Intrada has announced three new releases -- an expanded version of John Williams' score for the 1982 drama MONSIGNOR, featuring both the original LP cues (previously released on CD by Intrada) as well as the first release of the full original score tracks; Richard Band's score for the 2013 horror fantasy UNLUCKY CHARMS; and the score to the just-released thriller MA, starring Oscar winner Octavia Spencer and directed by Tate Taylor (The Help, The Girl on the Train), with music by Gregory Tripi (Dark Places, Manhunt: Unabomber)
Music Box has announced three new releases -- a one-disc reissue of Bernard Herrmann's gorgeous OBSESSION, featuring a remastered version of the original score tracks; an expanded version of Gabriel Yared's score for the biopic CAMILLE CLAUDEL, which earned Isabelle Adjani a Best Actress nomination; and the score for the new Swedish romance SWOON, composed by Nathaniel Mechaly (the Taken trilogy).
Caldera is releasing for the first time Leonard Rosenman's score for the 1991 psychological thriller AMBITION, written by and starring Lou Diamond Phillips and co-starring Clancy Brown, Cecilia Peck, and Oscar winner Haing S. Ngor.
Next week, La-La Land plans to release Harold Faltermeyer's score for the comedy-mystery sequel FLETCH LIVES. It is the latest in their Universal Heritage collection, which leaves Ennio Morricone's Two Mules for Sister Sara as the only LLL/Universal Heritage CD announced last year which has yet to be released.
CDS AVAILABLE THIS WEEK
Being Rose - Brian Ralston - Notefornote
First to the Moon: The Journey of Apollo 8 - Alexander Bornstein - Notefornote
Ghostbusters - Elmer Bernstein - Sony
John Wick Chapter 3: Parabellum - Tyler Bates, Joel J. Richard - Varese Sarabande
Monsignor - John Williams - Intrada Special Collection
My Brilliant Friend - Max Richter - Deutsche Grammophon
Prom Night - Carl Zittrer, Paul Zaza - Perseverance
Unlucky Charms - Richard Band - Intrada Special Collection
IN THEATERS TODAY
Abduction - Marc Vanocur
The Black Godfather - Jasha Klebe
Changeland - Patrick Stump
Dark Phoenix - Hans Zimmer
The Last Black Man in San Francisco - Emile Mosseri
Late Night - Lesley Barber
Papi Chulo - John McPhillips
Pavarotti - Soundtrack CD on Verve
The Secret Life of Pets 2 - Alexandre Desplat
The Spy Behind Home Plate - John Keltonic
COMING SOON
June 14
Dragged Across Concrete - Jeff Herriott, S. Craig Zahler - Lakeshore
Fletch Lives - Harold Faltermeyer - La-La Land
The Ken Russell Soundtracks Vol. 1 - Rick Wakeman - Rraw (import)
Men in Black: International - Danny Elfman, Chris Bacon - Sony
Missing Link - Carter Burwell - Lakeshore
Shaft - Isaac Hayes - Varese Sarabande
Too Old to Die Young - Cliff Martinez - Milan
June 21
The Biggest Little Farm - Jeff Beal - Lakeshore
Confidential: Secret Market - Yasuo Higushi - Cinema-Kan (import)
The Dead Don't Die - Squrl - Backlot
Gloria Bell - Matthew Herbert - Milan (import)
The Goonies - Dave Grusin - Varese Sarabande
Yesterday - Daniel Pemberton, songs - Capitol
June 28
Apollo 11 - Matt Morton - Milan
Bunuel in the Labyrinth of the Turtles - Arturo Cardelus - Milan (import)
The Film Music of Gerard Schurmann - Gerard Schurmann - Chandos
July 5
Midsommar - Bobby Krlic - Milan
July 19
Game of Thrones: Season 8 - Ramin Djawadi - WaterTower
July 26
Halston - Stanley Clarke - Node
Date Unknown
Ambition - Leonard Rosenman - Caldera
Andrea Doria -74 - Riz Ortolani - Quartet
Anima Persa - Francis Lai - Digitmovies
Blanche Comme Neige - Bruno Coulais - Quartet
Camille Claudel - Gabriel Yared - Music Box
A Dog's Journey - Mark Isham - Quartet
E Poi Lo Chiamarono Il Magnifico - Guido & Maurizio DeAngelis - Digitmovies
Good Omens - David Arnold - Silva
Le Lunghe Ombre - Egisto Macchi - Kronos
Ma - Gregory Tripi - Intrada
Obsession - Bernard Herrmann - Music Box
Occupation in 26 Pictures - Alfi Kabiljo - Kronos
Red Joan - George Fenton - Quartet
Swoon - Nathaniel Mechaly - Music Box
Un Detective - Fred Bongusto - Quartet
Ursus Y La Ragazza Tartara - Angelo Francesco Lavagnino - Kronos
THIS WEEK IN FILM MUSIC HISTORY
June 7 - Georges Van Parys born (1902)
