Intrada plans to release one new CD next week.
La-La Land has announced four new releases currently due on August 17 - a three-disc, second volume of episode scores from Irwin Allen's '60s favorite THE TIME TUNNEL, featuring music by Robert Drasnin, George Duning, Joseph Mullendore, Paul Sawtell, Leith Stevens and John Williams; a two-disc set of the score for the just-released SNAKE EYES: G.I. JOE ORIGINS, composed by Martin Todsharow (The Captain, Head Full of Honey); a new two-disc edition of one of James Horner's finest and most popular scores, STAR TREK II: THE WRATH OF KHAN; and the "original live-to-picture concert soundtrack" for WOMEN WARRIORS: THE VOICES OF CHANGE, composed by Nathalie Bonin, Miriam Cutler, Anne-Kathrin Dern, Sharon Farber, Penka Kouneva, Starr Parodi and Lolita Ritmanis.
Quartet has announced two new releases -- a disc pairing two scores composed by Philippe Sarde for films directed by Claude Sautet, LES CHOSES DE LA VIE (remade in the U.S. as Intersection) and NELLY ET MR. ARNAUD; and a reissue of their expanded, out-of-print edition of Jerry Goldsmith's great, romantic-jazz-intrigue score for the film of John LeCarre's THE RUSSIA HOUSE, adapted by Tom Stoppard, directed by Fred Schepisi, and starring Sean Connery, Michelle Pfeiffer, Roy Scheider, James Fox, John Mahoney, J.T. Walsh and Klaus Maria Brandauer, apparently because there were no good actors available.
CDS AVAILABLE THIS WEEK
Illegal Woman - David Solar - Saimel
Non-Living - Josue Vergara - Saimel
Pil - Olivier Cussac - Music Box
Storm Warning/Crawlspace - Jamie Blanks - Howlin' Wolf
The Wind - Stanley Myers, Hans Zimmer - Notefornote
IN THEATERS TODAY
Annette - Sparks - Song CD on Sony/Milan
Bring Your Own Brigade - Music Supervisor: Chris Douridas
The Evening Hour - Michael Krassner, Tim Rutilli, Boxhead Ensemble
John and the Hole - Caterine Barbieri
The Suicide Squad - John Murphy
Swan Song - Chris Stephens
Whirlybird - Ty Segall
COMING SOON
August 13
Ghostbusters II - Randy Edelman - Sony
August 20
Snake Eyes: G.I. Joe Origins - Martin Todsharow - La-La Land
Star Trek II: The Wrath of Khan - James Horner - La-La Land
The Time Tunnel: Vol. 2 - Robert Drasnin, George Duning, Joseph Mullendore, Paul Sawtell, Leith Stevens, John Williams - La-La Land
Women Warriors: The Voices of Change - Nathalie Bonin, Miriam Cutler, Anne-Kathrin Dern, Sharon Farber, Penka Kouneva, Starr Parod, Lolita Ritmanis - La-La Land
September 3
Forsaken Themes from Fantastic Films, Vol. 1: Tears in Rain - various - Perseverance
September 17
Without Remorse - Jonsi - Krunk
October 1
No Time to Die - Hans Zimmer - Decca
Date Unknown
Est - Davide Caprelli - Kronos
The Hummie Mann Collection Vol. 1 - Hummie Mann - Dragon's Domain
Les choses de la vie/Nelly et Mr. Arnaud - Philippe Sarde - Quartet
Mi faccio la barca - Gianni Ferrio - Beat
The Printing/Beyond the Night - Dwight Gustafson - Caldera
Prison - Richard Band, Christopher L. Stone - Dragon's Domain
Private Peaceful - Rachel Portman - Kronos
The Russia House (re-issue) - Jerry Goldsmith - Quartet
Sorceress - Chuck Cirino - Dragon's Domain
Space: 1999 - Barry Gray, Derek Wadsworth - Silva
Still Life (re-release) - Rachel Portman - Kronos
THIS WEEK IN FILM MUSIC HISTORY
August 6 - Oliver Wallace born (1887)
August 6 - Cyril J. Mockridge born (1896)
August 6 - Svend Erik Tarp born (1908)
August 6 - Jack Elliott born (1927)
August 6 - Andre Previn begins recording his score to The Outriders (1949)
August 6 - Alex North begins recording his score to Pony Soldier (1952)
August 6 - Soren Hyldgaard born (1962)
August 6 - Harry Geller records his score for the Land of the Giants episode “Giants and All That Jazz” (1969)
August 6 - Robert Prince records his final Mission: Impossible score, for the episode “Mindbend” (1971)
August 6 - David Newman begins recording his score to The Brave Little Toaster (1986)
August 6 - Larry Adler died (2001)
August 6 - Christopher Dedrick died (2010)
August 6 - Marvin Hamlisch died (2012)
August 7 - Alfred Newman begins recording his adaptations of Jerome Kern songs for Centennial Summer (1945)
