CDS AVAILABLE THIS WEEK
The Hummie Mann Collection Vol. 1 - Hummie Mann - Dragon's Domain
The Printing/Beyond the Night - Dwight Gustafson - Caldera
Prison - Richard Band, Christopher L. Stone - Dragon's Domain
Snake Eyes: G.I. Joe Origins - Martin Todsharow - La-La Land
Sorceress - Chuck Cirino - Dragon's Domain
Space: 1999 - Barry Gray, Derek Wadsworth - Silva
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 Parodi, Lolita Ritmanis - La-La Land
IN THEATERS TODAY
Confetti - Christopher Tin
Cryptozoo - John Caroll Kirby
Demonic - Ola Strandh
Flag Day - Joseph Vitarelli
Ma Belle, My Beauty - Mahmoud Chouki
Missing in Brooks County - Ted Reichman
The Night House - Ben Lovett
Paw Patrol: The Movie - Heitor Pereira
The Protege - Photek
Rare Beasts - Johnny Lloyd, Nathan Coen
Reminiscence - Ramin Djawadi
COMING SOON
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
Private Peaceful - Rachel Portman - Kronos
Still Life (re-release) - Rachel Portman - Kronos
THIS WEEK IN FILM MUSIC HISTORY
August 20 - Raoul Kraushaar born (1908)
August 20 - Edward Williams born (1921)
August 20 - Alain Goraguer born (1931)
August 20 - Stelvio Cipriani born (1937)
August 20 - Isaac Hayes born (1942)
August 20 - Irving Gertz records his score for the Land of the Giants episode “The Creed” (1968)
August 20 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Naked Now" (1987)
August 20 - Recording sessions begin for David Arnold’s score for Stargate (1994)
August 20 - Richard Peaslee died (2016)
August 21 - Basil Poledouris born (1945)
August 21 - Recording sessions begin for Hugo Friedhofer’s score for Two Flags West (1950)
August 21 - Constant Lambert died (1951)
August 21 - Joe Strummer born (1952)
August 21 - Walter Schumann died (1958)
August 21 - Gerald Fried records his score for the Mission: Impossible episode “The Widow” (1967)
August 21 - Angelo Francesco Lavagnino died (1987)
August 21 - Richard Band begins recording his score for Robo Warriors (1996)
August 21 - Alex Wurman wins the Emmy for his Temple Grandin score; Sean Callery wins his third Emmy, for the 24 episode score “Day 8: 3:00 p.m. – 4:00 p.m.; Wendy Melvoin and Lisa Coleman win for Nurse Jackie’s main title theme (2010)
August 22 - Stanislas Syrewicz born (1946)
August 22 - Bronislau Kaper begins recording his score for Ride, Vaquero! (1952)
August 22 - James Dooley born (1976)
August 22 - Bruce Broughton begins recording his score for This Girl for Hire (1983)
August 22 - John Williams begins recording his score for the Amazing Stories episode "The Mission" (1985)
August 23 - Constant Lambert born (1905)
August 23 - Martial Solal born (1927)
August 23 - Ian Fraser born (1933)
August 23 - Willy Russell born (1947)
August 23 - Julian Nott born (1960)
August 23 - Alexandre Desplat born (1961)
August 23 - Howard Blake begins recording his score for S.O.S. Titanic (1979)
August 23 - Marvin Hatley died (1986)
August 23 - David Rose died (1990)
August 23 - Jurriaan Andriessen died (1996)
August 24 - Jean-Michel Jarre born (1948)
August 24 - Peter Kyed born (1963)
August 24 - Mark Lawrence died (1991)
August 24 - John Debney wins his first Emmy, for the Young Riders episode score “Kansas;” Richard Bellis wins for part 1 of It; Randy Newman wins his first Emmy for his Cop Rock songs (1991)
August 25 - Ray Heindorf born (1908)
August 25 - Leonard Bernstein born (1918)
August 25 - Harry Manfredini born (1943)
August 25 - Tom Manoff born (1945)
August 25 - John Williams begins recording his score for Bachelor Flat (1961)
August 25 - Robert Drasnin records his score for The Wild Wild West episode “The Night of the Casual Killer” (1965)
August 25 - Richard Markowitz records his score for The Wild Wild West episode “The Night of the Raven” (1966)
August 25 - Joby Talbot born (1971)
August 25 - Zoe Poledouris born (1973)
August 25 - Elvis Costello born (1954)
August 25 - Jack Nitzsche died (2000)
August 26 - Humphrey Searle born (1915)
August 26 - Recording sessions begin for Miklos Rozsa’s score to The Hour Before the Dawn (1943)
August 26 - Alan Parker born (1944)
August 26 - Mark Snow born (1946)
August 26 - Ralph Vaughan Williams died (1958)
August 26 - Branford Marsalis born (1960)
August 26 - John Williams records his score for the Lost in Space pilot episode "The Reluctant Stowaway" (1965)
August 26 - Fred Steiner's score for the Star Trek episode "Spock's Brain" is recorded (1968)
August 26 - Nico Muhly born (1981)
DID THEY MENTION THE MUSIC?
