The latest release from Intrada presents the score for DRAGONHEART VENGEANCE, the fourth direct-to-video followup to the Oscar-nominated 1996 fantasy adventure. As with the other sequels and prequels, Vengeance is scored by veteran composer-orchestrator Mark McKenzie.
Hildur Gudnadottir continued her remarkable winning streak by receiving BAFTA's Original Score award for JOKER. It is an unusual year when the front runner for the Original Score Oscar is a female cellist from Iceland.
CDS AVAILABLE THIS WEEK
Color Out of Space - Colin Stetson - Milan
Dragonheart Vengeance - Mark McKenzie - Intrada Special Collection
IN THEATERS TODAY
Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn - Daniel Pemberton - Score CD-R due Feb. 14 on WaterTower
Come to Daddy - Karl Steven
Hospitality - Ali Helnwein
Jose - Chen Yao
The Lodge - Danny Bensi, Saunder Jurriaans
Waiting for Anya - James Seymour Brett
COMING SOON
February 14
Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn - Daniel Pemberton - WaterTower [CD-R]
February 21
At Eternity's Gate - Tatiana Lisovskaya - Filmtrax
Breath [UK release] - Harry Gregson-Williams - Filmtrax
The Musical Anthology of His Dark Materials - Lorne Balfe - Silva
The Personal History of David Copperfield - Christopher Willis - MVKA
March 13
The Matrix Symphony - Don Davis - Perseverance
Date Unknown
Adultere (Mode d'Emploi) - Bruno Coulais - Music Box
Antony I. Ginnane Presents Classic Australian Film Scores from the '70s and '80s - various - Dragon's Domain
Apocalypse Domani - Alessandro Blonksteiner - CSC
Dinosaur Land - Chuck Cirino - Dragon's Domain
Hoax - Alan Howarth - Dragon's Domain
Papicha - Rob - Music Box
THIS WEEK IN FILM MUSIC HISTORY
February 7 - George Bassman born (1914)
February 7 - Marius Constant born (1925)
February 7 - Laurie Johnson born (1927)
February 7 - Alejandro Jodorowsky born (1929)
February 7 - Gottfried Huppertz died (1937)
February 7 - Frans Bak born (1958)
February 7 - David Bryan born (1962)
February 7 - Jerry Fielding begins recording orchestral cues for Demon Seed (1977)
February 7 - Ira Newborn begins recording his score for Naked Gun 33 1/3: The Final Insult (1994)
February 7 - Shirley Walker begins recording her score for Willard (2003)
February 8 - John Williams born (1932)
February 8 - Joe Raposo born (1937)
February 8 - Alan Elliott born (1964)
February 8 - Lalo Schifrin begins recording his score for Earth II (1971)
February 8 - David Bell records his score for the Star Trek: Voyager episode “Dark Frontier, Part II” (1999)
February 8 - Akira Ifukube died (2006)
February 9 - Jean Constantin born (1923)
February 9 - Barry Mann born (1939)
February 9 - Gregory Tripi born (1975)
February 9 - Percy Faith died (1976)
February 9 - Jean-Claude Petit begins recording his score for The Return of the Musketeers (1989)
February 9 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “One Little Ship” (1998)
February 9 - Dennis McCarthy and Kevin Kiner record their score for the Star Trek: Enterprise episode “Doctor’s Orders” (2004)
February 9 - Johann Johannsson died (2018)
February 10 - Larry Adler born (1914)
February 10 - Gordon Zahler born (1926)
February 10 - Jerry Goldsmith born (1929)
February 10 - Billy Goldenberg born (1936)
February 10 - Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “The Golden Man” (1981)
February 10 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “By Inferno’s Light” (1997)
February 10 - Velton Ray Bunch records his score for the Star Trek: Enterprise episode “Affliction” (2005)
February 11 - Recording sessions begin for Leigh Harline's score for The Desert Rats (1953)
February 11 - Bernard Herrmann records his score for the Alfred Hitchcock Hour episode “Wally the Beard” (1964)
February 11 - Dave Grusin’s score for The Wild Wild West episode “The Night of the Puppeteer” is recorded (1966)
February 11 - Richard Markowitz records his score for the Mission: Impossible episode “The Bunker” (1969)
February 11 - Mike Shinoda born (1977)
February 11 - Heinz Roemheld died (1985)
February 12 - Howard Blake born (1938)
February 12 - Bill Laswell born (1955)
February 12 - George Antheil died (1959)
February 12 - Benjamin Frankel died (1973)
February 12 - Lalo Schifrin begins recording his score for Sky Riders (1976)
February 12 - Bruce Broughton begins recording his score for The Rescue (1988)
February 12 - Dennis McCarthy begins recording his scores for the Star Trek: Voyager episodes “Workforce, Parts I & II” (2001)
February 12 - Marco Beltrami begins recording his score for Hellboy (2004)
February 12 - George Aliceson Tipton died (2016)
February 13 - Lennie Hayton born (1908)
February 13 - Erik Nordgren born (1913)
February 13 - Fred Karger born (1916)
February 13 - Nino Oliviero born (1918)
February 13 - Gerald Fried born (1928)
February 13 - Peter Gabriel born (1950)
February 13 - W.G. Snuffy Walden born (1950)
February 13 - William Axt died (1959)
February 13 - Joseph Mullendore records his score for the Lost in Space episode "Junkyard in Space" (1968)
February 13 - Fred Myrow begins recording score to Soylent Green (1973)
February 13 - Jerry Fielding begins recording his score for Funeral Home (1980)
February 13 - Paul Baillargeon records his score for the Star Trek: Voyager episode “Lifesigns” (1996)
February 13 - Brian Tyler records his score for the Enterprise episode “Canamar” (2003)
DID THEY MENTION THE MUSIC?