June 7 - Franz Reizenstein born (1911)
June 7 - Charles Strouse born (1928)
June 7 - Don Peake born (1940)
June 7 - Lewis Furey born (1949)
June 7 - Morton Stevens wins an Emmy for his Hawaii Five-O episode score “A Thousand Pardons, You’re Dead,” and Pete Rugolo wins for his TV movie score The Challengers (1970)
June 7 - Elmer Bernstein begins recording his score for The Shootist (1976)
June 7 - Daniele Amfitheatrof died (1983)
June 7 - Billy Goldenberg records his score for the Amazing Stories episode "The Amazing Falsworth" (1985)
June 8 - George Antheil born (1900)
June 8 - Recording sessions begin for Bronislau Kaper's score for The Wild North (1951)
June 8 - John Williams wins the Outstanding Music Composition Emmy for Heidi (1969)
June 8 - Jean Wiener died (1992)
June 8 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “In the Hands of the Prophets” (1993)
June 8 - Caleb Sampson died (1998)
June 8 - Herschel Burke Gilbert died (2003)
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 - Steve London born (1970)
June 10 - Jerry Goldsmith begins recording his replacement score for Chinatown (1974)
June 10 - Marius Ruhland born (1975)
June 10 - David Shire begins recording his score to Farewell, My Lovely (1975)
June 10 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Basics, Part II” (1996)
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 - David Shire begins recording his score for Paternity (1981)
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 - Paul Buckmaster born (1946)
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 - Bruce Broughton begins recording his score for Last Rites (1988)
DID THEY MENTION THE MUSIC?
"Visually, there’s a retro look and feel to the animation that plays affectionate homage to Looney Tunes legends Chuck Jones, Tex Avery and Friz Freleng, while simultaneously drawing upon new wrinkles in computer animation that allow the action to follow the lead of Tim’s vivid fantasy life. Those nostalgic underpinnings are also nicely incorporated into the appropriately bubbly score by Hans Zimmer and frequent collaborator Steve Mazzaro."
Michael Rechtshaffen, The Hollywood Reporter
THE DISCOVERY - Danny Bensi, Saunder Jurriaans
"As with 'The One I Love,' 'The Discovery' offers a twist in its third act that I predict will be divisive. I wouldn’t dare spoil it here, but it simultaneously offers more shading to the film overall while also taking your head for a spin. Where 'The Discovery' really shines is in its focus on mortality. Just because we know for certain the afterlife is real, does that mean it’s ethical to call it quits on our mortal life? Isn’t struggle and the bettering of oneself in the face of adversity what makes us the most human? These are big questions and the film doesn’t shy away from them. Indeed, I couldn’t help but feel a pit in my stomach for most of the movie’s runtime. Aside from the fact that the terrific score by Danny Bensi and Saunder Jurriaans is ominous as all get-out, the constant presence of suicide and death forces us to confront our own mortality, however uncomfortable it may be."
Adam Chitwood, Collider
"McDowell’s last feature, 'The One I Love,' was a whip-smart debut: a metaphorical romantic comedy about a couple that begins fooling around with idealized doppelgängers of each other. His new one is bolder, at least conceptually and stylistically. Redford’s obsessed scientist has turned his island research facility into a kind of New Age cult, and that detail -- combined with brilliantly blue ocean imagery, a sometimes atonal score, and a questionnaire scene that plays like a milder form of 'processing' -- makes 'The Discovery' the first American indie to owe a clear, considerable debt to 'The Master.' There’s also a fair share of Christopher Nolan in its knotty plot architecture, which spirals into a melodramatic series of reveals, tearing back layer after layer. At the same time, McDowell hasn’t abandoned his own voice; his ambitions have ballooned, but not at the expense of the balancing act he creates between high concept and grounded relationship study."