AMERICA: THE MOTION PICTURE - Mark Mothersbaugh
"The more that 'America: The Motion Picture' relies on straight parody, the sparser those laughs feel. Simon Pegg makes an absolute meal out of his time as King James, but by the time it’s clear that he’s little more than the Emperor to Arnold’s Vader, the choice is enough to make you wonder what the point of this all is. There’s a fife-and-drum remix of a classic movie theme that’s a fun achievement for composer Mark Mothersbaugh and his Mutato Muzika, but the way it’s used feels like something ripped from a 'Shrek' movie. It’s not that Munn’s Edison or Raoul Max Trujillo’s Geronimo or Killer Mike’s Blacksmith are radical reinventions of this movie’s formula, but when they’re in the spotlight, it at least forces 'America: The Motion Picture' to try to make something new instead of smushing together old ideas."
Steve Greene, IndieWire
FALSE POSITIVE - Yair Elazar Glotzman, Lucy Railton
"Lucy is as isolated and afraid as Rosemary Woodhouse, alone in New York City, surrounded only by men and hostile, ingratiating and untrustworthy women. Lee uses Pawel Pogorzelski, the cinematographer who also shot Ari Aster’s 'Hereditary' and 'Midsommar,' to visualize Lucy’s plight and her increasingly nightmarish experience of pregnancy. Pogorzelski’s photography drains the life and color from Dr. Hindle’s facility as well as Lucy and Adrian’s stark, modern apartment. Mirrors underline the characters’ double natures, and pitch-black darkness encroaches on their domestic tranquility. Lucy herself is often shot upside down, as she enters a confusing and terrifying underworld as a pregnant person. With Yair Elazar Glotman and Lucy Railton’s score of percussive strings and women’s voices, the horror aesthetic is tightly controlled yet menacingly oppressive, until it explodes."
Katie Walsh, Los Angeles Times
"Ambition and ideas aren’t in short supply in the film, written by Lee and star Ilana Glazer, who previously worked together on Glazer’s winning comedy series 'Broad City.' Armed with a story initially conceived by Lee and author Alissa Nutting (whose 'Made for Love' was recently adapted into a series), there is clearly a dark and biting story underneath what made it to the screen. You can feel it in the film’s earliest moments, which opens in media res (before flashing back to a surprisingly thin plot), as a bloodied and shellshocked Lucy (Glazer) wanders the streets, emergency lights painting her neighborhood red and blue, and a score from Yair Elazar Glotman and Lucy Railton goes from creepy to cute and back again."
Kate Erbland, IndieWire
"Indeed, she and Lee focus so effectively on the repulsion of Lucy’s daily humiliations that they wind up giving the genre conventions short shrift. The movie is crisply shot by Pawel Pogorzelski ('Midsommar'), with anxious cuts between bright offices and dark hallways. There are ominously edited portents and a score that starts at fever pitch and rarely pulls back. But the frayed strands of the horror plot feel hastily woven together, and underwhelming when all is revealed."
