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The latest release from Intrada is an expanded and remastered two edition of John Williams' score for the 1986 juvenile adventure SPACECAMP. They have also released a newly remastered edition of Craig Safan's THE LAST STARFIGHTER.

Their latest Kickstarter project will be raising funding to re-record two Bernard Herrmann scores - the thrilling ON DANGEROUS GROUND, and Alfred Hitchcock's remake of his own THE MAN WHO KNEW TOO MUCH, the only Hitchcock-Herrmann score which has never received a commercial release (apart from re-recordings of selected cues).

Varese Sarabande is expected to announce their latest limited edition CD Club releases today.


A Gathering of Friends [film and concert music] 
- John Williams - Sony 
The Last Starfighter [remastered] - Craig Safan - Intrada
A Man in Love/Premier Voyage
 - Georges Delerue - Music Box 
 - Jerry Goldsmith - Quartet 
- John Williams - Intrada Special Collection
Special Section/Claire de Femme
 - Eric Demarsan, Jean Musy - Music Box 


Cordelia - Natalie Holt
Downton Abbey: A New Era - John Lunn
Drive All Night - Robert Daniel Thomas
Emergency - Rene G. Boscio
Hold Your Fire - Jonathan Sanford
Men - Geoff Barrow, Ben Salisbury 
Mondocane - Federico Bisozzi, Davide Tomat 
The Race to Alaska - Spencer Wirth-Davis


May 27 
Acqua E Sapone
 - Fabio Liberatori - Beat
Anastasio Mio Fratello
 - Piero Piccioni - Beat
The Power of the Dog 
- Jonny Greenwood - Lakeshore
June 3
Violin Concerto No. 2 & Selected Film Themes - John Williams - Deutsche Grammophon
June 10
Ted K - Blanck Mass - Sacred Bones
June 17
The Velvet Queen (La panthere des neiges) - Nick Cave, Warren Ellis - Invada 
Date Unknown
Blood on the Crown
 - Laurent Eyquem - Kronos
Farewell Gulsary
 - Andre Matthias - Kronos
The Green Planet
 - Benji Merrison, Will Slater - Silva
I gabbiani volano bassi 
- Roberto Pregadio, Carlo Cristallini - CSC
La donna della calda terra 
- Carlo Savina - CSC
Storia e preistoria - Piero Umiliani - Kronos  


May 20 - Zbigniew Preisner born (1955)
May 20 - Jerry Goldsmith wins his first Emmy, for The Red Pony; Charles Fox wins an Emmy for his Love, American Style music (1973)
May 20 - Lyn Murray died (1989)
May 20 - Jay Chattaway records his score for the Star Trek: Voyager episode “Sacred Ground” (1996)
May 21 - Kevin Shields born (1963)
May 21 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Inner Light” (1992)
May 21 - Fiorenzo Carpi died (1997)
May 21 - Frank Comstock died (2013)
May 22 - Roger Bellon born (1953)
May 22 - Iva Davies born (1955)
May 22 - Richard Rodgers wins the Outstanding Music Emmy for Winston Churchill – The Valiant Years (1962)
May 22 - John Sponsler born (1965)
May 22 - Laurence Rosenthal wins the Emmy for his score to Michelangelo: The Last Giant (1966)
May 22 - Patrick Williams records his score for The Streets of San Francisco pilot (1972)
May 22 - Mario Zafred died (1987)
May 22 - James Horner begins recording his score for Unlawful Entry (1992)
May 23 - Raymond Legrand born (1908)
May 23 - Michel Colombier born (1939)
May 23 - William Stromberg born (1964)
May 23 - Tom Tykwer born (1965)
May 23 - Jimmy McHugh died (1969)
May 23 - George Bruns died (1983)
May 23 - James Horner begins recording his score for The Land Before Time (1988)
May 23 - Recording sessions begin on Patrick Doyle’s score for Dead Again (1991)
May 23 - James Horner begins recording his score for Searching for Bobby Fischer (1993)
May 23 - Kenyon Emrys-Roberts died (1998)
May 23 - Recording sessions begin for John Ottman's score for The Invasion (2007)
May 24 - Sadao Bekku born (1922)
May 24 - Bob Dylan born (1941)
May 24 - Waddy Wachtel born (1947)
May 24 - Franz Waxman begins recording his score for Sorry, Wrong Number (1948)
May 24 - Pierre van Dormael born (1952)
May 24 - David Ferguson born (1953)
May 24 - Leith Stevens records his score for the Land of the Giants episode “Underground” (1968)
May 24 - Jerry Fielding begins recording his score for Shirts/Skins (1973)
May 24 - Duke Ellington died (1974)
May 24 - Recording sessions begin for Graeme Revell’s score to Child’s Play 2 (1990)
May 24 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “In Theory” (1991)
May 25 - Pierre Bachelet born (1944)
May 25 - Alex North begins recording his score for Decision for Chemistry (1953)
May 25 - Rick Smith born (1959)
May 25 - Miklos Rozsa begins Los Angeles recording sessions for Ben-Hur (1959)
May 25 - Elmer Bernstein wins the Outstanding Music Composition Emmy for The Making of the President 1960 (1964)
May 25 - Trevor Morris born (1970)
May 25 - Quincy Jones begins recording his score for Killer by Night (1971)
May 25 - Star Wars released in theaters (1977)
May 25 - Alien released in theaters (1979)
May 26 - Bruno Nicolai born (1926)
May 26 - Miles Davis born (1926)
May 26 - William Bolcom born (1938)
May 26 - Alfred Newman begins recording his score for Man Hunt (1941)
May 26 - Nicola Piovani born (1946)
May 26 - David Torn born (1953)
May 26 - Howard Goodall born (1958)
May 26 - Jerry Goldsmith begins recording his score for The Satan Bug (1964)
May 26 - Sonny Sharrock died (1994)
May 26 - George Greeley died (2007)
May 26 - Earle Hagen died (2008)


