CDS AVAILABLE THIS WEEK
The Chosen - Ennio Morricone - Beat
David Attenborough: A Life on Our Planet - Steven Price - Decca (import)
Friday the 13th Part VII: The New Blood - Harry Manfredini, Fred Mollin - La-La Land
Graveyard Shift - Anthony Marinelli, Brian Banks - La-La Land
How to Train Your Dragon: The Deluxe Edition - John Powell - Varese Sarabande CD Club
IN THEATERS TODAY
Honest Thief, with Liam Neeson and a score by Mark Isham, is opening in U.S. theaters this week in cities where theaters are allowed to be open.
The Boys: Season One - Christopher Lennertz - La-La Land
The Boys: Season Two - Christopher Lennertz - La-La Land
Devs - Geoff Barrow, Ben Salibury - Invada (import)
Rawhead Rex - Colin Towns - Silva
The Secret Garden - Dario Marianelli - Decca (import)
World Soundtrack Awards Tribute to the Film Composer - various - Silva
Babylon Berlin Vol. II - Johnny Klimek, Tom Tykwer - BMG
Open 24 Hours - Holly Amber Church - Notefornote
Tenet - Ludwig Goransson - WaterTower
Interstellar: Expanded Edition - Hans Zimmer - WaterTower
No Time to Die - Hans Zimmer - Decca
The Trial of the Chicago 7 - Daniel Pemberton - Varese Sarabande
Jay Sebring...Cutting to the Truth - Jeff Beal - Noteforenote
Film Music 1976-2020 - Brian Eno - Astralwerks
Angelica - Zbigniew Preisner - Caldera
The Don Davis Collection, Vol. 1 - Don Davis - Dragon's Domain
Howard Blake: Ghost Stories - Howard Blake - Dragon's Domain
Lloyd - Conrad Pope - Dragon's Domain
THIS WEEK IN FILM MUSIC HISTORY
October 16 - Leo F. Forbstein born (1892)
October 16 - Bert Kaempfert born (1923)
October 16 - Allan Zavod born (1945)
October 16 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “Misadventure” (1964)
October 16 - Maurice Jarre begins recording his score for Taps (1981)
October 16 - Art Blakey died (1990)
October 16 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Year of Hell, Part I” (1997)
October 16 - David Bell records his scores for the Enterprise episodes “Terra Nova” and “Dear Doctor” (2001)
October 16 - Albert Elms died (2009)
October 16 - Pete Rugolo died (2011)
October 17 - Luiz Bonfa born (1922)
October 17 - Around the World in Eighty Days premieres in New York (1956)
October 17 - Bullitt opens in New York (1968)
October 17 - Nicholas Britell born (1980)
October 17 - Basil Poledouris records his score for the Twilight Zone episode “A Message from Charity” (1985)
October 17 - Jay Livingston died (2001)
October 17 - Vic Mizzy died (2009)
October 17 - Rob Walsh died (2018)
October 18 - Frederick Hollander born (1896)
October 18 - Rene Garriguenc born (1908)
October 18 - Allyn Ferguson born (1924)
October 18 - John Morris born (1926)
October 18 - Peter Best born (1943)
October 18 - Howard Shore born (1946)
October 18 - Miklos Rozsa begins recording his score for East Side, West Side (1949)
October 18 - Bernard Herrmann begins recording his score to The Wrong Man (1956)
October 18 - Wynton Marsalis born (1961)
October 18 - Sergio Moure de Oteyza born (1969)
October 18 - Cristobal Tapia de Veer born (1973)
October 18 - Pete Carpenter died (1987)
October 18 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Game” (1991)
October 19 - Fiorenzo Carpi born (1918)
October 19 - George Fenton born (1949)
October 19 - Victor Young begins recording his score to Scaramouche (1951)
October 19 - Johnny Harris records his score for the Buck Rogers in the 25th Century episode “Return of the Fighting 69th” (1979)
October 19 - Jack Nitzsche records the electronic passages for his Jewel of the Nile score (1985)
October 19 - Recording sessions begin on James Newton Howard’s score for Falling Down (1992)
October 19 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “True Q” (1992)
October 19 - Svend Erik Tarp died (1994)
October 19 - Jerry Goldsmith begins recording his score for Star Trek: Insurrection (1998)