Elizabeth Weitzman, The Wrap
"The attention-grabbing opening plunges almost into Argento territory as Pawel Pogorzelski, the brilliantly suggestive cinematographer on Ari Aster’s 'Hereditary' and 'Midsommar,' floods a sleek Manhattan office building in throbbing reds and blues that consume the night. A curtain flutters ominously at an open window, suggesting that some grim occurrence has taken place, and Lucy is seen wandering trance-like through the streets, her face and clothing soaked in blood. Pulsing away underneath all this is Lucy Railton and Yair Elazar Glotman’s vintage-style horror score, full of tortured strings and unsettling vocal chants."
David Rooney, The Hollywood Reporter
FEAR STREET PART ONE: 1994 - Marco Beltrami, Marcus Trumpp
"In fact, the kids of 'Fear Street' do the story major credit by simply feeling like actual people born of the appropriate era, from the semi-closeted relationship of Deena and her girlfriend Samantha (Olivia Welch), to the fact that her friend Kate is casually dealing opioids on the side, roping the girls she’s babysitting into sorting pills for her. None of these characters have been designed as virtuous, valorous role models for a young adult audience. Instead, the tone has more of the edgy, joyfully nihilistic streak present in something like 'Heathers.' Tack on some legitimately brutal deaths, and you have a very effective modern black comedy/horror hybrid in the making, enhanced by an evocative score, crisp cinematography, lively camera and appropriately grungy soundtrack of early ‘90s classics. There’s a lot to like here, in the first of three installments."
Jim Vorel, Paste Magazine
"And then, as happens in slashers but in a way that feels particularly intense here, the body count suddenly piles up, and the film's terror becomes all that more immediate. It may not be as scary as its cumulative jump scares and wall-to-wall orchestral score hint, but the investment in everyone’s safety is not be underestimated. It’s a full cast of rising young stars, like 'Stranger Things' before it, and 'Fear Street' gives that palpable sense of having fun while hanging out with them, but worrying that one of them might abruptly die."
Nick Allen, RogerEbert.com
THE ICE ROAD - Max Aruj
"Unfortunately, it soon becomes yet another movie about Neeson punching people out. Hensleigh, who notably co-wrote the Michael Bay classics 'The Rock' and 'Armageddon,' has a fondness for tough-guy techspeak: You can feel him grinning behind the camera as he cuts to Air Force officers and mine-safety officials talking about the impossibility of airlifting 18-foot gas wellheads and 300 feet of pipe, or to desperate roughnecks calculating atmospheric volume among 26 sets of struggling lungs, or to truckers arguing over whether a bridge built in the 1960s and rated to 75,000 pounds is safe enough to drive their overloaded vehicles over. Meanwhile, Max Aruj’s rousing score thunders and roars, turning math into myth."
Bilge Ebiri, New York
"Whatever comes their way on this arduous adventure, Neeson remains the scowling straight man. He’s afforded few opportunities to flash any kind of charisma or menace, although he does get to throw some punches by the end. And while we understand work is scarce for his character because he’s consumed with the challenges of caring for his brother, it’s hard to imagine how he ended up in this potentially deadly, pain-in-the-ass job in the first place. And somewhere, amid the cracking of bullets and the generically insistent score, there’s a message about corporate greed and the exploitation of Native land. But you’ll probably want to keep on truckin’."
Christy Lemire, RogerEbert.com
"While the trapped miners come closer and closer to running out of air, the truckers encounter challenges of their own, from the fluctuating ground beneath them to what appear to be acts of sabotage. The reveals about who’s doing what and why will surprise absolutely no one, and the noblest efforts of editor Douglas Crise ('The Beach Bum') aren’t enough to generate genuine thrills or suspense, despite the John Williams–lite score by Max Aruj ('Lansky') working itself into a froth."
