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Intrada plans to release one new CD next week.


CDS AVAILABLE THIS WEEK

Andrea Doria -74 - Riz Ortolani - Quartet 
Blanche Comme Neige
 - Bruno Coulais - Quartet 
Camille Claudel - Gabriel Yared - Music Box 
A Dog's Journey
 - Mark Isham - Quartet 
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)
Missing Link
 - Carter Burwell - Lakeshore
Obsession - Bernard Herrmann - Music Box 
Red Joan
 - George Fenton - Quartet 
Shaft - Isaac Hayes - Varese Sarabande
Shaft: Deluxe Edition
- Isaac Hayes - Varese Sarabande
Swoon
 - Nathaniel Mechaly - Music Box 
Too Old to Die Young 
- Cliff Martinez - Milan
Un Detective
 - Fred Bongusto - Quartet 


IN THEATERS TODAY

American Woman - Adam Wiltzie
Barbara Rubin & the Exploding NY Underground - Lee Ranaldo
Being Frank - Craig Richey
Clinton Road - Robert Aquato
Daughter of the Wolf - Jeff Toyne
The Dead Don’t Die - Squrl - Score CD on Backlot
Deep Murder - Zach Dawes, Nick Sena
5B - Justin Melland
For the Birds - Andrew Johnson
Framing John DeLorean - Brooke Blair, Will Blair
Funan - Thibault Kientz Agyeman 
Hampstead - Stephen Warbeck - Score CD on Varese Sarabande
Head Count - Hannah Parrott
Killer Unicorn - Tyler Stone
Men in Black: International - Danny Elfman, Chris Bacon - Score CD due June 21 on Sony
Pause - Julian Scherle
Plus One - Leo Birenberg
The Raft - Hans Appelqvist
The Reports on Sarah and Saleem - Charlie Rishmawi, Tarik Abu Salameh, Frank Gelat
Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese  - no original score
Say My Name - Joseph LoDuca
Shaft - Christopher Lennertz
Skin - Dan Romer
This One's for the Ladies - Eliot Krimsky

COMING SOON

June 21
The Biggest Little Farm
 - Jeff Beal - Lakeshore
Confidential: Secret Market
 - Yasuo Higushi - Cinema-Kan (import)
The Dead Don't Die
 - Squrl - Backlot
The Goonies
 - Dave Grusin - Varese Sarabande
Men in Black: International
 - Danny Elfman, Chris Bacon - Sony 
Toy Story 4
- Randy Newman - Disney
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

Gloria Bell - Matthew Herbert - Milan (import) 
July 5
Midsommar - Bobby Krlic - Milan
July 12
Les Miserables - John Murphy - Lakeshore
July 19
Game of Thrones: Season 8 - Ramin Djawadi - WaterTower
July 26
Halston - Stanley Clarke - Node
Date Unknown
Ambition
 - Leonard Rosenman - Caldera
Anima Persa
 - Francis Lai - Digitmovies
E Poi Lo Chiamarono Il Magnifico
 - Guido & Maurizio DeAngelis - Digitmovies
 
Good Omens
 - David Arnold - Silva
Le Lunghe Ombre
 - Egisto Macchi - Kronos
L'Italia Vista Dal Cielo
- Piero Piccioni - Beat
Ma
 - Gregory Tripi - Intrada
Occupation in 26 Pictures
 - Alfi Kabiljo - Kronos
Un Caso Di Coscienza/Non Commettere Atti Impuri
- Riz Ortolani - Beat
Ursus Y La Ragazza Tartara
 - Angelo Francesco Lavagnino - Kronos