October 20 - Adolph Deutsch born (1897)
October 20 - Frank Churchill born (1901)
October 20 - Tom Petty born (1950)
October 20 - Thomas Newman born (1955)
October 20 - Lucien Moraweck died (1973)
October 20 - Ron Jones records his score for the Star Trek: The Next Generation episode "Booby Trap" (1989)
October 21 - Joseph Mullendore born (1914)
October 21 - Malcolm Arnold born (1921)
October 21 - John W. Morgan born (1946)
October 21 - Brian Banks born (1955)
October 21 - Lyle Workman born (1957)
October 21 - Jerry Goldsmith records his replacement score for Seven Days in May (1963)
October 21 - David Newman begins recording his score for Bill & Ted's Excellent Adventure (1987)
October 21 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Melora” (1993)
October 21 - Gregory Smith records his score for the Star Trek: Deep Space Nine episode “The Assignment” (1996)
October 21 - David Shire begins recording his score for Rear Window (1998)
October 21 - Gianni Ferrio died (2013)
October 22 - Joseph Kosma born (1905)
October 22 - Giorgio Gaslini born (1929)
October 22 - Ed Welch born (1947)
October 22 - Greg Hawkes born (1952)
October 22 - Hans J. Salter begins recording his score for The Far Horizons (1954)
October 22 - Miklos Rozsa begins recording his score to Bhowani Junction (1955)
October 22 - Marc Shaiman born (1959)
October 22 - Hugo Friedhofer begins recording his score to Never So Few (1959)
October 22 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "Body in the Barn" (1963)
October 22 - Nuno Malo born (1977)
DID THEY MENTION THE MUSIC?
ARTEMIS FOWL - Patrick Doyle
"At times there’s a real stateliness to Branagh’s directorial style and to Patrick Doyle’s music, as the film moves through burnished, glowing interiors and landscapes for which the term picturesque seems sadly insufficient. It’s as if the director is hoping that a little restraint and beauty can hide some of the silliness, which of course it can’t. Not even close."
Steve Pond, The Wrap
"The personal element here, which gets entirely submerged under the weight of computer graphics and an ever-swelling soundtrack, is that Artemis Senior has been kidnapped. He has been taken prisoner by a faction of evil fairies, who want control of a thing called the Aculos. (Oh, yeah, look out for that Aculos. With one of those, they can unleash all kinds of unpleasantness, including the death of all things living.)"
Mick LaSalle, San Francisco Chronicle
"But wait! We can’t forget about Gad’s Mulch, whose capture and interrogation by MI6 bookends the proceedings and whose often-unnecessary voiceover provides the film’s structural spine. He shows up to pick a pocket or two and fast-talk his way out of every tricky situation -- often with out-of-nowhere pop culture references to Foreigner and David Bowie and such, which feel forced and are never funny. But with his scraggly hair and shaggy beard, he looks as if he just wandered in from a Phish concert; he, too, joins in the adventure, ostensibly for comic relief. Nevertheless, there’s always another fearsome creature, another giant set piece or fight scene, with a frantic score urging the action along. There’s a great deal of exertion on display but very little magic."
Christy Lemire, RogerEbert.com
"Once the dust has settled, Branagh gives us a gratuitous tracking shot in which the camera follows Artemis as he stumbles through the ruins of that amazing set (most of the fairy realm looks virtual, an extravagant waste of budget and imagination). Amid the swooping cameras and soaring music cues, however, the showdown is virtually impossible to follow. At one point, Artemis’ weapon flies out of his hand for no apparent reason, although it’s hard to get too concerned, knowing that fairies can heal all wounds, and the Aculos can fix whatever else goes wrong."
