The latest releases from La-La Land, due next week, are a "complete" edition of Howard Shore's score for VIDEODROME, his second collaboration with filmmaker David Cronenberg, and a remastered, two-disc release of Jerry Goldsmith's superlative, Oscar-nominated STAR TREK -- THE MOTION PICTURE.
Quartet has announced three new CD releases -- Carlo Savina's score for Mario Bava's LISA AND THE DEVIL (later released in the U.S. in a very different version titled The House of Exorcism); Riz Ortolani's score for the Umberto Lenzi-directed giallo COSI' DOLCE, COSI' PERVERSA (So Sweet, So Peverse); and two Lenzi-directed giallo scores by Piero Umiliani: ORGASMO and PARANOIA.
IN THEATERS TODAY
A Banquet - CJ Mirra
The Cursed - Robin Foster
Dog - Thomas Newman
The Last Bus - Nick Lloyd Webber
The Ledge - Imran Ahmad
Lingui, The Sacred Bonds - Wasip Diop
The Outfit - Alexandre Desplat
Ted K - Blanck Mass - Score LP due on Sacred Bones
Uncharted - Ramin Djawadi
COMING SOON
February 25
Star Trek -- The Motion Picture - Jerry Goldsmith - La-La Land
Videodrome - Howard Shore - La-La Land
The Witcher: Season 2 - Joseph Trapanese - Sony (import)
March 11
Redes/The City [re-recording] - Silvestre Revueltas/Aaron Copland - Naxos
April 8
Spencer - Jonny Greenwood - Mercury
Date Unknown
Alfred the Great - Raymond Leppard - Kritzerland
Black Patch/The Man [re-recording] - Jerry Goldsmith - Intrada
Cosi' Dolce, Cosi' Perversa - Riz Ortolani - Quartet
Lisa and the Devil - Carlo Savina - Quartet
Music for Games, Film, Televsion and Concert Hall - Raphael Benjamin Meyer - Alhambra
Orgasmo/Paranoia - Piero Umiliani - Quartet
The Thief of Bagdad [1925] - Mortimer Wilson - Naxos
THIS WEEK IN FILM MUSIC HISTORY
February 18 - John Bisharat born (1964)
February 18 - Tommy Tallarico born (1968)
February 18 - Nathaniel Shilkret died (1982)
February 18 - Paul Baillargeon records his score for the Star Trek: Enterprise episode “Hatchery” (2004)
February 19 - Saul Chaplin born (1912)
February 19 - Shigeru Umebayashi born (1951)
February 19 - Donald Rubinstein born (1952)
February 19 - Claudio Simonetti born (1952)
February 19 - Charles Bernstein begins recording his score for Gator (1976)
February 19 - Marvin Hamlisch begins recording his score for I Ought to Be in Pictures (1982)
February 19 - David Bell records his score for the Star Trek: Voyager episode “The Killing Game, Part 2” (1998)
February 19 - David Bell records his score for the Enterprise episode “Fusion” (2002)
February 19 - Teo Macero died (2008)
February 19 - Bob Cobert died (2020)
February 20 - Toshiro Mayuzumi born (1929)
February 20 - How the West Was Won opens in Los Angeles (1963)
February 20 - Michael A. Levine born (1964)
Feburary 20 - Robert Drasnin records his score for the Voyage to the Bottom of the Sea episode “The Wax Men” (1967)
February 20 - William Lava died (1971)
February 20 - Recording sessions begin on Jerry Goldsmith's score for Alien (1979)
February 20 - Toru Takemitsu died (1996)
February 21 - Miklos Rozsa begins recording his score for The Story of Three Loves (1952)
February 21 - Rupert Gregson-Williams born (1967)
February 21 - Ron Grainer died (1981)
February 21 - Laurence Rosenthal begins recording his score for Who'll Stop the Rain (1978)
February 21 - Basil Poledouris begins recording his score for Flesh + Blood (1985)
February 21 - Morton Gould died (1996)
February 22 - Angelo Francesco Lavagnino born (1909)
February 22 - Maurizio De Angelis born (1947)
February 22 - Gary Chang born (1953)
February 22 - James Horner begins recording his replacement score for Something Wicked This Way Comes (1983)
February 22 - William Loose died (1991)
February 22 - A.R. Rahman wins the Original Score and Song Oscars for Slumdog Millionaire and its song "Jai Ho" (2009)
February 22 - Billy Strange died (2012)
February 23 - Allan Gray born (1904)
