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La-La Land has announced three new releases this week: Tom Holkenborg's score for the just-released SONIC THE HEDGEHOG 2; the first commercial release of Hans Zimmer's score for the the 2005 comedy-drama THE WEATHER MAN, starring Nicolas Cage and Michael Caine, written by Steve Conrad (Patriot, The Pursuit of Happyness) and directed by Gore Verbinski; and a four-disc set titled STAR TREK COLLECTION: THE FINAL FRONTIER, featuring previously unreleased Trek music including unused cues from Jerry Goldsmith's Star Trek -- The Motion Picture score (re-recorded by composer Joe Kraemer) as well as unreleased epsiode score cues from Star Trek: The Next Generation, Star Trek: Deep Space Nine, Star Trek: Voyager, and Enterprise, composed by the usual suspects - Dennis McCarthy, Jay Chattaway, Paul Baillargeon, David Bell, Velton Ray Bunch and Kevin Kiner.

In the week of April 18th, Intrada plans to announce two new releases, including a two-disc set featuring the final score by one of film music's all-time masters.

The Grammy for Best Score Soundtrack for Visual Media was a tie between the Emmy-winning score for THE QUEEN'S GAMBIT (Carlos Rafael Rivera) and the Oscar-winning score for SOUL (Jon Batiste, Trent Reznor, Atticus Ross). Batiste won four additional Grammys for a his non-film-score work. Bo Burnham's "All Eyes On Me" from his TV special INSIDE won for Best Song Written for Visual Media, and THE UNITED STATES VS. BILLIE HOLIDAY (Salaam Remi, Lynn Fainchtein) won for Best Compilation Soundtrack for Visual Media. Also, H.E.R.'s rendition of "Fight For You," her JUDAS AND THE BLACK MESSIAH song which won the 2020 Original Song Oscar, won for Best Traditional R&B Performance. 


The Boy Who Could Fly
 - Bruce Broughton - Dragon's Domain
The Joel Goldsmith Collection: Vol. 2
 - Joel Goldsmith - Dragon's Domain
No Name & Dynamite
 - Chuck Cirino - Dragon's Domain
The Outfit
 - Alexandre Desplat - Backlot
Sonic the Hedgehog 2 - Tom Holkenborg - La-La Land
Spencer - Jonny Greenwood - Mercury
Star Trek Collection: The Final Frontier - various - La La Land
Uncharted - Ramin Djawadi - Sony (import)
The Weather Man - Hans Zimmer - La-La Land


Aline - Music Supervisors: Steve Bouyer, Pascal Meyer
All the Old Knives - Jon Ekstrand, Rebekka Karijord 
Ambulance - Lorne Balfe
Memoria - Cesar Lopez
Sonic the Hedgehog 2 - Tom Holkenborg - Score CD on La-La Land


April 15 
Outlander: Season 6 
- Bear McCreary - Sony
April 22
Operation Mincemeat
 - Thomas Newman - Lakeshore
May 6
Invasion: Season 1 - Max Richter - Decca
Never Too Late
 - Angela Little - Buysoundtrax
May 27 
The Power of the Dog - Jonny Greenwood - Lakeshore
June 3
Violin Concerto No. 2 & Selected Film Themes - John Williams - Deutsche Grammophon
Date Unknown
Blood on the Crown
 - Laurent Eyquem - Kronos
Farewell Gulsary
 - Andre Matthias - Kronos
Georges Delerue: Bandes Originales De Films 1959-1962 
- Georges Delerue - Music Box
Il sorisso del ragno
 - Daniele Patucci - CSC
Le temps de secrets
 - Philippe Rombi - Music Box
Maurice Jarre: Bandes Originales De Films 1959-1962
 - Maurice Jarre - Music Box
Sans sommation
 - Daniele Patucci - CSC
Storia e preistoria - Piero Umiliani - Kronos
The Thief of Bagdad 
[1925] - Mortimer Wilson - Naxos   