THE CATCHER WAS A SPY - Howard Shore
"Rudd does a fine job of capturing the character's casual coldness, starting in an early scene where he tells Estella that he's traveling to Japan; when she says she's always wanted to see Japan, he smiles subtly and says, 'I'll take pictures.' And he's credible as an intellectual who holds intolerant or less-educated people in mild contempt, but manages to keep it in check when he has to. We definitely get the sense that Berg is a restless spirit, possibly driven by a desire to prove himself to a gentile-dominated world by being smarter and more athletic than most of the goys ordering him around. But except in certain scenes, such as a brutal alleyway beating that Berg inflicts on a homophobic teammate, a certain necessary dark fire is missing from the character and the performance, and it's hard to tell if this is due to miscasting, insufficiently imaginative writing and direction, or something else. The cinematography, production design, costumes and music are all superb, but the direction doesn't do much more than showcase them, rarely reaching for an expressionist or surreal touch that might've given us a glimpse of Berg's emotional interior, however fleeting."
Matt Zoller Seitz, RogerEbert.com
"Shot in burnished tones by Andrij Parekh on attractive locations (many in the Czech Republic), 'Catcher' has the moody handsomeness of old-school espionage films, and Howard Shore contributes an orchestral score that would very nicely suit the kind of trenchcoat melodrama 'Catcher' aspires to be. Yet somehow the players never quite convince they have the world’s fate in their hands (Peace’s ramrod-stiff turn feels like an imitation of military bearing from old war movies, while Giamatti puts too much comedy in his scaredy-cat academic) or that they’re actually inhabiting the designated period."
Dennis Harvey, Variety
DAMSEL - The Octopus Project
"With the introduction of Penelope about halfway through, 'Damsel' shifts gears and becomes a totally different movie. Whimsical traces remain, but at this point, the Zellners seem interested in exploring a mood that’s more darkly funny, intense and ultimately sad. (But the low-key pacing, which is often languid to the film’s detriment, remains a constant.) Penelope is the voice of reason, the pragmatist—and she’s the only one who is in this weird world. The Zellners find humor in that absurd contradiction, but they also recognize Penelope’s inherent loneliness and isolation, and the string-heavy score from The Octopus Project heightens the feeling of melancholy."
Christy Lemire, RogerEbert.com
"This is a shame, as the brothers clearly have an affinity for the genre and for how to play with some of its tropes. All the locations are terrific, notably some seaside spots in Oregon. Especially good, too, is the score by The Octopus Project, an electrified combination of banjo, musical saw, fiddle, guitar and flute."
Todd McCarthy, The Hollywood Reporter
INCREDIBLES 2 - Michael Giacchino
"Pixar films are famously beautiful when it comes to character design and art direction, but 'Incredibles 2' is one of the most significant achievements in this regard. The word that I kept thinking of was fluid. I have three kids, so trust me when I say that this is not a common word when it comes to family entertainment, much of which shoehorns in messages between clunky comedy scenes with no concern for flow and pacing. 'Incredibles 2' just moves beautifully, sliding from one scene to another with such grace and momentum. And the action sequences are among the best you’ll see all year. There’s a sequence with Elastigirl and a runaway train that’s gorgeously conceived and executed, and the climax is better than most Marvel action sequences. It’s a movie that’s constantly in motion, surprising you with the way it so seamlessly flows from action to comedy to family and back again, buoyed by a jazzy, fantastic score by Michael Giacchino. It’s a testament to Bird’s filmmaking ability how effortless 'Incredibles 2' often feels. Nothing feels too eager-to-please, even the Jack-Jack material, which is surprisingly funny and fresh."