A.A. Dowd, The Onion AV Club
"The result is watchable enough, but never half as suspenseful or emotionally involving as it hopes to be. Stylistically it also falls a little short, with competence but not much character to Norwegian DP ('Rams') Sturla Brandth Grovien’s widescreen lensing or the other visual design contributions. Like 'The Discovery' as a whole, the original score credited to Danny Bensi and Saunder Jurriaans seems like a collection of variably interesting ideas that don’t quite hang together."
Dennis Harvey, Variety
DONNYBROOK - Phil Mossman, Jens Bjørnkjaer
"Phil Mossman’s mournful orchestral score gives the proceedings a doomed grandeur, although much of 'Donnybrook' is as direct and visceral as a punch to the jaw. Even if Sutton occasionally overdoes the toxic masculinity and red-state seediness, the movie becomes increasingly gripping as it draws us into this brutal reality."
Tim Grierson, Screen International
"Chainsaw Angus is a violent monster whose every appearance is accompanied by horror movie music. It’s appropriate, because he’s nothing more than a slasher movie killer. Every time he shows up, somebody dies or gets beaten or maimed in horrible ways designed to unsettle the viewer, and there’s no plot-related reason for any of it. So there’s no suspense nor surprise in Angus’ scenes, and if you’re a hardened gorehound like me, any intended flinching will be replaced by a mere shrug. It’s clear 'Donnybrook' sees Angus as its Anton Chigurh figure, but hell, even Chigurh didn’t win every coin toss."
Odie Henderson, RogerEbert.com
"'Donnybrook,' Tim Sutton’s poetic adaptation of Frank Bill’s novel, is a brutal movie with a soft touch. Orchestral music swells over the image of an empty fighting cage, and a few minutes later, the punches land hard. Sutton, whose mesmerizing docu-thriller 'Dark Night' imagined the sleepy routines leading up to a mass shooting, excels at punctuating quiet lyricism with pain. This time, however, the observational textures have been stuffed into the mold of a pulpy survival story against the backdrop of an unforgiving rural landscape. The characters hail from familiar archetypes of impoverished loners, but their world exudes a haunting sense of loss...This includes one of the most disturbing murder-rape scenes in modern film history, less for what it shows than how it unfolds, and a gripping showdown between Earl and a nosy police officer (James Badge Dale) in a shadowy empty parking lot. Sutton oscillates between ironic music cues and pregnant pauses, unearthing the impression of a world devoid of hope just a few shades shy of 'No Country For Old Men.' The difference is that, while Cormac McCarthy’s work inhabits an endless cycle of chaos and violence, 'Donnybrook' explores the profound and possibly aimless quest of one man trying to escape its clutches."
Eric Kohn, IndieWire
"That brings us back to the question of what it is exactly, this ominous Donnybrook -- this place abstractly glimpsed in the opening shot and represented throughout by co-composers Phil Mossman and Jens Bjørnkjaer’s bone-chilling score. For all the buildup, the finale feels anticlimactic, rushed, and not nearly as nightmare-producing as the previous 90 minutes. It can go only one of two ways, and it goes one of those ways. Turns out the title also refers to the First Battle of Bull Run, which sets up an unnecessary coda for the downbeat epic poem that has come before, allowing Sutton to offer a tidy summation of his requiem for the American dream."
Peter Debruge, Variety
FRANTZ - Philippe Rombi
"Several times in 'Frantz,' director François Ozon’s requiem for post-World War I Europe, Philippe Rombi’s score returns to a refrain that sounds like a piano seeking out and nearly achieving the chords to 'Ode to Joy,' the final movement of Beethoven’s Ninth Symphony. It’s a small gesture, but one that speaks to the deep-rooted unrest that keeps 'Frantz''s characters from finding any kind of solace."
Robert Ham, The Stranger
"Black-and-white is meant to ground 'Frantz' in a fixed past, yet the reproduced monochromatic tones are obviously computer 'corrected' from color, resulting in oddly flat visuals of little spatial interest. The color scenes work much better visually, especially as the palette chosen has the kind of genuinely older feeling that the black-and-white presumably strives, but fails, to meet. If monochrome is meant to convey something of the mournful quality of Europe at the time, it’s odd that Ozon shoots a trench scene -- a very unnecessary trench scene -- in color. Philippe Rombi’s score borrows heavily from Mahler in the first sections, intrusively aiming to enrich the emotions, leading to more Romantic orchestrations that fulfill the requirements of melodrama."