THE BAD GUYS - Daniel Pemberton

"Written by Etan Cohen ('Holmes & Watson'), this is a very busy, over-stuffed caper, with twists, tangents, and incidental scenes that whizz by under the fast and furious direction of French animator Pierre Perifel, who channels a 1970s vibe with a funky score composed by the prolific Daniel Pemberton (Apple TV+’s 'The Afterparty') and visual references to everything from 'Bullitt' and 'Gone in 60 Seconds' to 'The Blues Brothers' and 'The Hot Rock.'"
Jason Solomons, The Wrap 

"For anyone attentive to such details, meanwhile, the chief incidental pleasures of 'The Bad Guys' are craft-based, from its disciplined, suitably Californian palette of burnt oranges and canine tans, to the brassy exuberance of Daniel Pemberton’s working-overtime score, full of sonic callbacks to ’70s heist-movie funk. There’s even a killer original musical number, performed with full-throated swagger by 'In the Heights' star Ramos, in which the bad guys pledge, at least for the moment, that they’re 'gonna be good tonight.' For the sake of any future outings with these morally flexible furballs, one hopes such promises are merely temporary."
Guy Lodge, Variety 
"The brightly colored computer animation fairly pops, and Daniel Pemberton’s zippy music would feel perfectly at home in a live-action caper film. While 'The Bad Guys' ultimately lacks the sophistication and emotional resonance to make it anything more than a harmless diversion, it offers plenty of fun along the way."
Frank Scheck, The Hollywood Reporter 
CHARLOTTE - Michelino Bisceglia
"Furthermore, Knightley’s chirpy tone and bright, clipped diction make Charlotte sympathetic, but don’t lend a lot of weight to a young woman whose strong will and despairing moods occasionally stirred family conflict in real life. Ideally, there might also have been a more nuanced soundtrack component than Michelino Bisceglia’s big, conventional orchestral score."
Dennis Harvey, Variety 

THE INNOCENTS - Pessi Levanto
"Cinematographer Sturla Brandth Grøvlen and composer Pessi Levanto work wonders to make a generic setting creepy as hell. Nondescript blocks of flats surrounded by woods offer an eerie blandness and emptiness, with a minimalist score that echoes Ben’s penchant for banging things repeatedly. The damnedest thing is we know what the threat is, so it’s not like something new and scary will come out of the woods -- or so we think, at first. Vogt, like Ben, starts to cloud our minds at a certain point."
Luke Y. Thompson, The Onion AV Club 

"As in 'Blind,' Vogt’s shimmering and witty directorial debut (which also starred Pedersen, so good here in her small role as Ida and Anna’s mother), there’s a terrific use of shallow-focus close-up. Here, evocative details of childhood abound -- Velcro straps on sneakers, a fingernail picking at a scab -- before we punch out to a graphic wide of the brutalist buildings that is suddenly upside down. This disparity in scale and orientation creates a strong sense of place while keeping precise geography mysterious: We never know which stairwell abuts whose apartment. Within this self-contained world (a kind of perversion of a fairy-tale castle in the middle of a forest) individual spaces are porous, floating into one another like the plangent notes of Pessi Levanto’s unnerving score, like the children speaking through walls into each other’s minds, like the way broken glass put in Anna’s shoes causes Aisha’s foot to bleed."
Jessica Kiang, Variety 