Brian Tallerico, RogerEbert.com
"And it would be one thing if Bird were simply going through the motions, just swapping Helen for Bob (who in the first movie was similarly called away) and gussying it up with all the technological advancements 14 years of development and experimentation will give you. 'Incredibles 2' takes place in a world that will be familiar to fans of the first; all of the buildings are midcentury modern (the Parrs’ new house is a stunner) and everything swings to the orchestral bounce of composer Michael Giacchino."
Drew Taylor, The Playlist
"As before, one of the key creative contributions here is the super jazzy score by Michael Giacchino. Essentially unknown at the time, the composer put himself on the map with his work on the first entry and he's been one of the busiest soundtrack tunesmiths in Hollywood ever since. At 118 minutes, the new film is just three minutes longer than the original."
Todd McCarthy, The Hollywood Reporter
"Additionally, Michael Giacchino operatic score rivals John Williams‘ classics and the work of Industrial Light & Magic, partnered with a surprising amount of practical dinosaurs from Legacy Effects, is eye-popping as always."
Drew Taylor, The Playlist
"But director J.A. Bayona ('The Impossible,' 'The Orphanage') and the screenwriters don’t seem to trust the creatures, so they throw in lots of distractions, such as an erupting volcano in the movie’s first half (You think you can outrun a dinosaur? Try outrunning molten lava!) and a truly bizarre subplot involving a little girl, James Cromwell in a neckerchief and the criminally underused Geraldine Chaplin. (Watch Chaplin in 'The Orphanage' to see how she and Bayona can do much better, on far less of a budget.) But even the heavenly chorus that’s working overtime on the soundtrack can’t drown out the lack of chemistry between Howard and Pratt. And the movie too often defaults to people running around screaming -- which is, to be fair, the backbone of this franchise, but it gets awfully old here."
Moira Macdonald, The Seattle Times
LEAVE NO TRACE - Dickon Hinchliffe
"'Leave No Trace' isn’t always a a gripping adventure, and its vagaries occasionally become so broad that Tom and Will lose the specificity that binds them to each other, but the film is consistently at its best when it’s attuned to a quiet sense of harmony between all things. In a largely apolitical story that’s only discernible issue is our collective apathy towards vets, Granik’s unobtrusive direction helps avoid an 'us vs. them' mentality (and overpowers Will’s paranoia) through more organic expressions of unity -- the healing power of animals; Dickon Hinchliffe’s minimalistic score; how an empty house can keep two strangers warm."
David Ehrlich, IndieWire
A MIDSUMMER NIGHT'S DREAM - Mia Doi Todd
"But otherwise, Mott’s judiciously compacted 'Dream' has a lot of clever ideas nicely worked in, from the inevitable role of personal electronic devices to an inspired climax wherein the performance of 'Pyramus and Thisbe' becomes a film-class assignment haplessly reminiscent of 'Turkish Star Wars.' Though the press materials cite Baz Luhrmann’s 'Romeo + Juliet' as a reference point, this is a more organic update than the flashy pop-cultural mashups that the Aussie showman has made of classic sources. Its tonal and stylistic gambits mesh more fully despite their surface divergences (not to mention smaller budgetary resources), encompassing everything from the faeries’ Burning Man-boho attire (costumes by Kate Mallor) and environs (courtesy of production designer Glen Hall) to music supervisor Dan Wilcox’s mixtape soundtrack. There’s room for a couple of actual musical numbers, composed by musician cast member Todd, and they, too, feel like an integral part of the whole rather than self-conscious window dressing.
Dennis Harvey, Variety
"Love requited and not plays out through the thrashing of keystrokes on computers, phones and the odd typewriter before the four converge in nighttime Topanga Canyon, the woods filtered through deep reds and purples as the resident spirits do their mischief. Actor and slam poet Saul Williams makes a tender and quietly fierce Oberon, the fairy king. As the queen Titania, singer-songwriter Mia Doi Todd is compelling, as well as being a captivating onscreen musical performer (she also wrote the film’s lovely, well-deployed score)."