April 8 - Victor Schertzinger born (1888)
April 8 - Paul Sawtell and Bert Shefter record their score for The Cosmic Man (1958)
April 8 - Julian Lennon born (1963)
April 8 - Maurice Jarre wins his first Oscar, for his Lawrence of Arabia score (1963)
April 8 - From Russia With Love opens in New York (1964)
April 8 - Jerry Goldsmith begins recording his score for Escape from the Planet of the Apes (1971)
April 8 - Nino Rota and Carmine Coppola win their only Oscars, for The Godfather Part II score. (1975)
April 8 - Eric Rogers died (1981)
April 8 - Keegan DeWitt born (1982)
April 8 - James Horner begins recording his score for Legends of the Fall (1994)
April 9 - Miklos Rozsa begins recording his score to Diane (1955)
April 9 - Toshiyuki Honda born (1957)
April 9 - Miklos Rozsa begins recording his score to The Seventh Sin (1957)
April 9 - Arthur Benjamin died (1960)
April 9 - Henry Mancini wins song and score Oscars for Breakfast at Tiffany's (1962)
April 9 - Nathan Van Cleave begins recording his score for Robinson Crusoe on Mars (1964)
April 9 - Recording sessions begin for Krzystof Komeda’s score for Rosemary’s Baby (1968)
April 9 - Elmer Bernstein begins recording his score to The Gypsy Moths (1969)
April 9 - Alois Melichar died (1976)
April 9 - Giorgio Moroder wins his first Oscar, for his Midnight Express score (1979)
April 9 - Herbert Don Woods records his score for the Buck Rogers in the 25th Century episode “The Dorian Secret” (1981)
April 9 - Bill Conti wins his first Oscar, for The Right Stuff score; Michel Legrand wins his third and final Oscar, for Yentl's song score (1984)
April 9 - Bruce Broughton records his score for Rollercoaster Rabbit (1990)
April 9 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Perfect Mate” (1992)
April 10 - Dusan Radic born (1929)
April 10 - Claude Bolling born (1930)
April 10 - Denny Zeitlin born (1938)
April 10 - Shirley Walker born (1945)
April 10 - Peter Bernstein born (1951)
April 10 - Mark Oliver Everett born (1965)
April 10 - John Barry wins his first two Oscars, for the score and song Born Free (1967)
April 10 - Elmer Bernstein wins his only Oscar for, of all things, Thoroughly Modern Millie's score; Alfred Newman wins his final Oscar for Camelot's music adaptation (1968)
April 10 - Michel Legrand wins his second Oscar, for the Summer of '42 score; John Williams wins his first Oscar, for Fiddler on the Roof's music adaptation; Isaac Hayes wins his only Oscar for the song "Theme From 'Shaft'" (1972)
April 10 - Jerry Goldsmith begins recording his score for The Don Is Dead (1973)
April 10 - Nino Rota died (1979)
April 10 - John Morris begins recording his score for The In-Laws (1979)
April 10 - Toshiro Mayuzumi died (1997)
April 10 - Recording sessions begin for John Ottman’s score to Superman Returns (2006)
April 10 - Gianni Marchetti died (2012)
April 11 - Norman McLaren born (1914)
April 11 - Koichi Sugiyama born (1931)
April 11 - Herbert Stothart begins recording his score to Dragon Seed (1944)
April 11 - Caleb Sampson born (1953)
April 11 - Edwin Wendler born (1975)
April 11 - John Williams wins his fourth Oscar, for E.T. The Extra-Terrestrial's score; Jack Nitzsche wins his only Oscar, for An Officer and a Gentleman's song "Up Where We Belong"; Henry Mancini wins his fourth and final Oscar, for Victor/Victoria's song score (1983)
April 11 - Alan Silvestri begins recording his score for Who Framed Roger Rabbit (1988)
April 11 - Ryuichi Sakamoto, David Byrne, Cong Su win Oscars for their Last Emperor score (1988)
April 12 - Russell Garcia born (1916)
April 12 - Edwin Astley born (1922)
April 12 - Ronald Stein born (1930)
April 12 - Herbie Hancock born (1940)
April 12 - David Raksin begins recording his score for Right Cross (1950)
April 12 - Hugo Friedhofer begins recording his score to Soldier of Fortune (1955)
April 12 - Herbert Gronemeyer born (1956)
April 12 - Andy Garcia born (1956)
April 12 - Miklos Rozsa begins recording his score to Lust For Life (1956)
April 12 - Lisa Gerrard born (1961)
April 12 - Elmer Bernstein begins recording his score for Rampage (1963)
April 12 - Jerry Goldsmith begins recording his score for One Little Indian (1973) 
April 12 - Georg Haentzschel died (1992)
April 12 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Shattered Mirror” (1996)
April 12 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “The Changing Face of Evil” (1999)
April 12 - Richard Shores died (2001)
April 12 - Bruce Broughton begins recording his score to Eloise at the Plaza (2003)
April 13 - Vladimir Cosma born (1940)
April 13 - Bill Conti born (1942)
April 13 - John Addison wins his only Oscar, for Tom Jones's score (1964)
April 13 - Joel J. Richard born (1976)
April 13 - Howard Shore begins recording his score for Sliver (1993)
April 13 - John Williams begins recording his score for Minority Report (2002)
April 13 - Teo Usuelli died (2009)
April 14 - Jack Shaindlin born (1909)
April 14 - Ali Akbar Khan born (1922)
April 14 - Shorty Rogers born (1924)
April 14 - A.C. Newman born (1968)
April 14 - John Barry wins his third Oscar, for The Lion in Winter score (1969)
April 14 - Win Butler born (1980)
April 14 - Georges Delerue wins his only Oscar, for A Little Romance's score; David Shire wins song Oscar for Norma Rae's "It Goes Like It Goes" (1980)
April 14 - Elisabeth Lutyens died (1983)
April 14 - Jay Chattaway records his score for the Star Trek: Enterprise episode “E2" (2004)