Jay Weissberg, Variety
"When, after some prodding, Adrien recalls the men’s visit to the Louvre, Ozon inserts a first flashback in color. It is also the first time he uses Philippe Rombi’s score, with its earlier absence having reinforced the opening section’s downbeat tone. The result is a scene that feels like an immersion into the warm bath of a happier past, when Frantz was still alive. And since Adrien is the one that conjured the memory, he’s then fully embraced by the family. 'Don’t be afraid to make us happy,' says Magda -- a sentence that would’ve been right at home in the mid-century studio romances and melodramas directed by German-born talents such as Lubitsch and Sirk."
Boyd van Hoeij, The Hollywood Reporter
GHOST IN THE SHELL - Clint Mansell, Lorne Balfe
"This lack of detailing extends to the characters themselves. The Major spends a considerable amount of time with her Section 9 teammates but I honestly couldn’t name one single personality trait for any of them beyond being dedicated to their work. The only one who gets enough focus to rise above being completely forgettable is Batou (Pilou Asbæk). He has a comfortable rapport with the Major that causes her to crack a smile and some occasional jokes, suggesting she has more humanity than she gives herself credit for. As Dr. Ouelet, the Major’s chief creator, Juliette Binoche imbues a warmth and nearly neurotic sense of overprotection that suggests an interesting mother/daughter dynamic. This isn’t enough. The lightning pace of the film means that just when a scene is about to touch a nerve it moves on to the next. The score buzzes and swells with intrigue that the action on-screen doesn’t communicate. Typically, a strong lead performance can make even the most cumbersome film have charm and merit, but Johansson struggles to create a meaningful emotional through line for the Major."
Angelica Jade Bastien, RogerEbert.com
"Workmanlike director Rupert Sanders ('Snow White and the Huntsman') slavishly serves up the imagery from the original: briefcases that convert into machine guns; a pool of white goo that hatches Johansson’s sleek, nude form; weirdly empty city streets (who are all the hologram ads for?); wedge-shaped cars that date the concept back to 'Miami Vice.' The filmmaking team under him, meanwhile, seems to want to travel a different path: The script shoehorns in more identity-grappling this time -- half-baked and sub-Westworld though it is -- and the squelchy synth score (by 'Black Swan''s Clint Mansell) supplies a playfulness that’s unearned by the visuals. Find a handy film geek to tell you all about how 'Ghost in the Shell' was a massive influence on 'The Matrix.' Better yet, just rewatch 'The Matrix.'"
Joshua Rothkopf, Time Out New York
"Cinematographer Jess Hall and an army of cartwheeling VFX artists render this universe in the glossiest, glassiest strokes possible. Perhaps the only ones holding back are composers Clint Mansell and Lorne Balfe, whose stylish, techno-ominous score is mostly content to skulk in the background, only daring to reference Kenji Kawai’s unshakeable theme for the 1995 film over the closing credits. It’s perhaps the one area where this otherwise exhilarating re-imagination could have dared to plunder its source a little more greedily."
Guy Lodge, Variety
THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT - Joe Kraemer
"Krzykowski presents Barr’s flashbacks of killing Hitler and being in war time with great detail in pacing and production design, their dreaminess enhanced by Joe Kraemer’s traditional orchestral score. Just as much, as an editor, Krzykowski is on occasion precious with this time, showing these parts of his life in scenes that might feel bloated. But when it comes to Calvin's present, Krzykowski is wonderfully not precious, like when he jumps right in the middle of Barr’s hunt for Bigfoot, which is contrived in the best sci-fi fashion. Not a spoiler, the second half of the film does not climax with Calvin killing Bigfoot. The movie has so much more on its mind."