THIS WEEK IN FILM MUSIC HISTORY

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 - Craig Safan begins recording his score, adapted from Tchaikovsky, for The Bad News Bears in Breaking Training (1977)
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 - David Rose born (1910)
June 15 - Harry Nilsson born (1941)
June 15 - Dennis Dreith born (1948)
June 15 - Gavin Greenaway born (1964)
June 15 - Robert Drasnin records his score for The Wild Wild West episode “The Night the Wizard Shook the Earth” (1965)
June 15 - Meredith Willson died (1984)
June 15 - Manos Hadjidakis died (1994)
June 16 - Bebe Barron born (1926)
June 16 - Fred Karlin born (1936)
June 16 - Miklos Rozsa begins recording his additional music for Beau Brummell (1954)
June 16 - Psycho opens in New York (1960)
June 16 - Jerry Goldsmith begins recording his score to Justine (1969)
June 16 - James Horner begins recording his replacement score for Wolfen (1981)
June 16 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Peak Performance” (1989)
June 17 - Jerry Fielding born (1922)
June 17 - Martin Boettcher born (1927)
June 17 - Dominic Frontiere born (1931)
June 17 - Barry Manilow born (1943)
June 17 - George S. Clinton born (1947)
June 17 - Alfred Newman begins recording his score to How to Marry a Millionaire (1953)
June 17 - Franz Waxman begins recording his score for Career (1959)
June 17 - Paul Giovanni died (1990)
June 17 - David Newman begins recording his score for Coneheads (1993)
June 17 - Shirley Walker and John Carpenter begin recording their score for Escape from L.A. (1996)
June 18 - Johnny Pearson born (1925)
June 18 - Paul McCartney born (1942)
June 18 - Bernard Herrmann begins recording his score to Blue Denim (1959)
June 18 - Elmer Bernstein begins recording the soundtrack LP for The Sons of Katie Elder (1965)
June 18 - Dave Grusin begins recording his score for Three Days of the Condor (1975)
June 18 - Frederick Hollander died (1976)
June 18 - Basil Kirchin died (2005)
June 18 - Ali Akbar Khan died (2009)
June 19 - Leon Klatzkin born (1914)
June 19 - Johnny Douglas born (1920)
June 19 - Maurice Jaubert died (1940)
June 19 - Bruce Broughton records his score for the Amazing Stories episode "Mr. Magic" (1985)
June 19 - Joseph Mullendore died (1990)
June 19 - Recording sessions begin for James Newton Howard’s score for Waterworld (1995)
June 20 - Carmen Dragon begins recording his score for Invasion of the Body Snatchers (1955)
June 20 - Recording sessions begin for Elmer Bernstein’s score to The Buccaneer (1958)
June 20 - Jeff Beal born (1963)
June 20 - Robert Rodriguez born (1968)
June 20 - Fred Karlin begins recording his score to Westworld (1973)
June 20 - Jaws opens in New York and Los Angeles (1975)
June 20 - Jerry Goldsmith begins recording his score for Night Crossing (1981)

DID THEY MENTION THE MUSIC?

APOLLO 11 - Matt Morton

"The rock concert vibe is cemented by Matt Morton's pulsing electronic score, which is based around an analog-era Moog synthesizer of the sort showcased on albums by The Beatles, The Who, and Stevie Wonder and heard in film scores like 'A Clockwork Orange' and 'Tron.' A title card at the end assures us that Morton's score was created using only instruments that existed back in 1969. This is a super-nerdy and completely unnecessary assurance, because (a) Morton's work is much more reminiscent of 1980s film scores by the likes of Vangelis and Tangerine Dream than anything from Neil Armstrong's era; and (b) it often suggests the kind of score that would play in a high-tech crime thriller while robbers cut into a safe with blowtorches; and most importantly, (c) who cares as long as it's awesome, which this score totally is."
 
Matt Zoller Seitz, RogerEbert.com 

"'Apollo 11' is free of extraneous narration, which helps lend it a present-tense feel. We hear snatches of John F. Kennedy’s 1961 inaugural speech, which issued the challenge to land on the moon before the end of the decade, as well as avuncular Walter Cronkite setting up the mission’s objectives. The electronic music by Matt Morton can be overwhelming at times in its attempt to heighten tension. Also, the restored communications between land and sky, despite their historic value, can often resemble the scratchy sound of sitting too long at a drive-through squawkbox. No mention is made in the film of the U.S./Russian space race that drove the less lofty goals of the mission. Instead, 'Apollo 11' leaves us to ponder those words left behind on the moon with the American flag: 'We came in peace for all mankind.' Come to think of it, that’s not such a bad reminder as we face the imminent possibility of a military-based Space Force."
 
Marjorie Baumgarten, The Austin Chronicle
 
"The enormity of the operation has been lost to the mythology around a few men. There's an entire ecosystem surrounding the momentous occasion, from people sleeping on the Florida shores to watch the historic launch from Cape Canaveral to reporters buzzing around tape recorders and quickly dictating their stories over telephones to some poor editor in another part of the country. All this fanfare and tension are rivetingly enhanced by Matt Morton's electronic score, which sounds appropriately spacey. At different points in the mission, small countdown clocks or speedometers let audiences know what time is left, how fast they're traveling and if there's an alarm going off, creating some edge-of-your-seat suspense. Diagrams of different maneuvers help us visualize just how difficult was the real trip to the moon."
 
