narrative."
Guy Lodge, Variety
"Fortunately, Winocour’s way with the camera is considerably more palatable than her screenwriting, so the visuals are pleasurably watchable even if what the characters are doing is silly. The techno score by Gesaffelstein is also lulling."
Todd McCarthy, Hollywood Reporter
HARDCORE HENRY - Dasha Charusha
"'Hardcore Henry' also hopes, perhaps, that you’ll overlook its paper-thin plot and cartoonish characters and join it in celebrating the art of the kill. One rooftop moment is reminiscent of Neo tangling with a hundred Agent Smiths -- only here Henry dispatches his army of bioengineered zombie soldiers by going on a shanking spree, as an electro score ratchets up the tension. In another, the resourceful Henry demonstrates an unconventional use for pliers as he makes his way through an apartment building, racking up a startling body count along the way."
Jen Yamato, The Daily Beast
"'Hardcore Henry,' though, is both a mockery and celebration of that might. The ultimate truth of Henry’s crisis is an expected one, a dictate of a plot that feels almost as depthless as the two flashbacks to Henry’s father (Tim Roth) that strain to give the film a sentimentality it doesn’t need. In the end, the sheer insanity of the film’s hyperbolic action, often ballsily accented by non-diegetic blasts of music as Henry stumbles from one unlikely or surprising scenario after another, is enough to robustly give shape to not only the sheer impossibility of Henry’s existence and power, but his sense of obsolescence. Purposefully one-note, the film has been compared, not unfairly, to Run Lola Run and first-person shooters, but its audacity is closer to that of Russia’s extreme climbers, who also thrive on flaunting their fearlessness and resourcefulness in ways that feel like an extension of and resistance to the postmodern masculine ideal foisted on them in the age of Vladimir Putin."
Ed Gonzalez, Slant Magazine
"What’s the end result? Well, first there’s the irony that a camera invented to showcase outdoor movement and activity is being used to simulate… sitting on your couch playing video games. Secondly, games have already outpaced this film in terms of pure cinematic quality. The opening sequence to 'Metal Gear Solid: The Phantom Pain' sports a nearly identical premise, yet it’s staged far more viscerally, without all the non-diegetic hard rock music. Games are doing movies better than movies are doing games."
Andrew Lapin, Uproxx
"Shot almost entirely on body-mounted, wide-angle, GoPro mobile cameras, the pic has a stampeding punk-rock energy amplified by its pounding score and punchy editing. The nominal hero Henry is a cyborg super-soldier whose memory and speech functions have been wiped. Waking up in a high-tech laboratory as his beautiful engineer wife Estelle (Haley Bennet) fits his broken body with new robotic limbs, Henry is immediately plunged into an explosive running battle between rebel scientist Jimmy (Copley) and the evil Akan (Danila Kozlovsky), an albino supervillain with telekinetic powers and obligatory designs on world domination. Why? Because reasons, obviously. 'Hardcore Henry' is a seriously silly movie, and by no means perfect. The plot is patently preposterous, but rattles along far too briskly for trifling questions about character motivation or narrative logic. The worldview here is emphatically the 'male gaze,' quite literally, with an extra adolescent streak of casual sexism and mild homophobia. Predictably, the female characters are mostly fantasy sex objects who rarely take the trouble to wear many clothes. Even so, there is ample redeeming tongue-in-cheek humor in the film, plus exhilarating action and high-caliber technical achievement both on screen and behind the camera. As befits a movie that began life as a music video, the soundtrack is also a strong element, mixing an arch selection of rock classics with a propulsive score by Naishuller's wife, Dasha Charusha. A guilty pleasure, perhaps, but still a double-barreled shotgun blast of heavy-metal excess."
Stephen Dalton, Hollywood Reporter
JOSHY - Devendra Banhart
"Shot on a shoestring over a two-week period, 'Joshy' has the feel of an experiment that Baena needed to get out of his system after the far more ambitious 'Life After Beth,' but time will tell which direction his career takes. Tech credits are modest, highlighted by a rare original score from indie folk artist Devendra Banhart -- though that coup is nearly lost among an over-abundance of licensed songs."
Geoff Berkshire, Variety
LOUDER THAN BOMBS - Ola Flottum
"Trier’s film is at its best when it’s graceful and simple. Working with regular cinematographer Jakob Ihre, he’s very interested in the humanity of his characters, returning to images of hair, eyes, kissing mouths. The film is surprisingly striking visually, finding beauty in both cheerleader bodies hurtling through the air and a car that has just crashed head-on into a truck. Ola Fløttum’s minimal, effective score works subtly to add another layer of grief that doesn’t feel manipulative or overdone."
Brian Tallerico, RogerEbert.com
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, Laemmle, New Beverly, Nuart and UCLA.
January 19
THE CREATURE FROM THE BLACK LAGOON [Cinematheque: Egyptian]
ICHI THE KILLER (Karera Muication, Seichi Yamamoto) [Nuart]
January 20
THE DANCE OF REALITY (Adan Jodorowsky) [Cinematheque: Egyptian]
THE ROOM (Mladen Milicevic) [Cinematheque: Egyptian]
January 21
BEAUTY AND THE BEAST (Georges Auric), DONKEY SKIN (Michel Legrand) [Cinemathque: Egyptian]
January 22
LAWRENCE OF ARABIA (Maurice Jarre) [Arclight Hollywood]
January 23
THE BRIDE WORE RED (Franz Waxman) [LACMA]
E.T. THE EXTRA-TERRESTRIAL (John Williams) [Arclight Culver City]
RAIDERS OF THE LOST ARK (John Williams) [Arclight Sherman Oaks]
January 24
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Cinematheque: Egyptian]
January 25
MAGNOLIA (Jon Brion) [Laemmle NoHo]
January 26
DOCTOR ZHIVAGO (Maurice Jarre) [Cinematheque: Aero]
DON'T LOOK NOW (Pino Donaggio) [Cinematheque: Egyptian]
PHANTASM (Fred Myrow, Malcolm Seagrave) [Nuart]
January 27
LAWRENCE OF ARABIA (Maurice Jarre) [Cinematheque: Aero]
TO KILL A MOCKINGBIRD (Elmer Bernstein) [Cinematheque: Egyptian]
January 28
THE GREAT ESCAPE (Elmer Bernstein) [Laemmle Ahyra Fine Arts]
NINE TO FIVE (Charles Fox), THELMA & LOUISE (Hans Zimmer) [Cinematheque: Egyptian]
RYAN'S DAUGHTER (Maurice Jarre) [Cinematheque: Aero]
THE WOMEN (Edward Ward, David Snell) [Cinematheque: Egyptian]
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