Peter Debruge, Variety
"About that battle: It goes on and on, involving convoluted information about time freezes and memory wipes and a full-scale Normandy-type invasion with spacecraft landing on the beach disgorging armed troops. But it becomes a wearying slog, with too little reason to invest in the bland characters amid all the chaos. The stakes just never feel terribly high, even if all-out war between worlds is on the cards. Opal gives Artemis Jr. three days to find and return the Aculus, and anxious folks are constantly shouting things like, 'The time freeze is going to collapse any second now!' But even when composer Patrick Doyle trades the corny Celtic pipes and whistles for full-throttle, frenetic orchestral action mode, the suspense is minimal."
David Rooney, The Hollywood Reporter
BECKY - Nima Fakhrara
"James' turn is an unexpected pleasure, but between 'Ouija: Origin of Evil' and 'The Haunting of Hill House,' and 'Sharp Objects,' Wilson is already a hardened hand in the horror/psychological thriller business. She takes what could have been a nonsensical character and binds 'Becky' together with pure adolescent rage. In turn, Dominick respects a kindred spirit, which just shows how deranged he is. It shouldn't work, but somehow (with assistance from Nima Fakhrara's excellent discordant score) together they find the perfect off-kilter balance."
Richard Whittaker, The Austin Chronicle
"And this one is made even more hollow by direction that barely keeps us aware of the geography of a scene and an aggressive score that tries to make up for lack of actual tension. A home invasion film that takes place almost entirely at one setting demands consistent and clear cinematography and scene construction. We don't get either here. Tension rises from knowing where the good guys are and where the bad guys are and what’s in between and what's at stake. 'Becky' fails in this department, staging each interaction between Becky and her attacker as sort of a standalone event on a boring set. Make use of your space. Make use of your setting. Make use of more than weapons to rend limbs from bad guys."
Brian Tallerico, RogerEbert.com
"Shot in Canada, the U.S. production is nicely turned in all technical and design departments, with a sleek look, brisk pace and appropriate leaps of the electronic pulse in Nima Fakhrara’s original score."
Dennis Harvey, Variety
DA 5 BLOODS - Terence Blanchard
"There is plenty of action, both in wartime and during the present day, which keeps the movie moving through its 157-minute runtime. Cinematographer Newton Thomas Sigel handles it well, shooting some extraordinarily gorgeous and horrific images while fiddling with the aspect ratio in ways I found too clever to be annoyed with -- one change occurs during an old-fashioned wipe, while another manifests itself with a dramatic opening of the screen. If Sigel is the MVP of the imagery, Terence Blanchard and Marvin Gaye rule the soundtrack. Blanchard’s score is bombastic, terrifying and militaristic one minute, achingly beautiful the next. And Lee’s use of Gaye’s songs, primarily from the 'What’s Going On' album, is aces, especially in a chilling a capella rendering of the title song and a use of 'God Is Love' that will stay with you long after the film is over."
Odie Henderson, RogerEbert.com
"With Terence Blanchard’s jazzy trumpet guiding the saga along, 'Da 5 Bloods' takes off where most movies wound start winding down, cramming intriguing details into its closing passage just when it couldn’t get more topical. (Yes, Black Lives Matter worms its way into the story, and its abrupt appearance adds an unexpected layer of poignance that deepens the more you think about it.) As with Steve McQueen’s underappreciated 'Widows,' Lee seems keen on grappling with real-world problems while keeping the entertainment value in check, with some of the weird narrative energy found in hodgepodges like 'Chi-Raq' and 'Da Sweet Blood of Jesus' clarified by the central chemistry in play. The movie wanders off in some odd directions, but the Bloods’ bond keeps it grounded."