August 7 - Recording sessions begin for Bronislau Kaper's score for Her Twelve Men (1953)
August 7 - Gerald Fried records his score for the Mission: Impossible episode “Trek” (1967)
August 7 - Walter Scharf records his score for The Wild Wild West episode “The Night of the Assassin” (1967)
August 7 - Joseph Kosma died (1969)
August 7 - Jerry Fielding begins recording his score to The Mechanic (1972)
August 7 - Roy Budd died (1993)
August 7 - Jerry Goldsmith begins recording his score for Deep Rising (1997)
August 7 - Jay Chattaway records his score for the Star Trek: Voyager episode “Scorpion, Part II” (1997)
August 8 - Victor Young born (1900)
August 8 - Benny Carter born (1907)
August 8 - Arthur Morton born (1908)
August 8 - Axel Stordahl born (1913)
August 8 - Pete King born (1914)
August 8 - Basil Kirchin born (1927)
August 8 - Nathan Wang born (1956)
August 8 - Stefano Mainetti born (1957)
August 8 - Louis Levy died (1957)
August 8 - Fred Steiner records his score for the Lost in Space episode "The Space Primevals" (1967)
August 8 - Sidney Cutner’s score for The Invaders episode “Condition: Red” is recorded (1967)
August 8 - Jerry Goldsmith begins recording his score to Capricorn One (1977)
August 8 - James Horner begins recording his score for The Pagemaster (1994)
August 8 - Dennis McCarthy records his score for the Star Trek: Voyager episode “The Gift” (1997)
August 9 - Alexander Courage records his score for the Lost in Space episode "Wild Adventure" (1966)
August 9 - Leith Stevens records his score for the Lost in Space episode "Blast Off into Space" (1966)
August 9 - George Duning's score for the Star Trek episode "And the Children Shall Lead" is recorded (1968)
August 9 - Dmitri Shostakovich died (1975)
August 9 - Andre Hossein died (1983)
August 9 - Peter Matz died (2002)
August 9 - David Raksin died (2004)
August 9 - Tony Mottola died (2004)
August 9 - Duane Tatro died (2020)
August 10 - Brian Easdale born (1909)
August 10 - Douglas M. Lackey born (1932)
August 10 - Mischa Bakaleinikoff died (1960)
August 10 - Ennio Morricone begins recording his score for So Fine (1981)
August 10 - Isaac Hayes died (2008)
August 11 - Ron Grainer born (1922)
August 11 - Raymond Leppard born (1927)
August 11 - Miklos Rozsa begins recording his score for The Light Touch (1951)
August 11 - Joe Jackson born (1954)
August 11 - Richard Shores begins recording his score for The Wild Wild West episode “The Night of the Eccentrics” (1966)
August 11 - Ali Shaheed Muhammad born (1970)
August 11 - Bill Conti begins recording his score for Five Days from Home (1977)
August 11 - Toby Chu born (1977)
August 11 - Emile Mosseri born (1985)
August 12 - David Lee born (1926)
August 12 - David Munrow born (1942)
August 12 - Victor Young begins recording his score for The Accused (1948)
August 12 - Mark Knopfler born (1949)
August 12 - Pat Metheny born (1954)
August 12 - Peter Peter born (1960)
August 12 - Hugo Montenegro records his only Mission: Impossible episode score, for “The Rebel” (1970)
August 12 - Marty Paich died (1995)
August 12 - Zacarias M. de la Riva born (1972)
DID THEY MENTION THE MUSIC?
THE GREEN KNIGHT - Daniel Hart
"There’s a bit of Robert Ford in Gawain’s rattled infamy, and Daniel Hart’s exquisite score -- a percussive squall of steeled nerves and seasick nightmares in the shadow of churning violin storm clouds -- enriches the texture of Patel’s quavering performance. Few actors have better embodied a man who’s so at war with his own integrity, and so much of our excitement as Gawain rides out to find the Green Knight stems from how Patel complicates our hopes for his character’s quest. Do we want him to learn about honor the hard way and get decapitated for his insolence, or would we rather he somehow avoid the redress for which he so gallantly volunteered his own head? Not even Gawain seems to know which fate he deserves, or if he prizes the title of becoming a knight more than he does the honor required to earn it. It’s little wonder that a story about someone running afoul of their virtue for a measure of social clout should feel so intrinsically modern."