Nick Allen, RogerEbert.com
MISS BALA - Alex Heffes
"As things are chugging along, it feels fairy tale-esque, like 'Beauty and the Beast' crossed with a telenovela. Yet there’s this very real-world cynicism that wants to show us that the drug bosses are just as dirty as the cops, and we’re all guilty of perpetuating violence against innocents (on that note, quit buying cocaine already). With thriller pacing and the aerial shots of a generic action film, 'Miss Bala' is a ride. There are times when it’s funny. There are also times when it beats you over the head with context clues. When the action ramps up, the over-the-top music score seems to stomp its foot and say, 'Something is hap-pen-ing!' Certain plot points are overemphasized. It veers toward parody. But it’s also satisfying to see the outcome. At the beginning of the film, Rodriguez comes to the role with hints of Jane the Virgin’s naivete and her 1,000-watt smile. She constantly has to make choices, and some of them are kinda repulsive. It’s interesting that 'I only do what I have to do to survive' is a phrase used by Lino the drug lord, yet it keeps being applied to Gloria. As if that makes it okay. Yet that’s when the film achieves the closest thing to verisimilitude: It’s complicated."
Danielle White, The Austin Chronicle
"After digging themselves into a soulless, nihilistic hole, Hardwicke and company climb out of it by resorting to deus ex Mackie -- Anthony Mackie, who appears, despite his billing, in exactly two sequences. By then the movie has gone to hell with action-movie clichés. In a nightclub shootout the gunfire functions as strobe light. And the film’s score is the journeyman director’s equivalent of a Wall of Sound: chugging tension music ratchets through our brains like the noise of an aging railroad clickety-clacking over rust-filled gaps."
Michael Sragow, Film Comment
ST. AGATHA - Mark Sayfritz
"'St. Agatha' could have done without its overly derivative musical score, featuring breathy, childlike vocals, that feels all too reminiscent of such films as 'Rosemary's Baby' and 'Suspiria.' And its plot twists can be seen from a mile away. But that doesn't prevent it from being sufficiently unsettling, even for those viewers who've never had their knuckles rapped by a nun."
Frank Scheck, The Hollywood Reporter
TITO AND THE BIRDS - Ruben Feffer, Gustavo Kurlat
"Even at the story’s thinnest points, the restless imagery is constantly absorbing and picture-book vivid. Atmospheric slabs of urban architecture and surges of fevered crowd movement are evoked with single, stylized flicks of a brush, with a saturated palette that switches as temperamentally as a mood ring: from the livid frog-green fumigation smoke wielded by Souza’s minions to the coruscating amber that the film repeatedly identifies with youth and hope. Standing up to the visuals with equal muscle is a tremendous, Zimmer-esque score by Ruben Feffer and Gustavo Kurlat -- also vital contributors to 'Boy and the World' -- whose clattering, dissonant merging of orchestral and rumbling synthetic elements ensures that fear will not be defeated quietly."
Guy Lodge, Variety
"This nightmarish world is put across in dark hues with thick swaths of impasto paint. The animators sometimes use digital tools to bring their slightly macabre-looking characters to life, but their environs are always organic and vibrantly depicted, brushstrokes rapidly materializing as the camera swirls through expressionistic interiors and nocturnal cityscapes. A Danny Elfman-like score and the dark earnestness of lead voice actor Matheus Nachtergaele's performance make this world believable enough that the film's big revelation -- city pigeons, as humanity's ancient companions, know how we can stop being so paralyzed by fear -- doesn't sound quite as ridiculous as it should."
John DeFore, The Hollywood Reporter
WEST OF SUNSHINE - Lisa Gerrard, James Orr
"Of course, not everything comes out flawless in the picture. The score by Dead Can Dance’s Lisa Gerrard and James Orr brings some prestige to the film, and is quite good, but feels like a poor fit for 'West Of Sunshine' which largely operates in a more grounded, realist aesthetic. Meanwhile, the film’s resolution feels just a little too neatly wrapped, even though its convincingly played. Nonetheless, with this film, Raftopoulos has made a solid first impression. A drama crafted with precision, and feeling, 'West of Sunshine' succeeds admirably with its modest ambitions, as the filmmaker puts himself on the horizon as one to watch."
Kevin Jagernauth, The Playlist
"Smoothly filmed by DP Thom Neal in back alleys and grungy urban locations, and snappily cut by editor Paul Rowe, 'West of Sunshine' is only slightly let down by the overuse of music in its second half. Lisa Gerrard and James Orr’s eclectic, splendidly propulsive score is put to fine use in the early running. It’s laid on a tad thick in the closing stages, where fine acting and memorable dialogue don’t really need any assistance to make the emotional impact the film is striving for."