ALICE - Common, Patrick Warren, Karriem Riggins, Isaiah Sharkey, Burniss Travis

"Alice believes there’s a better world, a kinder world, waiting for her beyond the forest of leaning, wispy oak trees that surrounds the plantation. The audience, unfortunately, is made to wait for what feels like an interminable amount of time before she attempts an escape. In the meantime, a woozy, bluesy score infused with otherworldly horns wafts over the southern air. The enslaved have all heard stories of slave catchers, which effectively keeps their desires to run at bay. But another legend says that Joseph’s grandfather, years ago, saw a man, with the ability to create fire from his hand, fall from the sky. Alice also hears an anachronistic sound -- though she doesn’t know what it is — emanating from the room of Paul’s sullen son: a radio searching for a station."
Robert Daniels, The Playlist 
"Through it all, there’s a standout score from five composers -- Common, Patrick Warren, Karriem Riggins, Isaiah Sharkey, and Burniss Travis -- who together assemble an eclectic mix of trills and rumbles and strings that pluck and fret, without worrying whether the end result is harmonious. The music is insistently alive, and it declares Alice’s right to exist even when she can’t speak on her own behalf."
Amy Nicholson, Variety 

MASTER - Robert Aiki Aubrey Lowe
"By way of Hall’s potent, internal performance (the actress has rarely been better) and Diallo sharpening the edges of her dense, multidimensional script to interrogate race through horror, rather than the scares being the horror itself, 'Master' finds its footing again. A testament to this filmmaker’s shrewd craftsmanship: The final twenty minutes, recalling the 'The Shining,' loops in Robert Aiki Aubrey Lowe’s ghoulish score, and unpacks so many secrets involving colorism, passing, white paternalism, and so forth, that you wonder how Diallo kept it all together without every frame crumbling in her hands. It’s simply amazing. Detailed and deliberate, assertive but rarely obvious, Diallo’s 'Master' is a towering, inventive shot in the arm for Black horror."
Robert Daniels, IndieWire 