February 23 - Erich Wolfgang Korngold wins Original Score Oscar for The Adventures of Robin Hood, the first year the award goes to the composer instead of the head of the studio's music department; Alfred Newman wins Score Oscar for Alexander's Ragtime Band (1939)
February 23 - Rachel Elkind born (1939)
February 23 - Alfred Newman and Bernard Herrmann begin recording their score for The Egyptian (1954)
February 23 - David Buttolph begins recording his score for The Horse Soldiers (1959)
February 23 - Richard Markowitz records his score for the Mission: Impossible episode “Live Bait” (1969)
February 23 - Lorne Balfe born (1976)
February 23 - Recording sessions begin for Danny Elfman’s score for Dick Tracy (1990)
February 23 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Offspring" (1990)
February 24 - Fred Steiner born (1923)
February 24 - Michel Legrand born (1932)
February 24 - Franz Waxman begins recording his score for Captains Courageous (1937)
February 24 - George Harrison born (1943)
February 24 - Rupert Holmes born (1947)
February 24 - Manuel De Sica born (1949)
February 24 - Franz Waxman died (1967)
February 24 - Jerry Goldsmith records his score for Crosscurrent (1971)
February 24 - Walter Scharf died (2003)
February 24 - Svatopluk Havelka died (2009)
February 24 - Mychael Danna wins the Original Score Oscar for Life of Pi (2013)
February 24 - Ludwig Goransson wins his first Oscar, for the Black Panther score (2019)
DID THEY MENTION THE MUSIC?
BIRDS OF PARADISE - Ellen Reid
"This tale is familiar and a bit formulaic, though singed with scandal, but the appeal of 'Birds of Paradise' is its ultra-cool style. Reid’s abstract electronic score soundtracks Rowson-Hall’s choreography, which disrupts traditional ballet techniques with modern dance flair. The stark white-on-white studio where the balletic battles are set is juxtaposed against an underground club called Jungle, a wild, hedonistic and hallucinatory world of modern dance. Seth’s cinematography is stunning, meeting the mood of each contrasting moment but set within a cohesive look that gives the film a dreamy, unreal quality."
Katie Walsh, Los Angeles Times
"'Birds of Paradise' doesn’t have a big plot twist per se, nor does it go for any genuine scares (a glibly imagined suicide offers the only 'gotcha!' moment in a movie that was better off with none), but it strikes a tone of dangerous enchantment that primes you to receive the plot on a representational level -- in that sense, not unlike a ballet. Budapest plays Paris with a darkness that the City of Lights doesn’t always let people see, while a foreboding synth-pop soundtrack maintains a degree of Frenchness that’s further upholstered by the softness of Shaheen Seth’s cinematography. The whole movie has the feeling of a dream that could turn into a nightmare at any minute."
David Ehrlich, IndieWire
"Most impressively, Smith demonstrates that she deeply grasps both the fluid eroticism and the emotional openness that are inherent to ballet. Silvers and Froseth do most of their own dancing under Smith’s direction. The latter in particular leaves an impression with a modern solo routine amid a number of well-choreographed dance sequences accompanied by a nervy pop-synth score. Even when Budapest as a questionable Paris stand-in threatens to sabotage’s the film’s authentic feel, the vulnerably willowy Silvers and icily poised Froseth sell their world’s perils plausibly, maintaining an enthralling kind of screen chemistry that elevates this deceptively young-skewing fare."
Tomris Laffly, Variety
BREAKING BREAD - Omar Elp-Deeb
"These absolutely gorgeous dishes are, in fact, the true highlights of the movie (though we don’t need quite so many slo-mo shots of hummus, even if they are accompanied by a side of Omar El-Deeb’s aptly lovely score). Cinematographer Ofer Ben Yehuda captures each plating so rapturously, it’s no surprise to learn that he specializes in food imagery. And it’s also nice to get out of the kitchens, to see where some of the chefs come from: to visit their towns, hear their histories, and meet their families."