Richard Kuipers, Variety
"The expansiveness of DP Thom Neal's sun-kissed cinematography is bolstered by a vocals-heavy score from James Orr and Lisa Gerrard, who imbue this two-hander with some of the big-canvas gravitas Gerrard's voice lent to films such as 'Gladiator' and 'The Insider'. 'West of Sunshine''s willingness to claim equivalent emotional if not historical importance is underlined by the director's frequent use of slow motion, with sequences playing out as though they're memories imprinted on Alex's brain for life."
Harry Windsor, The 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, Arena Cinelounge, LACMA, Laemmle, New Beverly, Nuart, UCLA and Vista.
June 7
THE GOONIES (Dave Grusin) [Nuart]
INGLOURIOUS BASTERDS [New Beverly]
LOLA MONTES (Georges Auric) [LACMA]
PARTING GLANCES, MALA NOCHE (Creighton Lindsay) [New Beverly]
Y TU MAMA TAMBIEN [Vista]
June 8
BARRY LYNDON (Leonard Rosenman) [Vista]
THE BIRDS (Remi Gassman, Oskar Sala, Bernard Herrmann) [Vista]
CAN'T STOP THE MUSIC (Jacques Morali) [New Beverly]
FREAKY FRIDAY (Johnny Mandel) [New Beverly]
FREE SOLO (Marco Beltrami) [Cinematheque: Aero]
PARTING GLANCES, MALA NOCHE (Creighton Lindsay) [New Beverly]
June 9
BARAKA (Michael Stearns) [Cinematheque: Aero]
FREAKY FRIDAY (Johnny Mandel) [New Beverly]
THE KILLING OF SISTER GEORGE (Gerald Fried), THE SERGEANT (Michel Magne) [New Beverly]
June 10
THE KILLING OF SISTER GEORGE (Gerald Fried), THE SERGEANT (Michel Magne) [New Beverly]
L'ATALANTE (Maurice Jaubert) [LACMA]
SEVEN (Howard Shore) [New Beverly]
June 11
THE FRENCH CONNECTION (Don Ellis) [LACMA]
KNIFE + HEART (M83), CRUISING (Jack Nitzsche) [New Beverly]
June 12
MARNIE (Bernard Herrmann) [New Beverly]
THE WRECKING CREW (Hugo Montenegro), HAMMERHEAD (David Whitaker) [New Beverly]
June 13
THE AWFUL TRUTH (Ben Oakland) [LACMA]
CHILDREN OF PARADISE (Maurice Thiriet) [Cinematheque: Aero]
DOWN BY LAW (John Lurie) [Laemmle NoHo]
ROOM AT THE TOP (Mario Nascimbene) [Laemmle Royal]
THE WRECKING CREW (Hugo Montenegro), HAMMERHEAD (David Whitaker) [New Beverly]
June 14
ALICE DOESN'T LIVE HERE ANYMORE (Richard LaSalle), A WOMAN UNDER THE INFLUENCE [Cinematheque: Egyptian]
BONNIE AND CLYDE (Charles Strouse), THIEVES LIKE US [Cinematheque: Aero]
HARD TICKET TO HAWAII (Gary Stockdale) [Nuart]
INGLOURIOUS BASTERDS [New Beverly]
SEVEN DAYS TO NOON (John Addison) [UCLA]
2001: A SPACE ODYSSEY [New Beverly]
June 15
AUDITION (Koji Endo) [Vista]
DINER (Bruce Brody, Ivan Kral), MELVIN AND HOWARD (Bruce Langhorne) [Cinematheque: Aero]
DRUNKEN ANGEL (Fumio Hayasaka) [Vista]
FRIDAY THE 13TH: THE FINAL CHAPTER (Harry Manfredini), MEATBALLS PART II (Ken Harrison), HUMANOIDS FROM THE DEEP (James Horner), PRIVATE RESORT, TOURIST TRAP (Pino Donaggio), THE HILLS HAVE EYES (Don Peake) [Cinematheque: Egyptian]
THE GREEN SLIME (Charles Fox, Toshiaki Tsushima) [New Beverly]
JOURNEY TO THE FAR SIDE OF THE SUN (Barry Gray) [New Beverly]
QUEEN OF DIAMONDS, THE BLOODY CHILD [UCLA]
ROCK AROUND THE CLOCK (Fred Karger) [Arena Cinelounge]
RUMBLE ON THE DOCKS (Mischa Bakaleinikoff) [Arena Cinelounge]
2001: A SPACE ODYSSEY [New Beverly]
June 16
FIELD OF DREAMS (James Horner) [Laemmle Ahyra Fine Arts]
THE GREEN SLIME (Charles Fox, Toshiaki Tsushima) [New Beverly]