David Ehrlich, IndieWire
"Speaking of music: These fateful encounters draw lyricism and gravity from the singsong interludes and delicately plucked strings of Daniel Hart’s enveloping, ever-present score. They are also delineated by ornate chapter headings, one of a few structuring devices -- a Punch and Judy show is another -- that can feel both immersive and distancing: classical touches infused with an arch modern playfulness. Lowery plays with proximity and distance throughout; we are close beside Gawain at some moments and far away from him at others, as he stands dwarfed by fog-draped mountains and moss-covered forests. Sometimes we are peering down at him from a God’s-eye view -- or perhaps the perspective of someone examining a beautifully embroidered tapestry, or the moving pieces on a game board."
Justin Chang, Los Angeles Times
"Propelled by Daniel Hart’s nearly omnipresent score, which crosses the disarming dissonance of Ligeti with the liturgical doom-groove of OM, the film exerts a haunting, though not quite hypnotic, pull. Cinematographer Andrew Droz Palermo captures the eerie emptiness of the English countryside, evoking the biting winter coldness without resorting to the usual visual cliché of leafless landscapes drenched of color. On the contrary, 'The Green Knight' features some truly intoxicating color grading, which not only adds an optical pop to the film’s finely crafted images, but also creates evocative visual rhymes, linking, for example, the warm glow of a lonely bonfire in one scene to the amber hue of Gawain’s scarf in another."
Keith Watson, Slant Magazine
"Most of Gawain’s encounters are cut short by pseudo-iconic images and bombastic dialogue that are never as suggestive as they are vague. This is a movie that announces its serious intent and heavy-osity throughout, especially Daniel Hart’s throbbing score and Jade Healy’s stylized production design. But there’s only so much depth to the supposedly earthy side characters that help Gawain get to where he ultimately must go. Most of them talk like Tarantino characters who just discovered Chaucer, and they all look like Wes Anderson protagonists as re-imagined by a gifted art student mimic."
Simon Abrams, The Wrap
"In these supernatural plotlines, soundtracked to Daniel Hart’s alien score, Lowery mixes up a vat of not just the Arthurian legend of Gawain, but other Welsh superstitions and myths as well. He also recognizes the queer, homoerotic subtext of the original legend, and allows it to take root in the primary text. To the delight of Welsh literature buffs everywhere, he articulates, through talking animals, hallucinogenic spells, church bells seeping into the soundscape, and the transitory celebration of Christmas, how two worlds -- the Christian and the pagan -- are caught in opposition. That battle is further evinced in the exhaustively detailed production design, which highlights a changing era: Even on the buildings, the windows vary between circular, triangular, and pentagram-shaped designs."
Robert Daniels, Polygon
"In a soundscape comprised of Gregorian chants and Daniel Hart’s evocatively soaring score, the loudest rhythm is the pounding heart of Gawain, a man willing to endure gruesomeness to demonstrate his value because here righteousness supersedes everything else. The best fables illuminate our flawed condition with moral teaching, a lesson to apply in our real exchanges. These stories often bargain in absolute truths, in the idea that good and evil are binary and thus one must choose a band."
Carlos Aguilar, The Playlist
"No less significant than the visuals is the enveloping soundscape created by Johnny Marshall, full of the eerie noise of nature, which works hand in hand with the dense, turbulent beauty of Daniel Hart’s score and its period-appropriate choral passages. The CG elements, overseen by Eric Saindon of Peter Jackson’s Weta Digital, are first-rate, though the film maintains a rough-hewn quality that keeps the viewer fully immersed in the medieval time frame."
David Rooney, The Hollywood Reporter
JUNGLE CRUISE - James Newton Howard
"With Johnson’s arrival, 'Jungle Cruise' enters 'Raiders of the Lost Ark' territory. It’s not just the cascading action adventure in an exotic setting. It’s also James Howard Newton’s score sounding so much like John Williams that Williams should get royalties. It’s Blunt’s Stetson recalling Harrison Ford’s fedora. It’s also the general sense of a throwback world. 'Jungle Cruise' is clued in enough to turn the presence of Native people into a joke that the 'headhunters' are very much in on. But it all still feels a bit uncomfortable. Har, har, uh, har?"