Elizabeth Weitzman, The Wrap
CATCH THE FAIR ONE - Nathan Halpern
"Instead, the film unfolds like a razor-thin genre exercise coiled around a wound so painful that 'Catch the Fair One' can only wince at it from a distance. Prolific composer Nathan Halpern ('The Rider') strains to close the gap between the action Kaylee takes and the heartache that fuels it, but the melodrama of his music only draws more attention to the film’s reservoir of untapped feeling, and highlights its struggle to synthesize a social drama with a suspense thriller."
David Ehrlich, IndieWire
"Wladyka doesn’t sugarcoat anything, assuming audiences are tough enough to take it all in. The film lands like a gut punch at times, one that can leave you feeling as if you’ve swallowed the anger-honed razor blade of Kaylee’s guilt. Whether it’s justice or atonement she seeks, the tension slices you up from the inside, rendered all the more ominous by composer Nathan Halpern. The director spares us the sex stuff but obliges us to confront the consequences. Instead of cutting away, he twists the knife -- quite literally, in one scene. In another, a shotgun blast nearly takes off a character’s head, after which the camera cuts back to the corpse for a few seconds, letting the damage sink in."
CLEAN - Adrien Brody
"It’s no secret that Brody’s time in front of the camera -- between the most recent season of HBO Max’s 'Succession' and his 2003 Oscar win for 'The Pianist' -- has been spent in the Hollywood wilderness. Without leading roles in Wes Anderson films, he might have slipped off the radar completely. What can be said about that time in straight-to-DVD (and then VOD) purgatory, is that Brody was working on his music and it paid off. The score for 'Clean' is genuinely good. His seamless combination of hip-hop drums and orchestra strings leaves one wondering if RZA did the score. The music in the film is decent but it pales in comparison to Brody’s score, which elegantly highlights obscene imagery like an exploding garbage truck running into a McMansion. In the quieter moments, Brody ditches the drums and strings for a haunting organ during the flashback that shows exactly how his daughter died."
Nadir Samara, ScreenRant
"Solet and his cinematographer, Zoran Popovic, have a profound sense of atmosphere, and the visual space of 'Clean' and its central mood mesh very well. The bloodlettings are imaginative and brutal; this movie would play like gangbusters at a drive-in, its violence blown up big. Brody also composed the intriguing score from a toolkit of electro and early hip-hop sounds, deconstructing them into minimalist tones."
Jason Shawhan, The Onion AV Club
"There’s no shortage of bleak beauty in “Clean,” and Brody’s musical contributions offer a welcome texture to the world that he and Solet present. Mykelti Williamson and Fleshler bring humanity (the former) and menace (the latter) to supporting roles, but none of this can save the film from the shortcomings of its screenplay."
Katie Walsh, Los Angeles Times
"Of course, 'Clean' is not really interested in exploring matters of race, or even acknowledging that elephant in the room beyond a quick scene in which Michael berates Mikey for having Black friends and listening to rap music. 'Clean' is only interested in positioning Clean as a grizzled antihero on an onerous quest for redemption. It’s hard to say if doing more than dancing around the matter would make the film better or stupendously worse. But judging by the end product, and that Brody and Solet penned the script together ('Clean' is actually the pair’s second collaboration), it’s possible that we dodged a bullet, if not an iteration of the film that is miles funnier. Still, it’s hard to not appreciate the film we got, which does nothing short of delight with lines like, 'Some things you can never clean up, no matter how hard you try;' the composition of Brody’s sick beats, which amount to little more than hip-hop stock music; and haphazard attempts at commenting on the very real opioid crisis which has gripped the United States, presented through a TV news blast that only communicates the very obvious. This is in addition to the laughably choreographed fight sequences and horrendous washed-out lighting and cinematography, all of which I would argue end up as assets to the film instead of detriments."