RAIDERS OF THE LOST ARK (John Williams), INDIANA JONES AND THE TEMPLE OF DOOM (John Williams), INDIANA JONES AND THE LAST CRUSADE (John Williams) [Cinematheque: Aero]
ONCE UPON A TIME IN THE WEST (Ennio Morricone) [New Beverly]
ROCK AROUND THE CLOCK (Fred Karger) [Arena Cinelounge]
RUMBLE ON THE DOCKS (Mischa Bakaleinikoff) [Arena Cinelounge]
THE SHINING (Wendy Carlos, Rachel Elkind) [Cinematheque: Egyptian]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Scary Movie 4 (Venable), Iron Fist (Morris), It's Only the End of the World (Yared), Short Night of the Glass Dolls (Morricone), Star Trek 50th Anniversary Collection (various), Isle of Dogs (Desplat), Watermelon Cookies (Poledouris-Roche), Midway (Williams), Midnight Special (Wingo), The Game (Pemberton), Eloise at the Plaza/Eloise at Christmastime (Broughton), Marco Polo (Nashel, Hachikian), Adam Resurrected (Yared)
Read: Yet more of The Society of the Crossed Keys, by Stefan Zweig
Seen: Godzilla: King of the Monsters, It Happened One Night, Domino, Staircase, Reflections in a Golden Eye
Watched: Columbo ("A Bird in the Hand", "It's All in the Game"), Futurama ("Fear of a Bot Planet")
For those few of you have scrolled to the end of this column, here is an augmented version of my list of 25 favorite film composers, with their films on my top 100/top 200 favorite films lists in parentheses:
1. Jerry Goldsmith (Top 100: Alien, Chinatown, The Edge, Six Degrees of Separation/Top 200: L.A. Confidential, The List of Adrian Messenger, The Other, Planet of the Apes, Star Trek: First Contact, Total Recall)
2. Bernard Herrmann (Citizen Kane, The Ghost and Mrs. Muir, Jason and the Argonauts, North by Northwest, Psycho, The 7th Voyage of Sinbad, Vertigo/The Birds, Obsession, Sisters)
3. John Williams (A.I. Artificial Intelligence, The Accidental Tourist, Black Sunday, Close Encounters of the Third Kind, Empire of the Sun, Family Plot, Jaws, Raiders of the Lost Ark/The Empire Strikes Back, Indiana Jones and the Last Crusade, Minority Report, The Poseidon Adventure, Star Wars: The Last Jedi)
4. John Barry (From Russia with Love, Goldfinger, The Ipcress File, On Her Majesty's Secret Service, Robin and Marian/Diamonds Are Forever, You Only Live Twice)
5. Elmer Bernstein (The Grifters/National Lampoon's Animal House, To Kill a Mockingbird)
6. Thomas Newman (/Skyfall)
7. Basil Poledouris (Flesh + Blood, The Hunt for Red October/RoboCop)
8. Miklos Rozsa (The Golden Voyage of Sinbad/Double Indemnity, The Power, The Private Life of Sherlock Holmes)
9. David Shire (All the President's Men, The Taking of Pelham One Two Three, Zodiac)
10. Danny Elfman
11. Henry Mancini (Charade/Arabesque, Two for the Road)
12. Richard Rodney Bennett (Murder on the Orient Express/Billion Dollar Brain)
13. Jerome Moross
14. Georges Delerue
15. Alexandre Desplat
16. Bruce Broughton
17. Alex North
18. Howard Shore (Nobody's Fool/Ed Wood, The Fly)
19. Michael Giacchino (/The Incredibles, Rogue One: A Star Wars Story, Star Trek)
20. Franz Waxman (Rear Window)
21. Ennio Morricone (/For a Few Dollars More, The Good, the Bad, and the Ugly, Once Upon a Time in the West, The Thing)
22. Christiopher Young (Wonder Boys)
23. Jerry Fielding (/The Wild Bunch)
24. Alfred Newman (/All About Eve)
25. James Horner (Star Trek: The Wrath of Khan/Star Trek III: The Search for Spock, Titanic, Wolfen)
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