"There is, admittedly, a sort of inherent stuffiness to the material -- perhaps a laboriousness that Madden can’t seem to shake, a man whose work these days feels more suited to BBC miniseries than top-line awards baiting crowd-pleasers. It’s surprising that this ultimately landed as a feature film when it seems there is much more material here that could have made for a six-episode arc, although one supposes a Netflix release at the beginning of May for the new film from a man who once won a Best Picture Oscar in the ‘90s, with another Oscar winner in the leading role, is as much a sign of an industry that has no clue what to do with a movie like this in our current day than anything else. Despite the 'men in suits behind closed doors' setup of the film, there is plenty of dramatic urgencies, especially in the first half. Thomas Newman’s score does quite a bit of heavy lifting here to give a propulsion to it all that Madden’s directing lacks."
Mitchell Beaupre, The Playlist 
"Thomas Newman’s pleasingly understated score favors soulfulness over suspense, but the script accelerates tension from the moment the 'drowned' body is loaded onto a donkey cart in Huelva, and an over-zealous local coroner threatens to derail months of meticulous planning. The grave notion of sending 100,000 men into battle in Sicily in what could well be a trap sustains that tension for the duration. Ashford’s amusing eye for character detail is evident even late in the action, with the introduction of Capt. David Ainsworth (Nicholas Rowe), a dashing British agent in Spain, willing to deploy his charms for the cause."
David Rooney, The Hollywood Reporter 

PLEASURE - Karl Frid

"Thyberg’s efforts are aided by glorious camera work from cinematographer Sophie Winqvist as well as an unexpectedly beautiful score composed by Karl Frid. The movie’s secret weapon, of course, is Kappel in one of the most impressive debut performances in recent memory. Whether you find the subject matter intriguing or not, Kappel keeps you enraptured in Bella’s character arc even when its destination becomes inevitable. Kappel is so captivating the porn trappings are secondary. You simply want to see what she does on screen next."
Gregory Ellwood, The Playlist 

"Despite Thyberg’s efforts at remaining impassive, the most suggestive unspoken statements in 'Pleasure' come from its miserablist European arthouse style. The portentous opera music and bold editing do make for an interesting contrast with the film's trashy milieu of pink lip gloss, trucker hats, and empty takeout containers. But by presenting this story with stylistic flourishes associated with grim, depressing movies, 'Pleasure' passes judgment through form on what the filmmaker is so assiduously trying not to say in content."
Katie Rife, 
"While Thysberg does well to withhold judgment, approaching the porn industry not as an evil, 'Pleasure' can sometimes play too clinically. That coldness is a hazard of casting nondramatic actors. Still, the quality of the script and the coy use of the choral score, swooning in for big emotions in intimate settings, such as a night-time walk on the beach, overcome such shortcomings. As does the foley sound (the audio attached to a particularly vivid scene will live rent free in your head)."
Robert Daniels, Los Angeles Times 

"As it happens, the supporting turns from adult film performers, such as the aforementioned Chris Cock and Revika Reustle and Dana DeArmond as Bella’s roommates Joy and Ashley, respectively, represent some of 'Pleasure''s true delights. Well used to improvising in character and fearless on screen, they bring a salty, self-confident naturalism to the proceedings, like they just wandered in from an early Harmony Korine or David Gordon Green film shooting across the lot. The score, mixing raucous rap and classical coloratura noodling, is another jolt of dissonant fun in a film that keeps tripping up the viewers’ expectations, right up to the utterly abrupt and quite strange final moment."
Leslie Felperin, The Hollywood Reporter

SEE FOR ME - Lodewijk Vos, Joseph Murray
"Whereas 'Wait Until Dark' depends upon the idea of the innocent Susy stumbling through the darkness until she finds her inner strength (Hepburn knowingly playing against type there), 'See for Me' adds edge to both Sophie and to Kelly, who seems a little eager to encourage her app buddy to pick up a gun and start fighting back. It’s not a radical reinvention, but a smart updating captured with an icy thrill by cinematographers Jordan Oram ('Spiral') and Jackson Parrell ('Slasher'), and given tension and urgency from a throbbing darkwave score by the 'Level 16' duo of Joseph Murray and Lodewijk Vos. 'See for Me' is definitely worth watching yourself."
Richard Whittaker, The Austin Chronicle 

"Other aspects of the direction hamper the film significantly, though; slack editing makes the final act plod, the score is weirdly generic and detached, and the repetition of Sophie stumbling around in the dark eventually accumulates in a frustrating way. It’s possible to make that dynamic riveting -- look at 'Don’t Breathe,' which flips the switch by turning the blind victim of a home invasion into the terrifying villain of the story -- but 'See For Me' doesn’t do enough to distinguish one confrontation from the next once the real dangers kick in."
Tasha Robinson, Polygon 


Screenings of older films in Los Angeles-area theaters.