Monica Castillo, NPR
 
"As such, 'Apollo 11' may not immediately grab audiences the way that 'RBG' or 'Free Solo' or some of the other more popular recent documentary hits have. But there are elements here that a lot of moviegoers are bound to find compelling, regardless of whether or not they already know who Gene Kranz is. The Matt Morton score, for example, is incredibly creative, shifting between meditative abstraction during the astronauts’ calm journey through the stars to something more pulse-pounding when they’re sweating over leaky valves or fuel shortages. (Morton only used instruments available in 1969 too, bolstering the movie’s verité cred.) If the massive NASA hardware is the ultimate motion picture 'practical effect,' then the life-or-death situations that Armstrong and his fellow travelers faced are the ultimate 'dramatic complication.' Even knowing in advance that everyone will survive, it’s still intense to hear their chatter, and to see the crucial numbers tick down."
 
Noel Murray, The Onion AV Club

"Miller, who also serves as his movie’s editor, had access to footage from NASA and the National Archives. However, it was the discovery of 65mm large-format footage that really sets 'Apollo 11' apart. Coupled with only a portion of the 11,000 hours of audio recordings, the film offers a new look at an event that was the sole focus of the public’s attention and imagination at that time. You not only see the walk on the moon and hear Neil Armstrong‘s iconic words, but you also see and hear everything that went into that moment in the days leading up to it, as well as what happened next. 'Apollo 11' features footage from astronauts Armstrong, Buzz Aldrin, and Michael Collins‘ journey, but it also includes extensive looks at Mission Control as well as captures the crowds camped out to witness history. Even knowing the outcome, there’s a sense of urgency throughout the documentary; Max [sic] Morton‘s score adds immediacy, and the restoration of the film into an absolutely pristine condition–even at IMAX scale–makes it feel like this event is happening in the present."
 
Kimber Myers, The Playlist

"Miller finds a way to make the landing sequence feel unique, and video of the first moon landing will always be mind-blowing no matter the mitigating circumstances (it’s still hard to wrap your head around the President calling someone on the Moon, even if it’s President Nixon). But these images, which were never clear and never will be, are only a fraction as powerful as the earthbound ones that Miller has managed to rescue from oblivion. They’re a testament to our creative imagination more than anything else, as they reinforce just how accurately Chazelle and other filmmakers have been able to recreate the reality of what happened (it’s wild how much Matt Morton’s period-appropriate score echoes the one that Justin Hurwitz wrote for 'First Man,' the residual energy of the Apollo 11 mission inspiring similar music from two artists who weren’t alive when that history was made)."
 
David Ehrlich, IndieWire
 
"Composer Matt Morton and sound designer Eric Milano are particular MVPs in this undertaking, though the sonic palette also gets a fun tweak when Miller and his team feature some of the songs that were on cassette tapes made for the Apollo 11 astronauts. Most notable is 'Mother Country,' a stirring anthem from former Kingston Trio member John Stewart that plays during the re-entry scenes. (Of course, the song does undergo some judicious editing -- removing the lines where the main character dies, for instance.)"
 
Steve Pond, The Wrap
 
"Miller’s exhilarating first act supplies an emotional catharsis that’s rare in nonfiction (or, frankly, movies in general). Quietly, the rocket is rolled out on a massive tractor platform. Crickets chirp on a hot July night. In the astronauts’ blindingly white dressing room, the three-man crew -- Neil Armstrong, Michael Collins and Buzz Aldrin -- suit up. Their personal backstories receive flurries of silent images: wedding photos, military service, children. These flashes play like insistent memories; it’s the kind of subliminal device a dramatic director might use to reveal a character’s psychology. Amazingly, this technique feels new to docs. Strictly speaking, 'Apollo 11' isn’t 100 percent 'direct cinema'; it has an original score, a powerfully insistent collection of ascending synth drones by Matt Morton. The minimalist music amplifies the you-are-there-ness, as helicopter cameras take in crowds assembled on the Florida beach. A dad naps with his son. Women wave. Johnny Carson shows up in his shades."
 