Brianna Zigler, Paste Magazine
"Set to Brody’s hip-hop-infused score, 'Clean' trudges slowly and gloomily toward each of its plot points, its trajectory so predictable that it’s hard to care about any of its particulars. Those also include Clean’s habit of selflessly renovating his community’s ramshackle homes, and his amiable friendship with a pawn shop owner (RZA) who buys his refurbished goods for cash. There’s no doubt that Clean will eventually go on a rampage or two, but the film draws out those payoffs to the point of aggravation. When they do arrive, they’re orchestrated with humorless severity, and what they lack in inventive combat choreography, they make up for in ruggedness, thereby adding to the material’s dour tone."
Nick Schager, Variety
DEATH ON THE NILE - Patrick Doyle
"Patrick Doyle’s score is sensational, doing a lot of the heavy lifting mood-wise, and Haris Zambarloukos’ cinematography is sleek and stylish (both are longtime Branagh collaborators). Branagh and Zambarloukos know how to shoot movie stars like they’re movie stars, which is something of a lost art, and that big musical nightclub number, while narratively gratuitous, is plenty of fun (and plenty sexy). But Branagh also cannot keep his damn camera still, and the aesthetic eventually grates; he keeps throwing the camera around, it seems, solely to create the illusion of excitement."
Jason Bailey, The Playlist
"Kenneth Branagh’s latest Agatha Christie film begins with a gritty, black-and-white prologue set in the trenches of World War I, in which we learn the incredibly disturbing origins of Hercule Poirot’s mustache. That’s not all. In 'Death on the Nile,' Branagh films a riverside hotel in Egypt like it was the grand Elvish sanctuary Rivendell from 'The Fellowship of the Ring,' all swooping cameras and soaring music. He shoots the Karnak, the steamboat with which our protagonists will travel the Nile, like he’s just been handed the reins to 'Titanic 2.'"
Bilge Ebiri, New York
LAST SURVIVORS - David Deutsch
"In part, that’s the point. We’re meant to understand that Jake has been stunted by his upbringing in ways he’s too clueless to even begin to comprehend. However, 'Last Survivors' doesn’t lean nearly far enough into either the tragedy or the horror of his predicament. His interest in Henrietta has a queasy ambiguity, in that he seems to see her as both a mother figure and a romantic interest; his growing conflict with his dad, meanwhile, gives way to some earth-shattering secrets. And yet, faced with two situations that would make any therapist blurt out 'a lot to unpack here,' 'Last Survivors' skates right past their thorny depths in pursuit of more straightforward sentiment, underlined by David Deutsch’s angsty score."
Angie Han, The Hollywood Reporter
THE MAD WOMEN'S BALL - Asaf Avidan
"Asaf Avidan’s bombastic, chilling cello-laden score aids Laurent as she builds the film’s complex world, pulsing with the energy of women whose spirits can still find joy despite living in a hopeless place. As when the patients prepare for the titular ball, frenzying over boxes of costumes and makeup. Laurent leans heavily into the grotesque contrast of their jubilance with the disgusting exploitation of their quote-un-quote madness for the chic, rich crowd that attends. Men ply women with limited mental faculties with champagne, crossing ethical boundaries with such utter disregard it’s hard to watch."
Marya E. Gates, The Playlist
"The climax, taking place during the macabre 'ball,' is a wonder of scene construction (the film was edited by Anny Danché). Multiple storylines come to a head simultaneously, and the sequence is propulsive, tense, thrilling even. Asaf Avidan's simple yet effective score is used throughout, mournful cellos and anguished violins throbbing underneath the scenes. Cinematographer Nicolas Karakatsanis shot the film with sensitivity and care: the camera moves only when it has to, and when it does move it helps intensify the film's momentum. There is one sequence made up of a series of eerie still lifes: china tea pots, damask curtains, silver hairbrushes ... the detritus of a woman's life, what a woman will leave behind. It's not much. The color palette is muted, all dark blues, greys. You can smell the mold of those dank damp dungeon walls."