May 20
ALL THAT MONEY CAN BUY (Bernard Herrmann) [UCLA/Hammer]
BACK TO THE FUTURE (Alan Silvestri) [Alamo Drafthouse]
CLOSER [Alamo Drafthouse]
COVER UP (Hans J. Salter) [UCLA/Hammer]
DEATH BECOMES HER (Alan Silvestri) [New Beverly]
ENEMY (Danny Bensi, Saunder Jurriaans) [BrainDead Studios]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
MY NEIGHBOR TOTORO (Joe Hisaishi) [BrainDead Studios]
RAIDERS OF THE LOST ARK (John Williams) [Landmark Westwood]
THERE WILL BE BLOOD (Jonny Greenwood) [New Beverly]
UNDER THE SKIN (Mica Levi) [Nuart]
WHAT HAVE I DONE TO DESERVE THIS? (Bernardo Bonezzi) [Academy Museum]

May 21
THE AMERICAN FRIEND (Jurgen Kneiper) [BrainDead Studios]
THE ARGYLE SECRETS (Ralph Stanley) [UCLA/Hammer]
BACK TO THE FUTURE (Alan Silvestri) [Alamo Drafthouse]
THE BICYCLE THIEF (Alessandro Cigognini) [Academy Museum]
THE BUS (Richard Markowitz) [UCLA/Hammer]
DEAD OR ALIVE (Koji Endo) [BrainDead Studios]
EVIL DEAD 2 (Joseph LoDuca) [New Beverly]
FORCE OF EVIL (David Raksin) [UCLA/Hammer]
HE GOT GAME [Academy Museum]
INNER SANCTUM (Leon Klatzkin) [UCLA/Hammer]
KING KONG VS. GODZILLA (Akira Ifukube) [New Beverly]
RAIDERS OF THE LOST ARK (John Williams) [Landmark Westwood]
ROBOCOP (Basil Poledouris) [Alamo Drafthouse]
SECRET CEREMONY (Richard Rodney Bennett) [Los Feliz 3]
SLEEPING BEAUTY (George Bruns) [Academy Museum]
THERE WILL BE BLOOD (Jonny Greenwood) [New Beverly] 
WHITE MEN CAN'T JUMP (Bernie Wallace) [Los Feliz 3]

May 22
A.I. ARTIFICIAL INTELLIGENCE (John Williams) [Academy Museum]
BACK TO THE FUTURE (Alan Silvestri) [Alamo Drafthouse]
BLUE VELVET (Angelo Badalamenti) [Alamo Drafthouse]
BORN INTO BROTHELS (John McDowell) [UCLA/Hammer]
THE CASE OF THE GRINNING CAT (Chris Marker) [Academy Museum]
JACKASS: THE MOVIE [BrainDead Studios]
JACKIE BROWN [Alamo Drafthouse]
KING KONG VS. GODZILLA (Akira Ifukube) [New Beverly]
OKI'S MOVIE (Yong-jin Jeong, Zongyun We) [Los Feliz 3]
THE PROFESSIONAL (Eric Serra) [BrainDead Studios]
ROBOCOP (Basil Poledouris) [Alamo Drafthouse]
ROCKERS [BrainDead Studios]
THERE WILL BE BLOOD (Jonny Greenwood) [New Beverly] 
TOPPER RETURNS (Werner Heymann) [UCLA/Hammer] 

May 23
BACK TO THE FUTURE (Alan Silvestri) [Alamo Drafthouse]
NINJA III: THE DOMINATION (Udi Harpaz, Misha Segal) [Los Feliz 3]
POLTERGEIST (Jerry Goldsmith) [Alamo Drafthouse]
THE SENTINEL (Gil Melle), THE LEGACY (Michael J. Lewis) [New Beverly]

May 24
DOG DAY AFTERNOON [Academy Museum]
FORBIDDEN WORLD (Susan Justin) [Alamo Drafthouse]
I SAW THE DEVIL (Mowg) [New Beverly]
JAGGED EDGE (John Barry) [Los Feliz 3]