Mark Feeney, The Boston Globe
"The most baffling, revealing choice about 'Jungle Cruise' comes right at the Disney logo: a version of 'Nothing Else Matters' that’s credited as 'reimagined' by Metallica and composer James Newton Howard. Referred to later with soaring guitars for emotional beats during second act flashback, the version does not enhance what came before it, so much as repeat it, and make it grandiose only in theory. So too, does this movie 'reimagine' the boat-based romantic tension of 'The African Queen' or the historical evil of 'The Mummy,' without championing the practical magic, the derring-do of those movies that made their journeys so visceral. 'Reimagine' is the keyword, and with shallow projects like 'Jungle Cruise,' Disney is well into sucking the life out of it."
Nick Allen, The Playlist
"The biggest surprise of 'Jungle Cruise' -- besides composer James Newton Howard’s bizarre reliance on the theme from Metallica’s 'Nothing Else Matters,' for no discernible reason -- is director Jaume Collet-Serra. The director has made a name for himself with harsh thrillers like 'House of Wax,' 'The Shallows,' and most vicious of all, 'Orphan.' And yet with 'Jungle Cruise' he proves himself capable of keeping the tone cheery for about two hours straight. If anything, it’s the horror elements that feel out of place in this film."
William Bibbiani, The Wrap
"This moment and many others nearly work in isolation, but don’t mesh into the film’s intended throwback journey of character-free thrills, puzzles, maps and magic. Others slot right in, but are exceedingly gross. Take the local Indigenous community. At first, they’re given to us and our Lily-white lead as cannibalistic savages -- but wait! They’re actually the kind of self-effacing characters that let us know all that racist stuff is all right when we learn that they’re all too happy to perform that 'booga-booga nonsense' for a price…which is sort of a metacommentary about these actors doing so in a Disney movie. At least we also get to see some colonizers horrifyingly slaughter a whole village set to some hard rock guitars!"
Jacob Oller, Paste Magazine
"'Jungle Cruise' is a typically well-upholstered Disney package, shot by Flavio Labiano with vibrancy and lots of swooping camerawork in the action scenes. (Hawaiian locations stand in for the Amazon rainforest.) It’s handsomely appointed with period trappings by production designer Jean-Vincent Puzos and costume designer Paco Delgado, and wrapped up in a boisterous orchestral score by James Newton Howard -- although an interlude of crunchy electric guitars is a little mystifying. The CG creatures, notably a jaguar named Proxima, are the usual mixed bag of artificial-looking photorealism, though young audiences seldom seem to mind."
David Rooney, The Hollywood Reporter
ROADRUNNER: A FILM ABOUT ANTHONY BOURDAIN - Michael Andrews
"The documentary never goes so far as to suggest that Argento was at fault for Bourdain’s death; in fact, Neville is careful to include a clip of one of Bourdain’s friends clarifying that 'Tony killed himself.' But the section of the film showcasing their relationship nonetheless assumes a tone (including ominous music on the soundtrack) that veers uncomfortably close to villainization. The affair with Argento does seem to have been a part of the general darkness that overtook Bourdain’s life in its last few years; even as he was beginning to fall for her, one colleague recalls, he already foresaw that it would end badly. But when Neville, for example, includes the voice of an unseen friend on the soundtrack telling Bourdain that 'she’s gonna take over your life, you know,' it’s hard not to hear the director’s editorializing as sexist blame-shifting in the tradition of 'Yoko broke up the Beatles.'"
Dana Stevens, Slate.com
SETTLERS - Nitin Sawhney
"Watching the recent self-serving joyride launches of Branson & Bezos, one couldn’t help but feel an overwhelming sense of disappointment, especially as their employees rot on Earth for minimum wage and fighting for bathroom breaks. This feeling of dismay is echoed throughout 'Settlers,' a movie that doesn’t scream entertaining sci-fi thriller! and yet managed still managed to create nearly 103 minutes of sleep-inducing colonialism. There’s genuine talent involved -- the film largely revolves around Ilsa (Sofia Boutella) who lives on Mars with her daughter Remmy (Brooklynn Prince) and husband Reza (Jonny Lee Miller) following an unnamed catastrophe back on Earth. When intruders break into the farm and compound they’ve occupied and lay claim to the property, what began as a fairly straightforward look at family life and hardship in outer space becomes a home invasion thriller in space without the thrills and a heap of Stockholm syndrome. Hostage shock, temper tantrums and traumatized blank stares are all soundtracked by Nitin Sawhney’s ability to quietly lay one finger on a keyboard and utilize the droning sound for what he considers atmosphere."