Sheila O'Malley, RogerEbert.com
THERE'S SOMEONE INSIDE YOUR HOUSE - Zachary Dawes
"Seldom have the opening moments of a movie been as telling -- and as accidentally foreboding -- as in 'There’s Someone Inside Your House,' Patrick Brice’s adaptation of Stephanie Perkins’s Y.A. horror novel. The very first thing that happens, after the camera settles on a picturesque view of a Midwestern farmhouse, is a dumb jolt: a pickup truck coming into the frame, its roaring engine cranked as loud as possible, the cheapest imaginable jump scare. There’s a real sense of surrender to that moment, as if Brice, the talented director of such moody and inventive fare as the 'Creep' movies (and the delightfully bi-curious ensemble comedy 'The Overnight'), is sighing and crying uncle. A filmmaker’s gotta make a living, I suppose, so here is his Netflix teen horror movie, timed to the spooky season. And there is certainly fun to be had here; the title alone holds promise, a callback to ’80s horror movies whose monikers also served as stern warnings: 'He Knows You’re Alone,' 'Don’t Answer the Phone,' 'Don’t Go in the House,' that kind of thing. And when that title comes up big, filling the screen, accompanied by a blasting musical sting, it feels like a knowing wink to a knowing audience. But you never get the sense that Brice’s heart is in it -- mainly because the picture’s best element has nothing to do with the slasher story at its center. Those complaints aside, Brice (unlike some Netflix horror helmers) has a decent sense of how to put a scene together and can build up a mood of dread and uncertainty with skill. There are a handful of genuinely chilling compositions, copious buckets of blood, and while I know we’re all tired of throwback synth-heavy scores in horror, this is a pretty good throwback synth-heavy score. Unfortunately, 'There’s Someone Inside Your House' otherwise rarely feels like this is more than a job for hire."
Jason Bailey, The Playlist
"As the movie drifts toward indie drama in its middle chapters (full of long night drives scored by dark synth-pop) and focuses on Makani’s ability to change, the killer is reduced to nothing but a taser-happy specter of cancel culture -- someone tearing people open at the seams because it requires less time and dexterity than helping them sew themselves back together. Due to a lack of decent suspects and an overabundance of characters who are as flat and empty as the farmland around them (which at least provides an intriguingly unexpected backdrop for a slasher movie), the mystery of the killer’s identity never becomes strong enough to carry 'There’s Someone Inside Your House' through its loose string of romantic subplots and basic kills. The blood factor is high, but the creepiness that quite literally defines Brice’s 'Creep' series is nowhere to be found."
David Ehrlich, IndieWire
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
February 18
AMELIE (Yann Tiersen) [New Beverly]
BETTY BLUE (Gabriel Yared) [Los Feliz 3]
HAPPY TOGETHER (Danny Chung) [Los Feliz 3]
IN THE MOOD FOR LOVE (Michael Galasso, Shigeru Umebayashi) [Brain Dead Studios]
LA DOLCE VITA (Nino Rota) [New Beverly]