Alonso Duralde, The Wrap
JOHN AND THE HOLE - Caterina Barbieri
"Based on his blank stare, one could infer John is unaware of social cues (testament also to Shotwell’s unemotional portrayal). However, he repeatedly seeks the validation of adults around him, from his tennis coach to his mother’s best friend. He wishes they’d view him as a peer and not someone to care for, and those exchanges are fittingly awkward. To accentuate the uneasiness, Sisto peppers the audio track with atmospheric sounds, like a tennis ball machine piercing one’s ears, and first-time film composer Caterina Barbieri’s chilling electronic score."
Carlos Aguilar, The Wrap
"By resisting any sensational dramatic twists or explanations, Sisto and Giacobone risk making a film that has nothing for the mainstream moviegoer to hold onto. It’s straightforward realism, but ultimately experimental. The characters have lived lives, but are clear pawns in a storytelling game. It’s a big 'what if?' that will leave many saying 'so what?' But the level of craft John and the Hole brings to its ideas makes it worthy of chewing on. Paul Ozgur’s photography of the family’s swanky home and the lush forest area around them recalls the unnerving quality of Parasite. Synthy tracks by Caterina Barbieri externalize the psychodrama. The Euro-soul creates an automatic contrast with the American setting. It all works, with the viewer’s appetite being more of a variable to its success."
Matt Patches, Polygon
"But Sisto has an arresting visual style, a firm command of tone and an impressive ability to steer his fine cast onto the same rigorous wavelength, all of which makes him a talent to watch. His use of music and sound is also striking, blending Caterina Barbieri’s brooding synth score with Bach, video game noise and other technology to create an obsessive mood that crawls under your skin."
David Rooney, The Hollywood Reporter
"Oda’s vision comes to life thanks not only to his ensemble but, first and foremost, production designer Dan Hermansen as nothing on his resume even comes close to his work on this picture. The innovative concepts Hermansen makes use of to make Will’s 'moments' come to life are absolutely stellar. Wyatt Garfield does impressive work in the limbo world as well as a tremendous number of POV perspectives from different subjects on Earth. The director’s celebrated compatriot, composer Antonio Pinto, crafts a score that is wonderfully sublime."
Gregory Ellwood, The Playlist
"As the would-be humans continue to prove themselves through a series of psychological tests, their growth or stagnation metered out in compellingly restrained segments overseen by Duke’s stoic yet compassionate shepherd, we become as invested as Will in their prospects. The gravity of what they’re after hits us. The ultra-sincere Charlie Kaufman/Spike Jonze-esque premise (Jonze executive produced the film) moves beyond its high concept and starts digging into its emotional implications. Scene after scene of appreciation for the magical moments of life hammer our hearts. Rarely do movies so tenderly tenderize you. It can be shatteringly bittersweet even without the soaring strings of Antonio Pinto’s score, and when they come in, it’s not even fair."
Jacob Oller, Paste Magazine
"The strength of 'Nine Days' is not so much the scenario (although that is imaginative and well-constructed) but the mood Oda sets, the clarity with which he establishes this world, how it operates, its rules and traditions. There is a score by Antonio Pinto but it drops out for long stretches. When music shows up, it has great resonance and power. Oda's script is filled with talk. The scenes are long and often deal in very difficult metaphysical and ethical questions. It's common to hear people repeat, ad nauseum, that 'show, not tell' is an important rule. But there are plenty of very 'talky' films that are riveting. Rules are made to be broken, and Oda's script does. The actors help in this, approaching the material with vulnerability and intelligence."
Sheila O'Malley, RogerEbert.com
"Wyatt Garfield ('Diane') shoots this oddly bleak netherworld with aptly dampened, almost sepia visuals. And Antonio Pinto ('City of God') matches the tone with a strings-heavy score that underlines every emotional beat. The best scenes, cleverly conceived by Oda and production designer Dan Hermansen ('Child’s Play'), find Will softening the blow of a candidate’s impending disappearance by recreating his or her favorite moment from those VHS tapes."