Sheri Linden, The Hollywood Reporter
PUZZLE - Dustin O'Halloran
"Turteltaub’s direction finds drama in quiet moments: He allows his actors play their internal struggles as quietly and realistically as possible, letting composer Dustin O’Halloran ('Lion') do a lot of the heavy lifting. His score promises early on that Agnes’ puzzle obsession will lead to personal fulfillment, the kind that borders on magic."
William Bibbiani, The Wrap
"In line with the film’s generally understated vibe, most of the technical aspects are inconspicuous, apart from a fetching score by Dustin O’Halloran and the use of different versions of the apt canonical favorite 'Ave Maria,' sung memorably at one point on a subway by countertenor Matthew Shifrin."
Leslie Felperin, The Hollywood Reporter
SHOCK AND AWE - Jeff Beal
"With elements of courtroom drama and high-level corruption investigation mixed into the heroes’ journey of four crusading reporters pursuing the truth about WMDs and Iraq when so many others became mouthpieces for the Bush administration’s hidden agenda, it seems Reiner is aiming for a sort of 'A Few Good President’s Men.' And everything from the old-fashioned score from Jeff Beal to the unobjectionable cinematography from Barry Markowitz, which relies heavily on gliding tracking shots to inject some dynamism into otherwise staid dialogue scenes, reinforces that impression. But 'Shock and Awe' lacks the fire of Reiner’s own 1992 hit, as well as the single-minded intelligence of Alan J. Pakula’s Watergate thriller, so despite its solid craftsmanship, it only sporadically reaches the dramatic heights of either."
Jessica Kiang, Variety
SICARIO: DAY OF THE SOLDADO - Hildur Guonadottir
"The follow-up to the 2015 triple Oscar nominee has lost a few key players, including Oscar nominees Johann Johannsson and Roger Deakins, along with star Emily Blunt and director Denis Villeneuve. To say their absence can be felt is an understatement. On the one hand, it’s somewhat unfair to compare the current crew to that talented quartet, but director Stefano Sollima so often mimics the first film that it’s impossible not to do so. For example, the extended shots of helicopters along the US-Mexico border return, along with an imposing score, and a few road-set shootouts. And so we’re constantly reminded of elements that were simply done better in the last film and of the importance of craftsmen like Johannsson, Deakins, and Villeneuve."
Brian Tallerico, RogerEbert.com
"'Soldado' features a similar pattern. Villeneuve’s A+ clinical, brutalist composure is what made 'Sicario' a hit and fan favorite. Continuing his ruthlessly efficient vision is Stefano Sollima (known for Italian crime thriller’s like 'Suburra' and Netflix’s 'Gomorrah' series), replete with Hildur Guðnadóttir, a collaborator of Jóhannsson who unfortunately phones in a carbon copy of the anxiety-riddled score of bassy doom blasts straight from the center of hell (original, it was panic-inducing, now, it’s rote).
Rodrigo Perez, The Playlist
"The plan, which uneasily reveals itself against the ominous rumble of Hildur Guðnadóttir’s bass-driven score, involves kidnapping the 12-year-old daughter (Isabela Moner, terrific) of cartel kingpin Carlos Reyes in plain daylight and letting everyone think that the Matamoros cartel was responsible. Reyes, according to the 'Sicario' backstory, was the super-boss who ordered the assassination of Alejandro’s wife and family (above even the jefe he avenged in the first movie), although it’s never satisfactorily explained why 'this time it’s personal' if 'last time it was personal' as well."
Peter Debruge, Variety
"Rough real locations and Dariusz Wolski's highly mobile cinematography provide ample atmosphere and verisimilitude. Deep and disturbing echoes of the original film's overwhelming score by the late Johannson are to be heard in the new music by one of his proteges and creative colleagues, Hildur Gudnadottir."
Todd McCarthy, The Hollywood Reporter
SORRY TO BOTHER YOU - Tune-Yards
"Things get even crazier once Cassius is invited to a house party/orgy hosted by Clearview CEO Steve Lift (Hammer) and makes a wrong turn on the way to the bathroom, uncovering the company’s darkest secret. Except, by this point, the movie has left the realm of cautionary tale and spun off into some sort of sci-fi fever dream, complete with eerie zither score (courtesy of Tune-Yards), as Cassius becomes an overnight internet sensation. (Why is it that movies never seem to understand how viral videos work? Here, a protester pegs him in the head with a can of Soda-brand soda, and the next thing you know, America’s children are buying bandaged-fro wigs and dressing as Cassius for Halloween.)"