MAMMA ROMA (Carlo Rustichelli), LOVE MEETINGS [Academy Museum]
MAURICE (Richard Robbins) [Los Feliz 3]
PULP FICTION [New Beverly]
PUNCH DRUNK LOVE (Jon Brion) [Brain Dead Studios]
SAVING FACE (Anton Sanko) [Los Feliz 3]
THE TREE OF LIFE (Alexandre Desplat) [Academy Museum]
February 19
THE BITTER TEARS OF PETRA VON KENT, ALEXANDRIA...WHY? (Fouad El Zahiry) [Aero]
DEATH WISH II (Jimmy Paige) [New Beverly]
THE FRENCH (Jean-Pierre Mas) [Brain Dead Studios]
GO WEST [Aero]
HARRY POTTER AND THE PRISONER OF AZKABAN (John Williams) [Alamo Drafthouse]
LA DOLCE VITA (Nino Rota) [New Beverly]
M. BUTTERFLY (Howard Shore) [Los Feliz 3]
MAD MAX: FURY ROAD (Tom Holkenborg) [Los Feliz 3]
MAD MAX: FURY ROAD (Tom Holkenborg) [Nuart]
THE PARENT TRAP (Paul Smith) [New Beverly]
ROBIN AND THE 7 HOODS (Nelson Riddle) [Los Feliz 3]
ROMANCE (Raphael Tidas, D.J. Valentin) [Brain Dead Studios]
THE ROYAL TENENBAUMS (Mark Mothersbaugh) [Brain Dead Studios]
THE SEARCHERS (Max Steiner) [Los Feliz 3]
SEASONS OF MEN (Anouar Brahem) [Academy Museum]
THE SILENCES OF THE PALACE (Anouar Brahem) [Academy Museum]
SOMEWHERE IN TIME (John Barry) [Alamo Drafthouse]
A WRINKLE IN TIME (Ramin Djawadi) [Academy Museum]
February 20
THE BIRDS (Remi Gassman, Oskar Sala, Bernard Hermann) [Alamo Drafthouse]
BUT I'M A CHEERLEADER (Pat Irwin) [Alamo Drafthouse]
CANE RIVER (Roy Glover, Philip Manuel) [Los Feliz 3]
HARRY POTTER AND THE PRISONER OF AZKABAN (John Williams) [Alamo Drafthouse]
LA DOLCE VITA (Nino Rota) [New Beverly]
LADY SINGS THE BLUES (Michel Legrand) [Fine Arts]
MAURICE (Richard Robbins) [Fine Arts]
MOULIN ROUGE (Craig Armstrong) [Brain Dead Studios]
THE PARENT TRAP (Paul Smith) [New Beverly]
SOUNDER (Taj Mahal) [Academy Museum]
THE STORY OF A THREE DAY PASS (Melvin Van Peebles) [Brain Dead Studios]
VIVRE SA VIE (Michel Legrand) [Los Feliz 3]
WOMEN IN LOVE (Georges Delerue) [Brain Dead Studios]
February 21
CHARLEY-ONE-EYE (John Cameron), BOOT HILL (Carlo Rustichelli) [New Beverly]
DA SWEET BLOOD OF JESUS (Bruce Hornsby) [Los Feliz 3]
THE GOSPEL ACCORDING TO ST. MATTHEW (Luis Bacalov) [Academy Museum]
THE HUNGER (Michel Rubini, Denny Yeager) [Los Feliz 3]
US (Michael Abels) [Alamo Drafthouse]
February 22
GUESS WHO'S COMING TO DINNER (Frank DeVol) [Los Feliz 3]
HARRY POTTER AND THE PRISONER OF AZKABAN (John Williams) [Alamo Drafthouse]
JE T'AIME, JE T'AIME (Krzysztof Penderecki) [Los Feliz 3]
ONE HUNDRED AND ONE DALMATIANS (George Bruns) [Academy Museum]
SOME LIKE IT HOT (Adolph Deutsch), AVANTI! (Carlo Rustichelli) [New Beverly]
February 23
BUCK AND THE PREACHER (Benny Carter) [Los Feliz 3]
THE CHILDREN'S HOUR (Alex North) [Los Feliz 3]
RAGING BULL [Brain Dead Studios]
SOME LIKE IT HOT (Adolph Deutsch), AVANTI! (Carlo Rustichelli) [New Beverly]
TONY TAKITANI (Ryuichi Sakamoto) [Aero]
February 24
BREAKING THE WAVES [Brain Dead Studios]
CROUCHING TIGER, HIDDEN DRAGON (Tan Dun) [Academy Museum]
HENRY & JUNE [Los Feliz 3]
IN THE REALM OF THE SENSES (Minoru Miki) [Los Feliz 3]
SOME LIKE IT HOT (Adolph Deutsch), AVANTI! (Carlo Rustichelli) [New Beverly]
TWIN PEAKS: FIRE WALK WITH ME (Angelo Badalamenti) [Alamo Drafthouse]
February 25
AFTER LIFE (Yasahiro Kasamatsu) [Los Feliz 3]