Joshua Rothkopf, Time Out New York 

"It also means that 'Apollo 11' dispenses explaining or simplifying mission objectives. Key maneuvers are sketched out with rudimentary graphics and then play out accompanied only by the mission control chatter and occasional insights from public affairs officers who were on-hand in Houston and Cape Canaveral offering information to assembled press and, via loudspeakers, to the crowds. If you don't know or remember the exact logistics of, say, the lunar descent, though, you're just watching the all-too-fast approach to the moon via cameras positioned on the Eagle, accompanied by chyrons providing details on fuel time and altitude. The tension of the moment makes sense because of the data, the ever-closer destination and Matt Morton's score which, at its best, takes on a Reznor-esque ambient drone. Before it becomes perhaps excessively melodic at the end, Morton's compositions wisely opt to combine with Eric Milano's sound design to build a high pressure, unsettled mood without attempting to manipulate viewer response."
 
Daniel Fienberg, The Hollywood Reporter 
 
THE BLACKCOAT'S DAUGHTER - Elvis Perkins
 
"In both the Kat/Rose thread and the Joan/grieving parents thread, the tension comes from wondering who's the threat and who's the threatened, or if there's some external force that's bearing down on them. Then there's the additional question of how these threads will intertwine once Joan finally reaches her destination. Perkins pulls off one genuine structural surprise, but the strength of 'The Blackcoat's Daughter' lies in its stately evocation of the occult, which brings it in line with the retro-1980s Satanic horror of Ti West's 'The House of the Devil'. His cinematographer, Julie Kirkwood, works in wintery hues that render the outdoors a permanent slate-gray and the interiors so dim that the characters (and the audience) have to squint through it. The score, by his brother Elvis, works in the lower registers, with occasional shrieks of violin poking through an ambient bed of heebie-jeebies."
 
Scott Tobias, NPR
 
"The films of Osgood 'Oz' Perkins stir that middle-of-the-night sense that something terrible might lurk just past the edges of your perception. The writer and director is adept at unsettling atmosphere (aided by scores from his brother, the musician Elvis Perkins) and at slow-burn horror entirely removed from the pat assumptions of genre moviemaking."
 
Alan Scherstuhl, The Village Voice
 
"The horror potential of 'The Blackcoat’s Daughter' peeks through in its richly textured and sensual soundtrack. Beyond the score’s guttural beats, white noise pierces through silence and isolated sounds like a mournful wail and a knife plunging through flesh echo, producing a distinct sense of discomfort. Written and directed by Oz Perkins, this is a horror film built around elliptical vagaries, as the story of three young women bound by their connection to an isolated boarding school unfolds with clandestine non-linearity."
 
Justine Smith, RogerEbert.com
 
"Perkins is also quite, sometimes distractingly indebted to the films of David Lynch, particularly 'Mulholland Drive,' most specifically the scene at Winkie’s, a Denny’s-like diner where two patrons talk about a monster that might be living behind the restaurant’s dumpster. Like the ill-fated customers of Winkie’s, the characters in 'The Blackcoat’s Daughter' talk slowly and deliberately, as if underwater, and the score fills in their pauses with a nightmarish sense of otherworldly inevitability. Perkins repeatedly emulates the rhythm of this scene, occasionally courting tedium, most notably when a mother (Lauren Holly) takes a laughably long time to tell a young woman, Joan (Emma Roberts), about an episode with a girl who resembled her daughter. During this and other passages, one can feel Perkins straining for his surrealism, which seems to seep out naturally through Lynch’s pores."
 
Chuck Bowen, Slant Magazine
 
"It’s the first feature written and directed by Oz Perkins, son of 'Psycho' star Anthony Perkins and brother of the musician Elvis Perkins, who lends moaning and skittering strings to his sibling’s gooseflesh campaign. 'The Blackcoat’s Daughter' premiered 18 months ago, when it still went by 'February -- a more generic title, certainly, but one that didn’t make it sound like a lost Decemberists song. Still, what’s in a name? Perkins’ second feature, the oddly monikered 'I Am The Pretty Thing That Lives In The House,' went straight to Netflix back in October, beating his debut to release. 'Blackcoat' isn’t as radically unconventional as that haunted-house curiosity -- for one, it delays its violence, rather than essentially omitting it. But both films exhibit a thrilling disregard for the prevailing rules and trends of modern horror, jointly establishing Perkins as one of the genre’s most exciting new voices. The plot is bare bones, a skeleton to drench in dread. It’s not what happens in 'The Blackcoat’s Daughter' that will give you the creeps, but how. Perkins plays diabolical games with the chronology -- muddying the timeline, replaying events from different angles, and sometimes excising the connective tissue between scenes. Performance, too, has a key role in his assault on the nerves: Shipka, who played Sally Draper on 'Mad Men,' is a superbly unnatural presence, distracted and darkly amused, her Kat coming across like a wilting wallflower who was probably a little strange even before something started yanking at her sanity. Truthfully, nearly all the performances are pitched left of normal; it’s the kind of movie where just about any one of the characters could have malicious intentions. That could also be a byproduct of how Perkins writes and shoots his conversations, extending the dead air between lines of dialogue, or filling that void with the unholy hum of his brother’s score."
 