"Within the film’s surprisingly complex setup, the outright horror of the witch haunting is the bluntest instrument. It’s used to ratchet up the sense of danger as Jasmine burrows deeper into hostile territory, is ostracized by her classmates, and researches the earlier student death in her room. Honestly, the haunting doesn’t always mesh with the real social horrors she faces. But it does allow Hornsby to frame some strikingly creepy shots, breaking up her austere, autumnal compositions with walls of red and slashes of black, embedded in Robert Aiki Aubrey Lowe’s ominous, droning score. Elsewhere, Diallo and Hornsby create layered, metaphorical images that are subtler but no less lingering, like the shadow of a janitor mopping the floor behind Gail and Jasmine as they delicately discuss her complaint against Liv. These Black women are still cleaning up the mess, generations after the maid whose memory haunts Gail’s house."
Oli Welsh, Polygon 
"The dark, evocative cinematography from Charlotte Hornsby ('Madeline’s Madeline,' 'Hair Wolf') magnifies the absolutely spectral shadows that seem to be pervasive amongst the college’s cold brick buildings. While the spooky percussion-laden score by Robert Aiki Aubrey Lowe ('Candyman') swirls as it envelopes the atmosphere, mirroring the psychological breakdown these women are headed towards."
Marya E. Gates. The Playlist

"Six minutes into Mariama Diallo’s 'Master,' before anything has even slightly gone bump in the night, the film is as scary as it is going to get. But it’s not so much fear of as fear for: Hopeful, excited freshman Jasmine Moore (Zoe Renee) is starting the fall semester as one of the only Black students at Ancaster College, a fictional bastion of white, Ivy League privilege. And she’s so sympathetically drawn by Diallo (whose own Yale experiences inform the story) and so appealingly played by Renee that instantly, given the gently ominous cues of camera and score, we know to be scared for her. The exact nature of what lies in store is almost immaterial; the dimming of her bright, eager, take-on-the-world optimism is a looming tragedy in itself."
Jessica Kiang, Los Angeles Times 

"The filmmaker establishes Ancaster’s ghostly atmosphere early on, with the arrival of eager, accomplished freshman Jasmine Moore (Zoe Renee, memorably haunted and steadfast). Robert Aiki Aubrey Lowe’s chilling score accompanies her when she finds out upon check-in that she’s got 'the room.' Uh-oh! But before we can find out why her dorm is labeled with such a cagey, 'Shining'-style warning, Jasmine meets her roommate Amelia (the terrific Talia Ryder, of 'Never Rarely Sometimes Always'), with whom she won’t exactly see eye-to-eye."
Tomris Laffly, Variety 

MORBIUS - Jon Ekstrand

"Watching Morbius isn't about watching a bad film, or even a boring one. It just feels consistently incomplete. The script by Burk Sharpless and Matt Sazama has all the flaws of their earlier muted blockbusters like 'Dracula Untold' and 'Gods of Egypt:' expositional, bland, designed to move the story along with no flourishes. It's like director Daniel Espinosa (responsible for the oddly underrated alien horror 'Life') took their first draft and just filmed that, with all the punch-up and vague plotting that gets fixed in rewrites left undone. If that's what happened, it would not be the worst decision Espinosa makes here. So many choices, from longtime collaborator Jon Ekstrand's clashing keyboard-and-strings score to individual shot compositions to the way Morbius leaves a trail of misty vampire dandruff floating in the air, just seem halfhearted. They're not terrible, but they're also not interesting."
Richard Whittaker, The Austin Chronicle 
"Morbius’ first attack on the mercenaries, for example, unfolds like he’s the xenomorph in a better-lit, earthbound version of the Nostromo and/or LV-426, decimating space truckers and automatic-weapon-wielding Marines with swift brutality. A later fight between Morbius and Lucien, meanwhile, conjures the tube chase from 'An American Werewolf In London,' but with less style and more computer-generated imagery. One supposes there are only so many locations that filmmakers can use for action scenes that haven’t already been shot in some iconic fashion, but it takes little imagination to make those cinematic connections while they’re happening. Moreover, Jon Ekstrand’s score functions in precisely the kind of same-y, nondescript way that so much film and TV music seems to these days. The few moments that stand out do so because they sound so similar to Hans Zimmer’s wall-of-sound work on Christopher Nolan’s Batman trilogy, especially when they’re accompanying a scene where, say, a man is looking skyward as a swarm of bats flutter around him in obedience."
Todd Gilchrist, The Onion AV Club