Brian Farvour, The Playlist
STILLWATER - Mychael Danna
"Unfurling over a sluggish two hours plus, 'Stillwater' is least convincing when McCarthy attempts to build suspense, with most of that work being done by Mychael Danna’s score. The late plot twists become almost risible, once Akim (Idir Azougli) enters the picture."
David Rooney, The Hollywood Reporter
THE WITCHES OF THE ORIENT - Jason Lytle, K-Raw
"This is where Faraut’s skills as an editor and archivist -- he holds a position in the film department at the Institut National du Sport in Paris -- come into play, providing us with a treasure trove of astonishing footage ranging from media reports of the daily operations at the Kaizuka textile factory to devastating accounts of the destruction of Tokyo that provide greater context for what the Nichibo Kaizuka volleyball team’s victories meant to a country in a state of massive post-war physical and emotional repair. Going a step further, Faraut chops these images up and often adds optical effects to create his own kind of experimental aesthetic, reminiscent of the cinematic luminaries of the Japanese New Wave, accompanied by a hypnotic score from French artist K-Raw and former Grandaddy member Jason Lytle."
Mark Hanson, Slant Magazine
"As he did with his previous doc, 2018’s 'John McEnroe: In the Realm of Perfection,' Faraut finds and obsesses over the rhythm of bodies in motion, using repetition and cross-cuts of the team’s training footage and gameplay with anime sequences and textile manufacturing. These collisions, set to music from Portishead and Grandaddy’s Jason Lytle, are the heart of 'Witches,' hypnotic patterns of serene velocity. They serve as both deconstruction of and momentum for the narrative tension that culminates in their ’64 Olympic match with the USSR. And while the conclusion of that game seems inevitable, the sheer badassery on display is nothing short of breathtaking, more powerful than any mystical incantation."
Josh Kupecki, The Austin Chronicle
"It’s obvious that Faraut’s most fertile aesthetic energies aren’t directed toward a typically treacly sports doc arc but rather to finessing his handful of trancelike montages of the human body pushed to its limits. Fusing exquisitely shot color 16mm footage from 1964 of the team’s training sessions, drone-like music and splices of animation, we get a delirious sense of what these committed women endured six out of seven days a week. One hypnotic sequence juxtaposes their rhythmic drills to the machines a few buildings over pumping out fabric. Another, set to Portishead’s 'Machine Gun,' of the women falling down, getting up, falling down, getting up, while Daimatsu dispassionately fires volleyballs at them, looks like cruelty, until it starts to feel like how match-tough warriors are made."
Robert Abele, Los Angeles Times
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
August 6
THE AVIATOR'S WIFE, FOUR ADVENTURES OF REINETTE AND MIRABELLE [Aero]
THE CROODS (Alan Silvestri) [Alamo Drafthouse]
DESTROY ALL MONSTERS (Akira Ifukube) [Fairfax Cinema]
INGLOURIOUS BASTERDS [New Beverly]
JASON AND THE ARGONAUTS (Bernard Herrmann) [Fairfax Cinema]
TAXI DRIVER (Bernard Herrmann) [New Beverly]
August 7
BLACK MOON [Fairfax Cinema]
THE CROSSING GUARD (Jack Nitzsche), THE PLEDGE (Hans Zimmer, Klaus Badelt) [Aero]
ERASERHEAD [Los Feliz 3]
THE LAST WALTZ [New Beverly]
THE MUPPET MOVIE (Paul Williams, Kenny Ascher) [New Beverly]
ROBOCOP (Basil Poledouris) [Fairfax Cinema]