Elizabeth Weitzman, The Wrap
"In fact, I liked wrestling with 'Nine Days,' liked feeling the act of moviewatching as an active, not passive, one, and the way Antonio Pinto’s strings-forward score nudged my brain to stop churning long enough for pure emotion to kick in. Here’s another something that’s been niggling at me: In these pages last week, I gave the same star rating to 'Jungle Cruise,' a regurgitated bit of disposable entertainment for which I opened my baby beak and happily swallowed. How do I square that circle? How can I put 'Jungle Cruise''s bombast on the same plane as 'Nine Days,' a movie that in fits made me cry and crackle like static electricity? But then I remembered the words of Walt Whitman, who cameos here in the film’s gasping last minutes, and in Duke’s future Oscar reel: I contain multitudes. And that fact of humanity, I feel certain, is at least some of the point."
Kimberley Jones, The Austin Chronicle
"For those familiar with Oda’s previous work, his visionary shorts and music videos leave little doubt that he’d make a mark when it came time to try his hand at features, although 'Nine Days' goes far deeper that most might have expected. Oda developed the project through the Sundance Labs, and partnered with gifted DP Wyatt Garfield and composer Antonio Pinto to create an alternate reality that glows and reverberates even more than the one we inhabit."
Peter Debruge, Variety
SWAN SONG - Chris Stephens
"From Pat’s conversations, some of which have a semi-improvised feel, we learn of the financial difficulties that cost him his home and his business after losing his partner David (producer Eric Eisenbrey, seen in memory flashes) to AIDS. A wrenching visit to the churchyard cemetery where David is buried shows that Pat’s wounds are still raw, a mood echoed in Chris Stephens’ pensive score."
David Rooney, The Hollywood Reporter
THE TOMORROW WAR - Lorne Balfe
"Ultimately, it’s the movie’s approach to its emotional material that feels most mercenary. Potentially deep wells of poignancy and regret are introduced with screenwriterly deliberateness, only to go untapped in favor of acquiring even more bits and pieces from better spectacles: accents of red smoke nicked from the 2014 'Godzilla,' a ticks-and-rumbles score sampled from Christopher Nolan, MCU-style self-referential laugh lines (which only ever land when delivered by Sam Richardson, as Dan’s nervous sidekick). None of this crap is boring, though it does come close to making the case that maybe crowd-pleasing franchise continuations aren’t so deadly after all. Still, there’s optimism at the heart of 'The Tomorrow War:' This movie has already been made, does not set up a sequel, and will probably not be made again in the future."
Jesse Passenger, The Onion AV Club
"What they’re all forced to confront upon arrival, whether they’re ready or not, is an army of albino creatures known as White Spikes. They scamper and gnash, have tentacles that strangle and slash, and they make a staccato growl like the sound you hear in 'Predator.' They also look extremely cheesy, either individually or en masse. There’s something jumpy not only about the way they move but also about how the giant action scenes are edited. They have a slick, incessant mania to them that’s distancing. It certainly doesn’t help that everything is smothered with a barrage of gunfire and Lorne Balfe’s overwhelming score."
Christy Lemire, RogerEbert.com
WHIRLYBIRD - Ty Segall
"Among the tens of thousands of hours of the couple’s life’s work, Yoka is repeatedly drawn to images of an unfocused lens swirling over the landscape, a camera disoriented to what matters. Occasionally, 'Whirlybird's' score is jarringly playful for the images onscreen. But the doc is a fascinating insight into how individual choices can shape the news. The pressure of the 24/7 news cycle tore apart a family so steeped in the business that their daughter had a microphone in her hands before she could read. (Katy Tur is now an NBC correspondent.) While the marriage lasted, however, Gerrard and Tur were themselves fake news, minor celebrities who presented as a happy husband and wife team. 'Whirlybird' does not offer them absolution for anesthetizing television to human tragedy. But the exes are relieved to finally report their own truth."