"This sounds dark and gritty, and Oliver Wood’s murky cinematography and Jon Ekstrand’s 'Dark Knight' lite score sure seem to want viewers to associate it with other, much better bat-adjacent joints, but the film is too disjointed to feel much like, well, anything. Mostly, the film occupies a strange no-mans-land of the sprawling Spider-Verse, not charming like the 'Spider-Man' films, not funny like the 'Venom' films, and certainly not technically impressive like the animated 'Into the Spider-Verse.'"
Kate Erbland, IndieWire 
"Smith’s dynamism painfully underlines the lack of imagination and energy elsewhere in the film. Plainly shot, with a score (and a scene or two) that shamelessly ape 'Batman Begins,' 'Morbius' comes across as algorithmically calibrated to enter the blockbuster market as smoothly as possible. Its action is unimaginative, complete with exhausting slow-mo pauses. Its violence is toned down and defanged, even though it’s about, y’know, vampires. In spite of direction from Daniel Espinosa, who previously made 2017’s surprisingly creepy 'Life,' 'Morbius' does not convey any real atmosphere. If Instagram had a “blockbuster” filter, this film would use it the whole time."
Joshua Rivera, Polygon

“Morbius” isn’t even a debacle. It’s a little over 90 minutes long if you don’t count the credits (which include what has to be the worst closing teaser I’ve ever seen in a Marvel movie -- it ends with the word 'Intriguing,' dangled as if Vincent Price had uttered it), and for all the overwrought push of Jon Ekstrand’s score, the film is nothing more than a flimsy time-killer, an early-April placeholder of a movie." 
Owen Gleiberman, Variety
"While DP Oliver Wood shoots most of the action with the lugubrious palette that’s become standard for this end of the Marvel spectrum, he makes atmospheric use of New York’s subways and underground spaces in several scenes. The thundering score by Jon Ekstrand, with its pounding percussion elements, also pumps up the energy, even as the plot slides into repetitive grooves."
David Rooney, The Hollywood Reporter 

"Waugh and Mervis lay these arguments out via a series of big speeches, mostly filmed in strangely dim hotel meeting spaces, overlooking the New Orleans Superdome. 'National Champions' is based on a Mervis play, and the filmmakers haven’t done a lot to open it up for the screen. The visually drab locations, the muted Jonathan Sanford score, and the sparse plot -- which primarily consists of high-powered NCAA officials threatening LeMarcus and him sticking to his guns -- all grow tedious quickly."
Noel Murray, The Onion AV Club 
"Working from a smart script by Adam Mervis ('21 Bridges'), director Ric Roman Waugh manages -- with the invaluable assistance of Khalid Mohtaseb’s fluid cinematography, Gabriel Fleming’s nimble editing, and Jonathan Sanford’s propulsive musical score -- to give what is basically a string of scenes involving people talking in rooms (and on rooftops) the same sense of propulsive narrative drive he brought to his thrillers 'Snitch' and 'Angel Has Fallen.'"
Joe Leydon, Variety


Screenings of older films in Los Angeles-area theaters.

April 8
CASTLE IN THE SKY (Joe Hisaishi) [Academy Museum]
THE COOK, THE THIEF, HIS WIFE & HER LOVER (Michael Nyman) [BrainDead Studios]
THE DAMNED (Maurice Jarre) [Aero]
DONNIE DARKO (Michael Andrews) [Landmark Westwood]
DRUNKEN ANGEL (Fumio Hayasaka) [Los Feliz 3]
GOLDENEYE (Eric Serra) [New Beverly]
HARD BOILED (Michael Gibbs) [New Beverly]
THE HIDDEN FORTRESS (Masaru Sato) [Los Feliz 3]
KILL BILL: VOL. 1 (RZA) [New Beverly]
THE LIGHTHOUSE (Mark Korven) [Alamo Drafthouse]
MOULIN ROUGE (Craig Armstrong) [El Capitan]
RED RIVER (Dimitri Tiomkin) [Los Feliz 3]
THIEF (Tangerine Dream) [Alamo Drafthouse]
24 HOUR PARTY PEOPLE [Los Feliz 3]
2001: A SPACE ODYSSEY [Alamo Drafthouse]
VAMPIRE'S KISS (Colin Towns) [BrainDead Studios]