Peter Debruge, Variety
THE NEXT TEN DAYS IN L.A.
Screenings of older films, at the following L.A. movie theaters: AMPAS, Alamo Drafthouse, American Cinematheque: Aero, American Cinematheque: Egyptian, Arclight, Arena Cinelounge, Fairfax Cinema, Laemmle, New Beverly, Nuart, UCLA and Vista.
February 7
CAT PEOPLE (Giorgio Moroder) [New Beverly]
ETERNAL SUNSHINE OF THE SPOTLESS MIND (Jon Brion) [Vista]
THE EXILES [Fairfax Cinema]
THE GIRL CAN'T HELP IT (Lionel Newman) [Fairfax Cinema]
GRAND ILLUSION (Joseph Kosma), MERRY CHRISTMAS, MR. LAWRENCE (Ryuichi Sakamoto) [Cinematheque: Aero]
THE GREEN FOG (Jacob Garchik) [Arena Cinelounge]
HARD TO BE A GOD (Viktor Lebedev) [Fairfax Cinema]
SUSPIRIA (Goblin) [Nuart]
TO LIVE AND DIE IN L.A. (Wang Chung) [Arena Cinelounge]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
February 8
ALOHA, BOBBY AND ROSE [New Beverly]
THE EXILES [Fairfax Cinema]
THE GIRL CAN'T HELP IT (Lionel Newman) [Fairfax Cinema]
THE GREEN FOG (Jacob Garchik) [Arena Cinelounge]
HARD TO BE A GOD (Viktor Lebedev) [Fairfax Cinema]
HARRY POTTER AND THE CHAMBER OF SECRETS (John Williams, William Ross) [New Beverly]
THE HUMAN CONDITION trilogy (Chuji Kinoshita) [Cinematheque: Aero]
ROMAN HOLIDAY (Georges Auric) [Vista]
RUN LOLA RUN (Tom Tykwer, Reinhold Heil, Johnny Klimek) [Vista]
TO LIVE AND DIE IN L.A. (Wang Chung) [Arena Cinelounge]
WILD AT HEART (Angelo Badalamenti) [Alamo Drafthouse]
February 9
ALL ABOUT EVE (Alfred Newman) [Cinematheque: Egyptian]
THE EXILES [Fairfax Cinema]
THE GIRL CAN'T HELP IT (Lionel Newman) [Fairfax Cinema]
THE GREEN FOG (Jacob Garchik) [Arena Cinelounge]
HARD TO BE A GOD (Viktor Lebedev) [Fairfax Cinema]
HARRY POTTER AND THE CHAMBER OF SECRETS (John Williams, William Ross) [New Beverly]
TO LIVE AND DIE IN L.A. (Wang Chung) [Arena Cinelounge]
February 10
BUFFALO '66 (Vincent Gallo) [New Beverly]
FEAR IS THE KEY (Roy Budd), VILLAIN (Jonathan Hodge) [New Beverly]
A STAR IS BORN [2018] [Arclight Hollywood]
A STAR IS BORN (Harold Arlen, Ray Heindorf) [Arclight Hollywood]
A STAR IS BORN (Roger Kellaway) [Arclight Sherman Oaks]
TO LIVE AND DIE IN L.A. (Wang Chung) [Arena Cinelounge]
2001: A SPACE ODYSSEY [Arclight Sherman Oaks]
February 11
CRIMSON PEAK (Fernando Velazquez) [Alamo Drafthouse]
THE GREEN FOG (Jacob Garchik) [Arena Cinelounge]
HOT POTATO (Christopher Trussell), GOLDEN NEEDLES (Lalo Schifrin) [New Beverly]
TO LIVE AND DIE IN L.A. (Wang Chung) [Arena Cinelounge]
TO SLEEP WITH ANGER (Stephen James Taylor) [Cinematheque: Aero]
February 12
THE GREEN FOG (Jacob Garchik) [Arena Cinelounge]
McCABE AND MRS. MILLER (Leonard Cohen), JEREMIAH JOHNSON (Tim McIntire, John Rubinstein) [New Beverly]
TAMMY AND THE T-REX (Jack Conrad, Tony Riparetti) [Alamo Drafthouse]
TO LIVE AND DIE IN L.A. (Wang Chung) [Arena Cinelounge]
WEST SIDE STORY (Leonard Bernstein, Saul Chaplin, Johnny Green, Sid Ramin, Irwin Kostal) [New Beverly]
February 13