Eric Kohn, IndieWire
"The signposting dialogue is amusingly blunt at first, but as the main characters continue to trade repetitive thematic dialogue, you sense Lee’s struggle to tie his various contradictory ambitions together. Lee wishes to decry the simplistic heroism of most war films while fashioning one of his own that trades in similar fantasies. In flashbacks, Terence Blanchard’s score soars on the soundtrack as the men gloriously battle the Viet Cong, destroying an enemy that’s every bit as faceless as it is in more routine genre movies. (In a wonderful touch, the young bloods are played in these scenes by the same actors as they are in the contemporary timeline, evoking the way we tend to insert our present-day selves into our memories.) And Francis Ford Coppola’s 'Apocalypse Now' is visually quoted at least twice, for murky reasons. For a film that decries cinema’s valorization of white men in the Vietnam War, it seems odd to callback to a movie that inadvertently does the same thing in its 'Ride of the Valkyries' sequence. (These references suggest a satirical intention that doesn’t quite scan.)"
Chuck Bowen, Slant Magazine
"Spike Lee’s career can be described as a lover’s quarrel with American movies -- and with America, too. As he has demonstrated his mastery of established genres (the biopic, the musical, the cop movie, the combat picture, and so on), he has also reinvented them, pointing out blind spots and filling in gaps. His critique of Hollywood’s long history of ignoring and distorting black lives has altered the way we look at movies. His attempts to expand the frame and correct the record have changed the course of the cultural mainstream. I’m tempted to say that with 'Da 5 Bloods,' which debuts on Netflix on Friday, Lee has done it again. But when has he ever repeated himself? This long, anguished, funny, violent excursion into a hidden chamber of the nation’s heart of darkness isn’t like anything else, even if it may put you in mind of a lot of other things. In its anger, its humor and its exuberance -- in the emotional richness of the central performances and of Terence Blanchard’s score -- this is unmistakably a Spike Lee Joint. It’s also an argument with and through the history of film."
A.O. Scott, The New York Times
"The movie shifts abruptly from the present day to 1968, shifting into a tighter aspect ratio and more assertive war-movie music (from Terence Blanchard) as it does, but there’s little attempt to de-age the actors, much less replace them with younger doppelgangers. Even when it’s set 50 years ago, 'Da 5 Bloods' is a movie about now -- and besides, we don’t really want to take our eyes off Lindo, Lewis, Peters or Whitlock, or off Jonathan Majors ('The Last Black Man in San Francisco') who shows up as David, Paul’s worried son."
Steve Pond, The Wrap
“We was the very first people who died for this red, white and blue,” Norman argues. “We been dying for this country from the very get, hoping one day they’d give us our rightful place.” Here, editor Adam Gough cuts to a portrait of Crispus Attucks, shot to death in the Boston Massacre, in an approach determined not to let the film’s historical details — deliberately overlooked in so many classrooms — get lost. The movie has a dynamic, self-conscious feel at times, as DP Newton Thomas Sigel alternates between stocks and aspect ratios, and characters sing along with Marvin Gaye, several of whose songs are interwoven with Terence Blanchard’s emotion-rousing score.
Peter Debruge, Variety
"The visual field makes another dynamic shift -- announced with a flourish accompanied by the military drums that are a key element of Terence Blanchard's symphonic score -- as they begin the trek through the jungles and rice paddies. This is where the storytelling gets knotty and indulges in a few clichés and cheeky contrivances en route to the more conventionally genre movie-ish action sequences of the climactic stretch -- with a shoot-'em-up finale that's perhaps mildly tongue-in-cheek. But even if 'Da 5 Bloods' at times seems to be morphing into an entirely different movie, its playfulness, as much as its raw power, keeps you glued. As is customary in their long collaboration, Lee and the masterful Blanchard layer music beneath these later passages in ways that can seem both counterintuitive and invigorating, with the use of Gaye's songs hitting you in the gut while speaking to your heart and head. The Chambers Brothers' 'Time Has Come Today' provides another evocative tie between then and now."