April 9
BUGSY (Ennio Morricone) [Los Feliz 3]
THE CAT RETURNS (Yuji Nomi) [Academy Museum]
DAISIES (Jiri Slitr, Jiri Sust) [BrainDead Studios]
ERASERHEAD (Peter Ivers) [BrainDead Studios]
GODZILLA RAIDS AGAIN (Masaru Sato) [Los Feliz 3]
HARD BOILED (Michael Gibbs) [New Beverly]
HEDWIG AND THE ANGRY INCH (Stephen Trask) [Alamo Drafthouse]
HIGH HEELS (Ryuichi Sakamoto) [Academy Museum]
LAW OF DESIRE, TIE ME UP! TIE ME DOWN! (Ennio Morricone) [Academy Museum]
LIVING IN OBLIVION (Jim Farmer) [Los Feliz 3]
MOULIN ROUGE (Craig Armstrong) [El Capitan]
NEW JACK CITY (Michel Colombier) [Los Feliz 3]
RAIDERS OF THE LOST ARK (John Williams) [New Beverly]
ROBCOP (Basil Poledouris) [New Beverly]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Landmark Westwood]
STRAY DOG (Fumio Hayasaka) [Los Feliz 3]
2001: A SPACE ODYSSEY [Alamo Drafthouse]

April 10
THE COTTON CLUB (John Barry) [Los Feliz 3]
DEADPOOL (Tom Holkenborg) [Fine Arts]
HARD BOILED (Michael Gibbs) [New Beverly]
HEDWIG AND THE ANGRY INCH (Stephen Trask) [Alamo Drafthouse]
HOOK (John Williams) [BrainDead Studios]
JOKER (Hildur Guonadottir) [Fine Arts]
KLUTE (Michael Small) [Academy Museum]
KWAIDAN (Toru Takemitsu) [Los Feliz 3]
MOULIN ROUGE (Craig Armstrong) [El Capitan]
RAIDERS OF THE LOST ARK (John Williams) [New Beverly]
SEVEN SAMURAI (Fumio Hayasaka) [Aero]
SINGIN' IN THE RAIN (Nacio Herb Brown, Lennie Hayton) [Fine Arts]
2001: A SPACE ODYSSEY [Alamo Drafthouse]
TASTE OF CHERRY [BrainDead Studios]
THE WAYWARD CLOUD [BrainDead Studios] 

April 11
THE LIGHTHOUSE (Mark Korven) [Alamo Drafthouse]
MAGIC MIKE [Los Feliz 3]
MESSIAH OF EVIL (Phillan Bishop) [Los Feliz 3]
RAW FORCE (Walter Murphy), ALLEY CAT (Quito Colayco) [New Beverly]
THIEF (Tangerine Dream) [Alamo Drafthouse]

April 12
THE BIG LEBOWSKI (Carter Burwell) [Alamo Drafthouse]
INDECENT PROPOSAL (John Barry) [Los Feliz 3]
PLANET OF THE APES (Jerry Goldsmith) [Academy Museum]
SELENA (Dave Grusin) [Alamo Drafthouse] 
SHAFT (Isaac Hayes), SUPER FLY (Curtis Mayfield) [New Beverly]
2001: A SPACE ODYSSEY [Alamo Drafthouse] 

April 13
HEDWIG AND THE ANGRY INCH (Stephen Trask) [Los Feliz 3]
IKIRU (Fumio Hayasaka) [Los Feliz 3]
JULES AND JIM (Georges Delerue) [Laemmle Playhouse] [Laemmle Royal]
LOVE LETTER (Ichiro Saito), GIRLS OF THE NIGHT (Hikari Hayasi) [Academy Museum]
SALO, OR THE 120 DAYS OF SODOM (Ennio Morricone) [BrainDead Studios]
SELENA (Dave Grusin) [Alamo Drafthouse]
SHAFT (Isaac Hayes), SUPER FLY (Curtis Mayfield) [New Beverly]
2001: A SPACE ODYSSEY [Alamo Drafthouse] 