Amy Nicholson, Variety
THE WOMAN WHO RAN - Hong Sang-soo
"Music plays only during transitions between segments: a sentimental little ditty that sounds distorted for the good reason, Hong claims, that he composed it on his phone. And his trademark shonky zooms abound, although this time one of them foregrounds a profound example of feline acting kismet when Youngsoon’s cat arrives on cue, hits his mark, gives himself a quick wash and then looks straight to camera unimpressed for a time, before, langourously and spectacularly yawning."
Jessica Kiang, Variety
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
August 20
COBRA (Sylvester Levay) [Los Feliz 3]
DAWN OF THE DEAD (Tyler Bates) [Los Feliz 3]
FREDDY GOT FINGERED (Mike Simpson) [Fairfax Cinema]
HOUSE (Asei Kobayashi, Mikki Yoshino) [Fairfax Cinema]
INGLOURIOUS BASTERDS [New Beverly]
ISHTAR (Dave Grusin) [Los Feliz 3]
JAWS (John Williams) [New Beverly]
JULES AND JIM (Georges Delerue), Y TU MAMA TAMBIEN [Aero]
NAKED LUNCH (Howard Shore) [Los Feliz 3]
SPIDER-MAN: INTO THE SPIDER-VERSE (Daniel Pemberton) [Alamo Drafthouse]
August 21
CABIN BOY (Steve Bartek) [Fairfax Cinema]
THE DARK BACKWARD (Marc David Decker) [Los Feliz 3]
FREEWAY 2 (Louise Post, Kennard Ramsey) [Fairfax Cinema]
INVASION OF THE BODY SNATCHERS (Denny Zeitlin) [New Beverly]
JAWS (John Williams) [New Beverly]
MULHOLLAND DRIVE (Angelo Badalamenti) [Los Feliz 3]
THE MUPPETS (Christophe Beck) [New Beverly]
THE ROCKETEER (James Horner) [Los Feliz 3]
WEEKEND (Antoine Duhamel), TOUKI BOUKI [Aero]
THE WIZARD OF OZ (Herbert Stothart, Harold Arlen) [Los Feliz 3]
August 22
ACROSS THE UNIVERSE (Elliot Goldenthal) [Alamo Drafthouse]
BACK TO THE FUTURE (Alan Silvestri) [IPIC Westwood]
BELLE DE JOUR [Los Feliz 3]
DAUGHTERS OF THE DUST (John Barnes) [Los Feliz 3]
DAWN OF THE DEAD (Tyler Bates) [Los Feliz 3]
DUCK SOUP, MONKEY BUSINESS [Fairfax Cinema]
JAWS (John Williams) [New Beverly]
THE MUPPETS (Christophe Beck) [New Beverly]
ODD MAN OUT (William Alwyn) [Los Feliz 3]
SPAWN (Graeme Revell) [Fairfax Cinema]
August 23
BELLE DE JOUR [Los Feliz 3]
THE BRAVEST FIST, THE CHINESE MACK (Fu-Liang Chou) [New Beverly]
MIKEY AND NICKY (John Strauss) [Los Feliz 3]
THE WIZARD OF OZ (Herbert Stothart, Harold Arlen) [Alamo Drafthouse]
WOLF GUY (Hiroshi Babauchi) [Alamo Drafthouse]
August 24
CORALINE (Bruno Coulais) [Laemmle Playhouse]
GANJA & HESS (Sam Waymon) [Los Feliz 3]
I MARRIED A WITCH (Roy Webb), HOLD THAT BLONDE! (Werner R. Heymann) [New Beverly]
THE LAWNMOWER MAN (Dan Wyman) [Alamo Drafthouse]
MONSIEUR HULOT'S HOLIDAY (Alain Romans) [Los Feliz 3]
August 25
BACK TO THE FUTURE (Alan Silvestri) [IPIC Westwood]
DAUGHTERS OF THE DUST (John Barnes) [Los Feliz 3]