May 25
BLUE VELVET (Angelo Badalamenti) [Alamo Drafthouse]
CLAIRE'S CAMERA (Dalpalan) [Los Feliz 3]
THE DAY HE ARRIVES (Yong-jin Jeong) [Los Feliz 3]
FORBIDDEN WORLD (Susan Justin) [Alamo Drafthouse]
HUSBANDS [BrainDead Studios]
I SAW THE DEVIL (Mowg) [New Beverly]
JACKIE BROWN [Alamo Drafthouse]

May 26
THE COTTON CLUB (John Barry) [Aero]
LEVEL FIVE (Chris Marker) [Academy Museum]
NO COUNTRY FOR OLD MEN (Carter Burwell) [New Beverly]
OUR SUNHI (Yong-jin Jeong) [Los Feliz 3]

May 27
ARMY OF DARKNESS (Joseph LoDuca) [Landmark Westwood]
ARMY OF DARKNESS (Joseph LoDuca) [New Beverly]
BAMBOOZLED (Terence Blanchard) [Academy Museum]
BREWSTER MCCLOUD (Gene Page) [BrainDead Studios]
EASTERN PROMISES (Howard Shore) [Los Feliz 3]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
FULL METAL JACKET (Abigail Mead) [BrainDead Studios]
THE GODFATHER (Nino Rota) [Aero]
A HISTORY OF VIOLENCE (Howard Shore) [Los Feliz 3]
MULHOLLAND DRIVE (Angelo Badalamenti) [Nuart]
NO COUNTRY FOR OLD MEN (Carter Burwell) [New Beverly]
PONYO (Joe Hisaishi) [Academy Museum]
SPEED (Mark Mancina) [Nuart]
SPRING BREAKERS (Cliff Martinez, Skrillex) [Alamo Drafthouse]

May 28
AN AMERICAN WEREWOLF IN LONDON (Elmer Bernstein) [New Beverly]
ARMY OF DARKNESS (Joseph LoDuca) [Landmark Westwood] 
BLACKKKLANSMAN (Terence Blanchard) [Academy Museum]
BOTTLE ROCKET (Mark Mothersbaugh) [BrainDead Studios]
DIE HARD (Michael Kamen) [New Beverly]
EXISTENZ (Howard Shore) [Los Feliz 3]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [Aero]
THE HAUNTING (Humphrey Searle), THE UNINVITED (Victor Young) [New Beverly]
JUSTINE (Jerry Goldsmith) [Los Feliz 3]
PORCO ROSSO (Joe Hisaishi) [Alamo Drafthouse]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SUPERBAD (Lyle Workman) [BrainDead Studios]
TOUCH OF EVIL (Henry Mancini) [Los Feliz 3]
UP (Michael Giacchino) [Academy Museum]
VIDEODROME (Howard Shore) [Los Feliz 3]
THE WIZ (Charlies Smalls, Quincy Jones) [BrainDead Studios]

May 29
DEAD RINGERS (Howard Shore) [Los Feliz 3]
THE DRIVER (Michael Small) [Nuart]
THE FLY (Howard Shore) [Los Feliz 3]
THE HAUNTING (Humphrey Searle), THE UNINVITED (Victor Young) [New Beverly] 
INTERSTELLAR (Hans Zimmer) [Academy Museum]
MISTER LONELY (Justin Spaceman and the Sun City Girls) [BrainDead Studios]
PORCO ROSSO (Joe Hisaishi) [Alamo Drafthouse]
STRANGER THAN PARADISE (John Lurie) [Los Feliz 3]


For Love or Money (Broughton); The Russians Are Coming! The Russians Are Coming! (Mandel); The Fugitive Kind (Hopkins); Minority Report (Williams); The Pawnbroker/The Slender Thread (Jones); Mirage/The Deadly Affair (Jones); War of the Worlds (Williams); The Appointment (Legrand/Barry/Phillips); The Verdict (Mandel); Serpico/Phaedra (Theodorakis); The Incredibles (Giacchino); When Worlds Collide/The War of the Worlds (Stevens); Groundhog Day (Fenton); The Empire Strikes Back (Williams); Ratatouille (Giacchino); Silent Running (Schickele)

Read: The Knocker at Death's Door, by Ellis Peters (aka Edith Pargeter)

Seen: Ace in the Hole; A Face in the Crowd; Dracula [1931]; Mean Streets; The Bad Guys; Vortex; The Matrix; The Innocents [2022]; Pleasure

Watched: Archer ("Sleepers Wake"); Watchmen ("If You Don't Like My Story, Write Your Own"); Predators; You're the Worst ("Pilot"); Star Trek ("The Paradise Syndrome"); Archer ("Waxing Gibbous"); Watchmen ("Little Fear of Lightning"); You're the Worst ("Insouciance")

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