April 14
THE ADVENTURES OF ROBIN HOOD (Erich Wolfgang Korngold), CAPTAIN BLOOD (Erich Wolfgang Korngold) [New Beverly]
GODZILLA RAIDS AGAIN (Masaru Sato) [Los Feliz 3]

April 15
THE ADVENTURES OF ROBIN HOOD (Erich Wolfgang Korngold), CAPTAIN BLOOD (Erich Wolfgang Korngold) [New Beverly]
THE ARGYLE SECRETS (Ralph Stanley) [Hollywood Legion]
BLACKHAT (Harry Gregson-Williams) [Alamo Drafthouse]
THE COTTON CLUB (John Barry) [Los Feliz 3]
A FIELD IN ENGLAND (Jim Williams) [BrainDead Studios]
KILL BILL: VOL. 1 (RZA) [New Beverly]
THE KING OF COMEDY (Robbie Robertson) [Los Feliz 3]
MY NEIGHBOR TORORO (Joe Hisaishi) [Aacademy Museum]
PHANTOM THREAD (Jonny Greenwood) [BrainDead Studios]
RASHOMON (Fumio Hayasaka) [Los Feliz 3]
SAN FRANCISCO (Herbert Stothart), HOLD YOUR MAN [UCLA/Hammer]
THE SPY WHO LOVED ME (Marvin Hamlisch) [New Beverly]
THRONE OF BLOOD (Masaru Sato) [Aero]
TRY AND GET ME (Hugo Friedhofer) [Hollywood Legion]

April 16
THE ACCUSED (Victor Young) [Hollywood Legion]
CAGED (Max Steiner) [Hollywood Legion]
DELICATESSEN (Carlos D'Alessio)  [BrainDead Studios]
THE FAN (Hans Zimmer) [Los Feliz 3]
THE FIREMEN'S BALL (Karel Mares) [BrainDead Studios]
THE FLOWER OF MY SECRET (Alberto Iglesias) [Academy Museum]
FRENZY (Ron Goodwin) [Los Feliz 3]
JESUS CHRIST SUPERSTAR (Andrew Lloyd Webber, Andre Previn, Herbert Spencer) [Alamo Drafthouse]
LIVE FLESH (Alberto Iglesias), KIKA [Academy Museum]
MAD MAX (Brian May), THE ROAD WARRIOR (Brian May), MAD MAX BEYOND THUNDERDOME (Maurice Jarre), MAD MAX: FURY ROAD (Tom Holkenborg) [New Beverly]
NEW YORK, NEW YORK (Ralph Burns) [Aero]
PAN'S LABYRINTH (Javier Navarette) [BrainDead Studios]
THE PROWLER (Lyn Murray) [Hollywood Legion]
SATURDAY NIGHT FEVER (David Shire) [Los Feliz 3]
THE SECRET WORLD OF ARRIETTY (Cecile Corbel) [Academy Museum]
SELENA (Dave Grusin) [Alamo Drafthouse]

April 17
AVENGERS: INFINITY WAR (Alan Silvestri) [Fine Arts]
THE BREAKING POINT [Hollywood Legion]
A CLOCKWORK ORANGE (Wendy Carlos) [Academy Museum]
THE COTTON CLUB (John Barry) [Los Feliz 3]
DONNIE DARKO (Michael Andrews) [Aero]
HARVEY (Frank Skinner) [Los Feliz 3]
HUNGER (Leo Abrahams, David Holmes) [BrainDead Studios]
THE LAST TEMPTATION OF CHRIST (Peter Gabriel) [Alamo Drafthouse]
MAD MAX (Brian May), THE ROAD WARRIOR (Brian May), MAD MAX BEYOND THUNDERDOME (Maurice Jarre), MAD MAX: FURY ROAD (Tom Holkenborg) [New Beverly]
MIDSOMMAR (Bobby Krlic) [Alamo Drafthouse]
NO WAY OUT (Alfred Newman) [Hollywood Legion]
REAR WINDOW (Franz Waxman) [IPIC Westwood]
THE TEN COMMANDMENTS (Elmer Bernstein) [Alamo Drafthouse]
THE UNDERWORLD STORY (David Rose) [Hollywood Legion]
VAGABOND (Joanna Bruzdowicz) [BrainDead Studios]
VIVE L'AMOUR [Los Feliz 3]
WHEN LADIES MEET (Bronislau Kaper), SUSAN AND GOD (Herbert Stothart) [UCLA/Hammer]