TAXI DRIVER (Bernard Herrmann) [New Beverly]
August 8
THE INDIAN RUNNER (Jack Nitzsche), INTO THE WILD (Michael Brook) [Aero]
THE IRON GIANT (Michael Kamen) [IPIC Westwood]
THE LOCKET (Roy Webb) [Los Feliz 3]
LOVE & BASKETBALL (Terence Blanchard) [Los Feliz 3]
THE MASK (Randy Edelman) [Fairfax Cinema]
MIRROR (Eduard Artemyev) [Los Feliz 3]
THE MUPPET MOVIE (Paul Williams, Kenny Ascher) [New Beverly]
SLITHER (Tyler Bates) [Los Feliz 3]
TAXI DRIVER (Bernard Herrmann) [New Beverly]
XANADU (Barry DeVorzon, John Farrar, Jeff Lynne) [Alamo Drafthouse]
ZARDOZ (David Myrow) [Fairfax Cinema]
August 9
DONNIE DARKO (Michael Andrews) [Alamo Drafthouse]
KLUTE (Michael Small) [New Beverly]
MIRROR [Los Feliz 3]
A NEW LEAF [Los Feliz 3]
POLA X (Scott Walker), BOY MEETS GIRL (Jacques Pinault) [Aero]
August 10
EVE'S BAYOU (Terence Blanchard) [Los Feliz 3]
KLUTE (Michael Small) [New Beverly]
LOST HIGHWAY (Angelo Badalamenti) [Alamo Drafthouse]
August 11
DICK TRACY (Danny Elfman) [Fairfax Cinema]
THE IRON GIANT (Michael Kamen) [IPIC Westwood]
THE LANDLORD (Al Kooper), THE LAST DETAIL (Johnny Mandel) [New Beverly]
MATADOR (Bernardo Bonezzi) [Los Feliz 3]
MIRROR [Los Feliz 3]
August 12
AKIRA KUROSAWA'S DREAMS (Shinichiro Ikebe) [Los Feliz 3]
THE LANDLORD (Al Kooper), THE LAST DETAIL (Johnny Mandel) [New Beverly]
MATADOR (Bernardo Bonezzi) [Los Feliz 3]
August 13
THE ANGRY BIRDS MOVIE 2 (Heitor Pereira) [Alamo Drafthouse]
AKIRA KUROSAWA'S DREAMS (Shinichiro Ikebe) [Los Feliz 3]
DEAD MEN DON'T WEAR PLAID (Miklos Rozsa), THE MAN WITH TWO BRAINS (Joel Goldsmith) [New Beverly]
FRIDAY THE 13TH (Harry Manfredini) [Alamo Drafthouse]
JASON GOES TO HELL: THE FINAL FRIDAY (Harry Manfredini) [Los Feliz 3]
JOSIE AND THE PUSSYCATS (John Frizzell) [Fairfax Cinema]
NAKED LUNCH (Howard Shore) [Los Feliz 3]
A NEW LEAF [Los Feliz 3]
POPEYE (Harry Nilsson, Tom Pierson) [Fairfax Cinema]
August 14
BAD BLOOD [Los Feliz 3]
DEAD MEN DON'T WEAR PLAID (Miklos Rozsa), THE MAN WITH TWO BRAINS (Joel Goldsmith) [New Beverly]
FREEWAY (Danny Elfman) [Fairfax Cinema]
HEAVY METAL (Elmer Bernstein) [Fairfax Cinema]
HOLY MOTORS [Los Feliz 3]
HOUSE ON HAUNTED HILL (Von Dexter) [Los Feliz 3]
LABYRINTH (Trevor Jones) [New Beverly]
THE LOST BOYS (Thomas Newman) [New Beverly]
THE NEVERENDING STORY (Klaus Doldinger, Giorgio Moroder) [Los Feliz 3]
ZAZIE DANS LE METRO (Fiorenzo Carpi) [Aero]
August 15
BALL OF FIRE (Alfred Newman) [Los Feliz 3]
BATMAN (Danny Elfman) [IPIC Westwood]
BEAU TRAVAIL (Charles Henry de Pierrefeu, Eran Tzur) [Los Feliz 3]
THE BELKO EXPERIMENT (Tyler Bates) [Los Feliz 3]
HOWARD THE DUCK (John Barry) [Fairfax Cinema]
LABYRINTH (Trevor Jones) [New Beverly]
MULLHOLLAND DRIVE (Angelo Badalamenti) [Los Feliz 3]
STREETS OF FIRE (Ry Cooder) [Fairfax Cinema]
WALKING THE EDGE (Jay Chattaway) [New Beverly]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: The Mandalorian: The Gunslinger (Goransson), Star Trek: Picard (Russo), The Mandalorian: The Prisoner (Goransson)
Read: I Married a Dead Man, by Cornell Woolrich
Seen: Jungle Cruise, The Green Knight, Stillwater, The FBI Story
Watched: My Cousin Rachel [1952]; Song Impressions [1928]; Deadwood ("Something Very Expensive"); The State ("Season 1, Episode 5"); Retribution [1928]; GoldenEye; Dick Rich and His Synco-Symphonists [1928]; Foreign Correspondent; Character Studies [1928]; Star Trek: Discovery ("People of Earth"); A Musical Melange [1929]; Fosse/Verdon ("Who's Got the Pain")
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