HEAVY TRAFFIC (Ray Shanklin, Ed Bogas) [Fairfax Cinema]
I MARRIED A WITCH (Roy Webb), HOLD THAT BLONDE! (Werner R. Heymann) [New Beverly]
LE BONHEUR (Jean-Michel Defaye) [Laemmle Playhouse] [Laemmle Royal]
TIE ME UP! TIE ME DOWN! (Ennio Morricone) [Los Feliz 3]
VIDEODROME (Howard Shore) [Alamo Drafthouse]
August 26
MIRROR [Aero]
THE SWIMMER (Marvin Hamlisch) [Los Feliz 3]
THIS GUN FOR HIRE (David Buttolph), THE GLASS KEY (Victor Young) [New Beverly]
WILD STRAWBERRIES (Erik Nordgren) [Los Feliz 3]
August 27
THE EMOJI MOVIE (Patrick Doyle) [Alamo Drafthouse]
INGLOURIOUS BASTERDS [New Beverly]
LA CIENAGA, TEOREMA (Ennio Morricone) [Aero]
MIKEY AND NICKY (John Strauss) [Los Feliz 3]
THIS GUN FOR HIRE (David Buttolph), THE GLASS KEY (Victor Young) [New Beverly]
VIVA (Anna Biller) [Los Feliz 3]
WHO FRAMED ROGER RABBIT (Alan Silvestri) [Fairfax Cinema]
WILD STRAWBERRIES (Erik Nordgren) [Los Feliz 3]
August 28
ALICE [Fairfax Cinema]
THE DARK CRYSTAL (Trevor Jones) [New Beverly]
THE 5,000 FINGERS OF DR. T (Frederick Hollander) [Los Feliz 3]
HEAT (Elliot Goldenthal) [New Beverly]
HOUSE (Asei Kobayashi, Mikki Yoshino) [Los Feliz 3]
MANHUNTER (Michel Rubini, The Reds) [New Beverly]
MOMENTS LIKE THIS NEVER LAST (Brian DeGraw) [Fairfax Cinema]
MONSIEUR HULOT'S HOLIDAY (Alain Romans) [Aero]
PAPERHOUSE (Hans Zimmer) [Los Feliz 3]
THE REPLACEMENT KILLERS (Harry Gregson-Williams) [Los Feliz 3]
ZAZIE DANS LE METRO (Fiorenzo Carpi) [Fairfax Cinema]
August 29
BATMAN RETURNS (Danny Elfman) [Fairfax Cinema]
THE DARK CRYSTAL (Trevor Jones) [New Beverly]
DROP DEAD FRED (Randy Edelman) [Alamo Drafthouse]
FAT CITY (Marvin Hamlisch) [Los Feliz 3]
HARRY POTTER AND THE SORCERER'S STONE (John Williams) [Alamo Drafthouse]
HEAT (Elliot Goldenthal) [New Beverly]
HOUSE (Asei Kobayashi, Mikki Yoshino) [Los Feliz 3]
IKARIE XB 1 (Zdenek Liska) [Los Feliz 3]
LA PISCINE (Michel Legrand), THE SWIMMER (Marvin Hamlisch) [Aero]
PHANTOM LADY (Hans J. Salter) [Los Feliz 3]
PRETTY IN PINK (Michael Gore) [IPIC Westwood]
SPEED RACER (Michael Giacchino) [Fairfax Cinema]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Her Smell (DeWitt), Bird Box (Reznor/Ross)
Read: The Island of the Day Before, by Umberto Eco
Seen: Free Guy, Zazie dans le metro, Don't Breathe 2, Nine Days, Hollywood Man, The Losers [1970], Grave of the Vampire, The Swinging Barmaids
Watched: Earl Burtnett and His Biltmore Hotel Orchestra [1928]; Mr. Ricco; The Death Ship [1928]; Fargo ("The Myth of Sisyphus"); Al Lyons and His Four Horsemen [1929]; Broncho Billy and the Schoolmistress [1912]; Gossip [1929]; The Country Gentlemen [1929]; After the Round-Up [1929]; The World Is Not Enough; Ship Ahoy! [1929]; Mr. and Mrs. Smith [1941]
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