Red River (Tiomkin); Infinity (Broughton); Prophecy (Rosenman); Love Field (Goldsmith/Payne); Star Trek IV: The Voyage Home (Rosenman); Medicine Man (Goldsmith); RoboCop 2 (Rosenman); Michael Collins (Goldenthal); The Shining (Carlos/Elkind); Film Music of Toru Takemitsu Vol. 2 (Takemitsu)

Read: Digger #2: Fool's Flight, by Warren Murphy

Seen: The Sting; The Great Waldo Pepper; Nausicaa of the Valley of the Wind; Whisper of the Heart; Morbius; For Your Eyes Only; Nitram; Ali Baba Bunny [1957]; ffolkes; Gold [1974]; 2001: A Space Odyssey

Watched: It! [1967]; True Detective ("The Western Book of the Dead"); Gilmore Girls ("Double Date"); Star Trek ("By Any Other Name"); Archer ("Liquid Lunch"); Manhattan ("Behold the Lord High Executioner," "Human Error"); True Detective ("Night Finds You"); The 94th Oscars; The Nice Guys; Unbreakable Kimmy Schmidt ("Kimmy Goes Roller Skating!"); Happy Endings ("Of Mice & Jazz-Kwon-Do")

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Dragon's Domain Records just released two stylistically quite diverse compilation albums:

The Joel Goldsmith Collection Vol. 2 focuses on three lesser known B-productions from the mid/later 90s. Stealth Fighter (unfortunately only the Main Theme here, as the rest of the score was written by Alex Wilkinson) and Rattled are fully synthetic. It's not everyone's cup of tea, but since I know from my own experience how much heart and soul a composer has to put into the sample-based realization of his music in order to get such a convincing result, I like to listen to pure synth scores from time to time. But the highlight of the album are definitely the excerpts from Joel's music for the short-lived TV series Hawkeye. Here he had a medium-sized session orchestra at his disposal with many ethno additions typical for the native-american setting. The playful syncopated main theme shimmers through in most cues in interesting new instrumentations and ties the whole thing together. TV music at the highest level! It's a pity that the producers for this release didn't just focus on Hawkeye and instead only pressed about 17 minutes onto the CD. I would have liked to hear more here.

Bruce Broughton's The Boy Who Could Fly mainly features the re-recording of his well-known score from the same year of the film's release (1986) with the Sinfonia of London. Great, heartwarming music with a touch of Broughton's typical playful Hollywood heroism (look for it in "In the Air"). As a gimmick - and to fill up the album - some more new recordings of famous Broughton themes have been added. These are not new recordings made for this album, but arbitrarily compiled by Dragon's Domain from the last 10-20 years. Except for the trumpets of the Midland Odessa Symphony Orchestra stumbling a bit in "We'll Be Back" (Silverado) (incredibly hard figures in this pitch, especially live) great arrangements and interpretations; in track 11 even with Bruce himself on the piano.

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Today in Film Score History:
June 7
Billy Goldenberg records his score for the Amazing Stories episode "The Amazing Falsworth" (1985)
Charles Strouse born (1928)
Daniele Amfitheatrof died (1983)
Dave Grusin begins recording his score to The Heart Is a Lonely Hunter (1968)
David Buckley born (1976)
David Raksin begins recording his score for A Lady without Passport (1950)
Don Peake born (1940)
Elmer Bernstein begins recording his score for The Shootist (1976)
Franz Reizenstein born (1911)
Georges Van Parys born (1902)
Giong Lim born (1964)
Lewis Furey born (1949)
Morton Stevens wins an Emmy for his Hawaii Five-O episode score “A Thousand Pardons, You’re Dead,” and Pete Rugolo wins for his TV movie score The Challengers (1970)
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