A.A. Dowd, The Onion AV Club
 
"At the school, Perkins sustains tension and raises a gaggle of goosebumps by accentuating the chilly ambiance -- there are times when you can practically see how cold it must be in the dark and (presumably) deserted hallways and storage areas -- and alternating between unnatural silences and the atonal score composed by his brother, Elvis Perkins. (Julie Kirkwood’s economical lensing is another major plus.) On the road, the freshman filmmaker shrewdly toys with audience expectations -- James Remar has played entirely too many villains onscreen for the audience to easily accept his character here at face value -- and works quiet and disquieting miracles in a hotel-room scene that is at once erotically charged and fraught with menace."
 
Joe Leydon, Variety

"As with so many of the best mystery-horror films, the optimum way to enjoy a first viewing of this is try to remain as ignorant as possible about what happens. That said, it also brims with tiny, blink-and-you'll-miss-them details that will repay repeat viewings. Likewise, a second time round might also be an opportunity to appreciate further Julie Kirkwood's sinister cinematography which uses backlighting and the darkest exposures possible to achieve maximum creepitude. The same goes for the immaculate blend of sound design (credited to Allan Fung) and subsonic, bone-vibrating original music by Elvis Perkins, the director's brother."
 
Leslie Felperin, The Hollywood Reporter 

COLOSSAL - Bear McCreary
 
"And the movie’s aesthetics are terrific, particularly the emotionally intense score from ever-reliable 'Battlestar Galactica' composer Bear McCreary and the glowing sunlit cinematography by Eric Kress. The homey interior of Oscar’s sports bar, Gloria’s late-night and early-morning sojourns around town, the bleached-out flashbacks exploring how the kaiju happened -- they’re all beautifully shot. But beyond the film’s strong look and feel, it’s memorable because the script is so bizarre and unexpected, so confident and daring about what it’s trying to do. In subtle ways, it’s also witty and knowing. Vigalondo builds a whole subplot out of the ways people react to giant monsters in their midst, with Internet memes and viral videos and livestreaming cameras, and inevitably by choosing to identify in specific, instantly recognizable ways with something they don’t understand. No matter how unrealistic pieces of the movie get, ideas like the online reaction to Gloria’s monster feel not just real, but sly and smart and tapped in to the zeitgeist. 'Colossal' can be off-putting, and unapologetic about it. But it’s all-in on its strange central monster conceit, on its cruel character dynamics, and on its rough, dark sense of humor. It’s the kind of film that’s guaranteed to make people angry, but it’s still unmissable."
 
Tasha Robinson, The Verge
 
LORDS OF CHAOS - Sigur Ros
 
"As a depiction of the very public emergence of a marginal movement, 'Lords of Chaos' provokes both awe and repulsion, but not necessarily admiration for a musical form and subculture unwaveringly devoted to literalism, no matter how extreme. Akerlund’s choice of Icelandic avant-garde orchestral rockers Sigur Ros as a counterpoint on the film’s evocative soundtrack seems to affirm however that the unknowable holds far more fascination than the unrelentingly obvious."
 
Justin Lowe, The Hollywood Reporter

PATRICK - Michael Price

"Set for theatrical release in the UK through Disney on June 29 in the middle of a nationwide heatwave, 'Patrick' should retire panting from cinemas having made less of a mark than director Mandie Fletcher and team’s previous feature, 'Absolutely Fabulous: The Movie.' It’s reminscent in tone of the UK-made, -set and -seen 'Nativity,' which mined the cuteness of small children, as opposed to pugs. But the jaunty children’s TV score gives the best clue as to 'Patrick''s ultimate kennel, and there’s no reason to believe he won’t be heavily petted on VOD."
 