David Rooney, The Hollywood Reporter
DREAMLAND - Jonathan Goldsmith
"As silly as it all is, 'Dreamland' looks nice enough in DP Richard Van Oosterhout’s careful, richly paletted images, even if at times the sterility of digital reinforces the impression of the whole thing as a game of dress-up in which no one can be expected to truly believe. Jonathan Goldsmith’s score, however is a consistent pleasure, with bluesy saxophone blares sounding over ominous percussion and giving the film whatever real noirish texture it has. And McHattie’s scratchy falsetto rendition of the Eurythmics’ 'I Saved the World Today,' performed during the tiresome shoot-’em-up climax, is likewise an unexpected treat, if one that the film hardly earns."
Jessica Kiang, Variety
FORCE OF NATURE - Kubilay Uner
"For those who’ve seen Netflix’s 'Tiger King,' it will be clear from the 100 pounds of meat that Griffin intends to feed his pet that the man illegally owns some kind of wild cat. And if this offbeat scenario doesn’t elicit the laughs it may be aiming for, that’s at least in part due to composer Kubilay Uner’s score, which applies Wagnerian bombast to nearly every narrative event, as if it could will the paper-thin plot into some kind of significance. The tonal inconsistencies, however, aren’t confined to this clash between image and soundtrack. On a visual level, it’s difficult to know what to make of the scene in which Griffin’s pet, kept entirely off screen, drags Griffin into its pitch-black den and mauls him in front of a not-quite-horrified Cordillo, while a gang that Ray identifies as high-end burglars begins a raid of the complex. Neither funny nor suspenseful, it’s a bewildering mash of visual codes."
Pat Brown, Slant Magazine
"After a quick preview of apocalyptic thunder and lightning accompanied by dire warnings of mudslides, flash-flooding and storm surges, the action rewinds to eight hours earlier. But from the hyperactivity of Jayson Crothers' camera, you'd be forgiven for thinking the weather was already raising hell. While Kubilay Uner's portentous score slathers on the drama, the visuals dart about from Condado beachfronts to luxury high-rises, from rich neighborhoods to poor. Just 5 minutes in, I already felt nauseous from all the crazy zooms and whip pans. Though Hirsch has been compelling in films like 'Into the Wild,' he makes an uncharismatic lead here. Cardillo starts out surly and bitter, but whenever he has a quiet moment with Troy, the tender reprieve in Uner's otherwise hyperventilating score signals romance and healing. She's a medic, so makes sense! Bosworth has nothing interesting to play, though she does get a strange speech about Ray bringing home loads of frozen turkeys at Thanksgiving to use as target practice, which explains why she's both a crack shot and a surgeon, given the time she spent as a kid extracting bullets from poultry. No, really."
David Rooney, The Hollywood Reporter
IRRESISTIBLE - Bryce Dessner
"The needle-drop soundtrack of pop classics starts and ends with Bob Seger's 'Still the Same,' which is like starting and ending a war film with 'War (What is it Good For?)' The reprise of 'Still the Same' accompanies a shot of a treasury press spewing cash right into your face, a literal as well as figurative money shot. Bryce Dessner's score has three modes: 1. 'Sinister financial and political shenanigans, watch out!'; 2. 'iPhone ad where a little girl teaches grandma how to download an app'; and 3. 'Charlie Brown gets his biopsy results.' But it's intrusive and bad on purpose, you see. Because politics is all manipulation, you see. It's all a lie, a story, you see, he typed, as Charlie Brown's corpse rolled towards the furnace. Why are things still the same? Well, this is why. Poor Charlie Brown."