DJANGO UNCHAINED [New Beverly]
GHOST RIDER (Christopher Young) [Landmark Westwood]
THE HAWKS AND THE SPARROWS (Ennio Morricone), OEDIPUS REX [Academy Museum]
I AM NOT YOUR NEGRO (Alexei Aigui) [Academy Museum]
KICK-ASS (Marius De Vries, Ilan Eshkeri, Henry Jackman, John Murphy) [Landmark Westwood]
THE LAST OF THE MOHICANS (Trevor Jones, Randy Edelman) [New Beverly]
LEGEND (Tangerine Dream) [Los Feliz 3]
MARIE ANTOINETTE [Brain Dead Studios]
POINT BLANK (Johnny Mandel), PRIME CUT (Lalo Schifrin) [New Beverly]
THE WAR OF THE ROSES (David Newman) [Brain Dead Studios]
WOMEN IN LOVE (Georges Delerue) [Los Feliz 3]
February 26
BLAZING SADDLES (John Morris) [New Beverly]
HARRY POTTER AND THE GOBLET OF FIRE (Patrick Doyle) [Alamo Drafthouse]
HOUSE (Asei Kobayashi, Mikki Yoshino) [Nuart]
JOKER (Hildur Guonadottir) [Landmark Westwood]
KING KONG (Max Steiner) [Los Feliz 3]
LOST HORIZON (Dimtri Tiomkin) [Los Feliz 3]
LOULOU [Brain Dead Studios]
LOVE EXPOSURE (Tomohide Harada) [Brain Dead Studios]
MAX, MON AMOUR (Michel Portal) [Los Feliz 3]
MYSTERY MAN (Stephen Warbeck, Shirley Walker) [Landmark Westwood]
NOTTING HILL (Trevor Jones) [Alamo Drafthouse]
THE PHILADELPHIA STORY (Franz Waxman) [New Beverly]
POINT BLANK (Johnny Mandel), PRIME CUT (Lalo Schifrin) [New Beverly]
PRINCESS MONONOKE (Joe Hisaishi) [Alamo Drafthouse]
A RAISIN IN THE SUN (Laurence Rosenthal) [Alamo Drafthouse]
SOUL (Trent Reznor, Atticus Ross, Jon Batiste) [Academy Museum]
THE VAMPIRE BAT [Los Feliz 3]
WATCHMEN (Tyler Bates) [Landmark Westwood]
February 27
BASIC INSTINCT (Jerry Goldsmith) [Brain Dead Studios]
THE DEAD ZONE (Michael Kamen) [Los Feliz 3]
DIARY OF A MAD HOUSEWIFE [Brain Dead Studios]
MOONLIGHT (Nicholas Britell) [Academy Museum]
MOONSTRUCK (Dick Hyman) [Fine Arts]
NOTTING HILL (Trevor Jones) [Alamo Drafthouse]
ORGAZMO (Paul Robb) [Landmark Westwood]
THE PHANTOM OF THE OPERA (Andrew Lloyd Webber) [Alamo Drafthouse]
THE PHILADELPHIA STORY (Franz Waxman) [New Beverly]
POINT BLANK (Johnny Mandel), PRIME CUT (Lalo Schifrin) [New Beverly]
POSSESSION (Andrzej Korzynski) [Brain Dead Studios]
PRINCESS MONONOKE (Joe Hisaishi) [Alamo Drafthouse]
SUPER (Tyler Bates) [Landmark Westwood]
TO KILL A MOCKINGBIRD (Elmer Bernstein) [Alamo Drafthouse]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: The Godfather, Part III (Coppola), Fortunella/La grande guerra/Il maestro di Vigevano (Rota), Andy (Andy Williams), Andy Williams Classic Collection (Andy Williams), Wednesday Morning, 3 a.m. (Simon & Garfunkel), Parsley, Sage, Rosemary and Thyme (Simon & Garfunkel), Fear and Desire/The Day of the Fight/To the Moon and Beyond (Fried), Mary Poppins (Sherman/Sherman), Mary Poppins Returns (Shaiman), Thirteen Conversations about One Thing (Wurman), Black Rain (Zimmer), Gladiator (Zimmer/Gerrard), Hannibal (Zimmer), Black Hawk Down (Zimmer)
Read: Gideon's Fire, by J.J. Marric (aka John Creasey)
Seen: Death on the Nile [2022], Blacklight, My Neighbors the Yamadas, Spider-Man: No Way Home, Love Streams, Lunana: A Yak in the Classroom
Watched: The Impossible; Rome ("Death Mask"); Silicon Valley ("Articles of Incorporation"); Extras ("Chris Martin")
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