Fionnuala Halligan, Screen International
 
"Building the soundtrack around a series of Amy Macdonald songs gives voice to Sarah’s struggles and surprises. Michael Price’s score furthers the Richard Curtis-inspired romance and folly. His swelling string arrangements support the scenes, but never feel pushy."
 
Courtney Howard, Variety
 
THEIR FINEST - Rachel Portman
 
"While the strong ensemble cast is 'Their Finest''s most valuable asset, the movie also looks quite handsome on what appears to be a modest budget, and includes some delightful glimpses of how screen effects were achieved way back in those handcrafted days. A reveal of the visual trick behind a Dunkirk scene lands a huge laugh. Rachel Portman's score isn't shy about pushing the sentiment, but that's in keeping with a film that celebrates old-fashioned screen storytelling with infectious fondness."
 
David Rooney, The Hollywood Reporter
 
TO DUST - Ariel Marx
 
"'To Dust' is modestly but thoughtfully assembled in aesthetic terms, with an aptly somber pallet to Alexandra Kaucher’s production design and DP Xavi Giminez’s concise compositions. An alternately sorrowful and spectral string score by Ariel Marx is abetted by just two cleverly chosen preexisting tracks: Tom Waits’ wheezy lament 'Blow Wind Blow' and the amusingly incongruous use of Jethro Tull’s arena-rock classic 'Aqualung.'"
 
Dennis Harvey, Variety
 
WILSON - Jon Brion

"A crazy-eyed Woody Harrelson portrays Wilson, a loudmouthed, middle-aged creep, and his performance captures the character’s fundamental appeal. Tackling this material was a tricky proposition, but the movie pulls off some endearing qualities thanks to director Craig Johnson, who last achieved a balance of gloomy comedy and a dark backdrop with 'Skeleton Twins.' With 'Wilson,' he appropriates the graphic novel’s ironic tone with a cheery soundtrack and brightly lit scenes at odds with the irascible sad sack at the center of the story. At its best, he apes the bleak mentality of Todd Solondz, whose movies often involve scenes that can shift from twisted humor to depressing observations with ease."
 
Eric Kohn, IndieWire
 
"Every time 'Wilson' threatens to follow the 'Little Miss Sunshine' model of a misfit family pitted against more put-together squares, it returns to the Clowes blueprint enough to undermine most of the sentimentality -- though not all. Though it’s amusing to consider what Wilson (or Clowes, for that matter) would think of the moments where the pianos on the musical score swell with emotion, it doesn’t play like a sly joke. Johnson senses that he can neither fully neuter the material nor stick to its staccato bleakness, but his movie doesn’t seem sure of where to land instead. Visually, it feels adrift compared to the stark, panel-like compositions Terry Zwigoff used in 'Ghost World': More polished, maybe, but far less distinct."
 
Jesse Hassenger, Brooklyn Magazine
 
"A few interesting plot developments occur, but cinematographer Frederick Elmes offers nothing much to look at, and Jon Brion’s score is overpowering and smug, bouncing along as the antithesis of what a profane, bald, racist curmudgeon deserves. A profoundly stupid cynicism, most commonly found in college seniors who refuse to vote, emerges. Scenes crash into one another, jammed together without care or reason. It’s an exhausting experience."
 
Jacob Oller, Paste Magazine 
 
"Cinematographer Frederick Elmes and production designer Ethan Tobman infuse the movie with warm colors -- simultaneously heightened and muted -- and lovely bittersweet glimpses of a fading America of mom-and-pop shops, without overdoing the quaintness. Jon Brion's playful score also provides a lift. But despite its appealing performers and some tasty comic moments, 'Wilson' overestimates our affection for a grating antihero only mildly warmed by Harrelson's ambling charm."
 
David Rooney, The Hollywood Reporter

THE NEXT TEN DAYS IN L.A.

Screenings of older films, at the following L.A. movie theaters: AMPASAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianArclightArena CineloungeLACMALaemmleNew Beverly, Nuart, UCLA and Vista.