Matt Zoller Seitz, RogerEbert.com
MISS JUNETEENTH - Emily Rice
"In less apt hands, the SXSW-award-winning 'Miss Juneteenth' could be cloying, with some elements – such as Turquoise's love triangle with Kai's father, Ronnie (Sampson) and local funeral home director Bacon (Watson) – verging on melodramatic. Yet Peoples pulls back any sappiness by wisely letting the quiet, almost-verité cinematography of Daniel Patterson ('The Last O.G.', the TV version of 'She's Gotta Have It') do much of the work. Similarly, there's sparing use of Emily Rider's [sic] score, supplemented by diegetic rhythms from the bar and the street."
Richard Whittaker, The Austin Chronicle
"Peoples has an eye for the gathering places in this community -- the bar, the church, the pageant. And while there’s plenty of heartbreak and hardship here, she lets it play out slowly and softly, and often as not in dead silence; only occasionally does the sparest of musical scores (by Emily Rice) enter the picture, though it begins to do so more frequently and more predictably as the movie goes on."
Steve Pond, The Wrap
SHIRLEY - Tamar-kali
"Decker's visual style is as distinct as a fingerprint. She destabilizes images, focusing in on parts of it, rarely looking at things head on. The experience is sometimes like listening to music underwater, or trying to adjust the muscles in your eyes to read the fine print. Her films are often disorienting visually, with pin-points of focus gleaming out of blurred surroundings. Decker may be most well-known for 2018's 'Madeline's Madeline,' but her first two films -- 'Butter on the Latch' (2013) and 'Thou Wast Mild and Lovely' (2014) -- were what turned me onto her work. Her films thus far are challenging, experimental, bold. Decker is carving out a very interesting space for independent eccentric filmmaking. She also knows how to pull together a powerful team. Cinematographer Sturla Brandth Grøvlen does beautiful work. And Tamar-kali's score, along with the scores she's composed for 'Mudbound' and 'The Assistant,' announce her as a major player in the almost lost art of old-fashioned (in the best sense) film scores."
Sheila O’Malley, RogerEbert.com
"Mentally unable to set foot outside her home or find the flame of creativity, the reclusive Shirley has withdrawn from the world more than usual, reaffirming her reputation in rigid 1950s Virginia as a fear-inspiring writer, both for the darkness of her stories and for her disinterest in pleasing others. Nightmarish visions, paired with Tamar-kali’s playfully chilling score, create a disorienting effect that matches her inner state."
Carlos Aguilar, The Wrap
"Cinematographer Sturla Brandth Grøvlen bathes the early scenes in a warm summer glow as if they’re a fond memory, and Decker lulls us into complacency with late-night scenes near open windows, where the only sounds around are chirping crickets and whispered secrets. But those calming sounds and images soon curdle into nightmarish visions of blood and terror. As with 'Madeline’s Madeline,' Decker has an uncommon gift for getting us into her characters’ heads via smeary, discombobulated compositions and complex soundscapes (the driving, nervous score is by Tamar-kal). [sic] This visual and aural shorthand for mental illness proves equally effective for creating the fugue states, false starts, and jagged rhythms of the writing process."
Jason Bailey, The Playlist
"As Shirley’s most trusted editor and critic, Stanley desperately wants his wife to return to her writing, but he might not approve of the manuscript she’s undertaken -- it will ultimately become Jackson’s 1951 genre novel 'Hangsaman.' Her inspiration is the case of 'a disappearing college girl,' which she enlists Rose to help her investigate. Certain clues point to Stanley, though there are so many rich mysteries simmering under 'Shirley'’s surface that audiences may well find other themes more enticing. In a masterful use of her signature claustrophobia-inducing style, Decker employs Sturla Brandth Grøvlen’s shallow-focus handheld camerawork and Tamar-kali’s anxious score (a crazy-making mix of string plucks and piano plunks) to wind up her audience, till that aforementioned sweater becomes a straitjacket, before revealing a terrific twist that will leave audiences debating all that’s come before."