CAR WASH (Norman Whitfield), COOLEY HIGH (Freddie Perren) [Cinematheque: Egyptian]
ETERNAL SUNSHINE OF THE SPOTLESS MIND (Jon Brion) [Alamo Drafthouse]
THE GREEN FOG (Jacob Garchik) [Arena Cinelounge]
McCABE AND MRS. MILLER (Leonard Cohen), JEREMIAH JOHNSON (Tim McIntire, John Rubinstein) [New Beverly]
A MIGHTY WIND, FOR YOUR CONSIDERATION (CJ Vanston) [Cinematheque: Aero]
OH, WHAT A LOVELY WAR (Alfred Ralson) [Cinematheque: Aero]
RETURN OF THE SEACAUCUS SEVEN (Mason Daring), LIANNA (Mason Daring) [UCLA]
TO LIVE AND DIE IN L.A. (Wang Chung) [Arena Cinelounge]
February 14
BRIDE OF FRANKENSTEIN (Franz Waxman) [New Beverly]
BRIEF ENCOUNTER [Fairfax Cinema]
CALL ME BY YOUR NAME (Sufjan Stevens) [Arclight Culver City]
CASABLANCA (Max Steiner) [Arclight Culver City]
CASABLANCA (Max Steiner) [Cinematheque: Aero]
JERRY MAGUIRE (Nancy Wilson) [Arclight Hollywood]
KILLER OF SHEEP [Fairfax Cinema]
LOVE & BASKETBALL (Terence Blanchard) [Arclight Hollywood]
THE NOTEBOOK (Aaron Zigman) [Arclight Santa Monica]
PIRANHA (Pino Donaggio), THE HOWLING (Pino Donaggio) [Cinematheque: Egyptian]
SHAKESPEARE IN LOVE (Stephen Warbeck) [Arclight Santa Monica]
SIXTEEN CANDLES (Ira Newborn) [Arclight Sherman Oaks]
SOMETHING WILD (John Cale, Laurie Anderson) [Fairfax Cinema]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
WHEN HARRY MET SALLY... (Marc Shaiman) [Arclight Sherman Oaks]
February 15
BEST IN SHOW (CJ Vanston), WAITING FOR GUFFMAN (CJ Vanston) [Cinematheque: Aero]
THE BLACK VAMPIRE (Juan Ehlert) [Cinematheque: Egyptian]
BRIEF ENCOUNTER [Fairfax Cinema]
THE BROTHER FROM ANOTHER PLANET (Mason Daring), BABY IT'S YOU [UCLA]
F.T.A. [Cinematheque: Egyptian]
HARRY POTTER AND THE PRISONER OF AZKABAN (John Williams) [New Beverly]
KILLER OF SHEEP [Fairfax Cinema]
LIFEFORCE (Henry Mancini) [Vista]
MEAN DOG BLUES (Fred Karlin) [New Beverly]
PRIDE & PREJUDICE (Dario Marianelli) [Alamo Drafthouse]
SOMETHING WILD (John Cale, Laurie Anderson) [Fairfax Cinema]
VERTIGO (Bernard Herrmann) [Vista]
February 16
BRIEF ENCOUNTER [Fairfax Cinema]
FELLINI'S ROMA (Nino Rota) [Cinematheque: Egyptian]
FISH TANK (Steel Pulse) [Alamo Drafthouse]
HARRY POTTER AND THE PRISONER OF AZKABAN (John Williams) [New Beverly]
KILLER OF SHEEP [Fairfax Cinema]
LONE STAR (Mason Daring), LIMBO (Mason Daring) [Cinematheque: Aero]
NATIONTIME-GARY, THE STORY OF A THREE-DAY PASS (Melvin Van Peebles) [Cinematheque: Egyptian]
SOMETHING WILD (John Cale, Laurie Anderson) [Fairfax Cinema]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: The Sons of Katie Elder (Bernstein), L'Attentato (Morricone), 1917 (Newman)
Read: A little more of The Waste Lands: The Dark Tower III, by Stephen King
Seen: Orca; Nightwing; Prophecy; Honeyland; Gretel & Hansel; The Assistant; Parasite [2019]; The Rhythm Section; Marriage Story; Avengers: Endgame
Watched: Columbo ("Ashes to Ashes," "Murder with Too Many Notes," "Columbo Likes the Nightlife")
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