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]
THE MATRIX (Don Davis) [Vista]
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]

June 17
THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD (Nick Cave, Warren Ellis) [New Beverly]
ONCE UPON A TIME IN THE WEST (Ennio Morricone) [New Beverly]

June 18
THE GODFATHER (Nino Rota) [LACMA]
HARD BOILED (Michael Gibbs), FACE/OFF (John Powell) [Cinematheque: Egyptian]
MODEL SHOP, THEY CAME TO ROB LAS VEGAS (George Garvarentz) [New Beverly]

June 19
LA CAGE AUX FOLLES (Ennio Morricone) [Laemmle Royal]
LADY IN CEMENT (Hugo Montenegro), PRETTY POISON (Johnny Mandel) [New Beverly]
TORN CURTAIN (John Addison) [New Beverly]

June 20
FACES (Jack Ackerman), MEAN STREETS [Cinematheque: Egyptian]
THE KILLER (Lowell Lo) [Vista]
LADY IN CEMENT (Hugo Montenegro), PRETTY POISON (Johnny Mandel) [New Beverly]
MYSTERY TRAIN (John Lurie) [Laemmle NoHo]
PHANTOM OF THE PARADISE (Paul Williams), PHANTOM OF THE OPERA (Misha Segal) [Cinematheque: Aero]
RED (Zbigniew Preisner) [LACMA]

June 21
BOB & CAROL & TED & ALICE (Quincy Jones), CACTUS FLOWER (Quincy Jones) [New Beverly]
INGLOURIOUS BASTERDS [New Beverly]
LA COLLECTIONNEUSE (Blossom Toes, Giorgio Gomelsky) [Cinematheque: Egyptian]
NO COUNTRY FOR OLD MEN (Carter Burwell), BLOOD SIMPLE (Carter Burwell) [Cinematheque: Aero]
POLA X (Scott Walker), RIVER'S EDGE (Jurgen Knieper) [UCLA]
SHAMPOO (Paul Simon) [Vista]
THE SHINING (Wendy Carlos, Rachel Elkind) [Nuart]

June 22
THE BIG LEBOWSKI (Carter Burwell), THE MAN WHO WASN'T THERE (Carter Burwell) [Cinematheque: Aero]
THE BLACK STALLION (Carmine Coppola, Shirley Walker) [Vista]
BOB & CAROL & TED & ALICE (Quincy Jones), CACTUS FLOWER (Quincy Jones) [New Beverly]
CANDY (Dave Grusin) [New Beverly]
CHITTY CHITTY BANG BANG (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [New Beverly]
THE HIDDEN FORTRESS (Masaru Sato) [Vista]
THE KILLER (Lowell Lo) [Vista]
TARNATION (Max Avery Lichtenstein), GOODBYE, SOUTH, GOODBYE (Giong Lim) [UCLA]

June 23
CHITTY CHITTY BANG BANG (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [New Beverly]
CLOSE ENCOUNTERS OF THE THIRD KIND (John Williams) [Cinematheque: Egyptian]
THE DARK CRYSTAL (Trevor Jones) [UCLA]
FARGO (Carter Burwell), A SERIOUS MAN (Carter Burwell) [Cinematheque: Aero]
SWEET CHARITY (Cy Coleman) [New Beverly]


THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY

Heard: Two for the Road (Mancini), Incontro (Morricone), Satan's Slave (Scott), The Death of Stalin (Willis), Upgrade (Palmer), Mister Moses (Barry), Hardware (Boswell), Dead Ringer (Previn), A Summer Story (Delerue)

Read: The Society of the Crossed Keys, by Stefan Zweig

Seen: The Bitter Tears of Petra von Kant, Fox and His Friends, Ma, Booksmart, Dark Phoenix, Late Night, Freaky Friday [1976], The Killing of Sister George, The Sergeant, Marnie, The Wrecking Crew, Hammerhead

Watched: Deadwood ("Jewel's Boot Is Made for Walking"), Generation Kill ("A Burning Dog"), Fringe ("The Road Not Taken"), Gilmore Girls ("Rory's First Dance"), Girls ("Together"), Happy Endings ("Barefoot Pedaler"), Hannibal ("Sorbet"), Have Gun, Will Travel ("The Englishman), Hawaii Five-O ("Face of the Dragon"), Michael and Michael Have Issues ("College")

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SATAN'S SLAVE by John Scott has been released ....? Ears perked up at this!

It came out in the UK in late 2016; Amazon UK has it. Very fun album, I'd never even heard of the movie (and I became a J. Scott fan watching films like Trog and A Study in Terror on TV in the 70s; his music always seemed way better than the films deserved).

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