Peter Debruge, Variety
THE TRUTH - Alexei Aigui
"Yes and no, it turns out. Were 'The Truth' uncredited, with no information about its provenance having been announced or leaked, even Kore-eda’s staunchest fans might fail to recognize his hand at the helm, even though he wrote the screenplay in addition to directing. The biggest tipoff might be its intermittent, slightly overbearing use of music that can only be described as 'tinkly,' with Russian composer Alexei Aigui performing a serviceable variation on the typical Kore-eda score. Otherwise, this low-key portrait of maternal angst, set in the French cinema industry (with Ethan Hawke as an American ringer), feels politely generic -- too assured to be the work of a novice, but not detailed enough to make a strong impression."
Mike D’Angelo, The Onion AV Club
"But it also makes 'The Truth' a somewhat fleeting pleasure. The film is composed of episodes rather than mounting-stakes acts and exists more to illuminate the characters in a state of stasis than to watch them change dramatically. The randomly deployed musical cues -- plaintive piano trills that evoke a sentimentality of which the film is otherwise notably free -- are as close to the Kore-eda-'brand' heartstring-tug as the film gets, and without his trademark emotional wallop, the gentler pleasures of comedy and conviviality and Deneuve’s stratospheric charisma are the focus instead."
Jessica Kiang, The Playlist
"The character-driven film is shot by Eric Gautier in suitably muted tones and without any fussy movement. (Fabienne's dismissal of the jittery visuals on the 'Memories' director's previous movie -- 'Does a camera stand cost that much?' -- gets a big laugh.) And wisely sparing use is made of Alexei Aigui's tinkly score."
David Rooney, The Hollywood Reporter
YOU SHOULD HAVE LEFT - Geoff Zanelli
"The first words we hear Kevin Bacon say in 'You Should Have Left' are 'goddamn nightmares,' a phrase his character spits out after waking from some feverish visions that include long dark hallways, spooky music and a sinister, bedraggled guy threatening a little girl. The formidable Wales Airbnb promises a bit of peace, but the music tells us otherwise and so does the set design. Sparsely furnished with no personal touches, the house looks impressive in the daylight -- but once the sun goes down, those long narrow hallways lined in brick start to look downright creepy, particularly since there always seems to be a room way down at the end with a light on."
Steve Pond, The Wrap
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: I Was Looking at the Ceiling and Then I Saw the Sky (Adams), Greatest Hits! (The Association), Il cane e il suo generale (Guerra), The Thin Red Line (Zimmer), Land of the Giants (various), Dirk Brosse: A Portrait in Music (Brosse), The Orville (various), Noi lazzaroni (Morricone), The Highwaymen (Newman), Time Bandits (Moran), Aquaman (Gregson-Williams), Jane Eyre (Herrmann), Who's Been Sleeping in My Bed?/Wives and Lovers (Duning/Murray), The Pick-Up Artist/Sherlock Holmes in New York (Delerue/Bennett), The Book of Henry (Giacchino), Company [2018 cast] (Sondheim), A Dog's Purpose (Portman), Larry Adler in Concert (Adler), Down a Dark Hall (Reyes), Fred Astaire: The Great American Songbook (Astaire), Violin Concerto/Piano Quartet (Elfman), Prendimi l'anima (Guerra), How to Train Your Dragon: The Hidden World (Powell), Damn the Defiant!/Behold a Pale Horse (Parker/Jarre), The Clowns (Rota), Days of Heaven (Morricone)
Read: A Change of Gravity, by George V. Higgins
Seen: I still haven't seen anything, thanks to the continued closure of Los Angeles County theaters, but I have a friend who went all the way down to Huntington Beach to see Tenet. That bastard.
Watched: Pillow of Death; Mystery Scence Theater 3000 ("Lords of the Deep"); Convict 13 ; Justified ("The Gunfighter"); Gas-s-s-s; The Rockford Files ("Caledonia - It's Worth a Fortune!"); The Adventurous Blonde; Mystery Science Theater ("The Day Time Ended"); Daydreams ; Looking ("Looking for the Road"); Who Can Kill a Child?; Sealab 2021 ("Bizarro")