The latest CD from Caldera presents the first release of Roy Budd's score for the 1977 thriller WELCOME TO BLOOD CITY, starring Jack Palance, Keir Dullea and Samantha Eggar, along with music Budd composed for the British TV series THE SANDBAGGERS.
CDS AVAILABLE THIS WEEK
Welcome to Blood City/The Sandbaggers - Roy Budd - Caldera
IN THEATERS TODAY
Ant-Man and the Wasp: Quantumania - Christophe Beck
88 - Joe Kraemer
Emily - Abel Korzeniowski
The Integrity of Joseph Chambers - William Ryan Fritch
Marlowe - David Holmes
Of an Age - Music Supervisor: Andrew Kotatko
A Radiant Girl - Patrick Desremaux, Marc Marder
We Have a Ghost - Bear McCreary
COMING SOON
February 24
Camorra - Manuel De Sica - Digitmovies
...E poi, non me rima se nessuno - Bruno Nicolai - Digitmovies
Eiffel - Alexandre Desplat - Rambling
Io sono l'abisso/La ragazza nell nebbia - Vito Lo Re - Digitmovies
Le foto proibite di una signora per bene - Ennio Morricone - Beat
The Retaliators - Kyle Dixon, Michael Stein - Better Noise
Space: 1999 - Ennio Morricone - Beat
Squadra Antigangsters - Goblin - Beat
March 3
Interview with the Vampire - Daniel Hart - Milan
March 17
Blonde - Nick Cave, Warren Ellis - Invada
The Conversation - David Shire - Silva
March 31
A Man Called Otto - Thomas Newman - Mercury
April 14
Babylon - Justin Hurwitz - Interscope
Date Unknown
Il Giustiziere (The Human Factor) - Ennio Morricone - Quartet
L'ultimo uomo di Sara - Ennio Morricone - Quartet
Shogun Assassin - W. Michael Lewis, Mark Lindsay - Buysoundtrax
THIS WEEK IN FILM MUSIC HISTORY
February 17 - Ron Goodwin born (1925)
February 17 - Karl Jenkins born (1944)
February 17 - Fred Frith born (1949)
February 17 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “Death Scene” (1965)
February 17 - Alfred Newman died (1970)
February 17 - Gavriil Popov died (1972)
February 17 - Bear McCreary born (1979)
February 17 - Jerry Fielding died (1980)
February 17 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Ex Post Facto” (1995)
February 17 - Samuel Matlovsky died (2004)
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)
DID THEY MENTION THE MUSIC?
ALICE, DARLING - Owen Pallett
"Anna Kendrick plays the title character in director Mary Nighy’s tightly constructed gut-punch of an emotional character study, and it is a performance of integrity and utter realness. With a dialogue-driven, authentic screenplay by Alanna Francis, an effectively poignant score by Owen Pallett and powerful work by Kendrick and Kaniehtiio Horn and Wunmi Mosaku as Alice’s best friends, this is the kind of intimate drama that sticks with you long after the viewing experience."
Richard Roeper, Chicago Sun-Times
"It’s a chilling little film, avoiding maximalism at every turn, a bold debut from Nighy (whose only real slip-up is a score that can feel dull and uninspired) and a difficult reminder of a difficult experience. The chill will linger for a while."
Benjamin Lee, The Guardian
"When all’s said and done, 'Alice, Darling' is missing emotional oomph. Maybe it’s because Anna Kendrick is still getting her dramatic feet under her or because the filmmaking (save for some very savvy editing by Gareth C. Scales of 'After Love') is fairly by-the-numbers -- the score appropriately mellow, the cinematography fine."
Lena Wilson, The Onion AV Club
"If the film could have used a stronger sense of catharsis at the end, it is nonetheless all to the good that Nighy and Francis exercise such judicious prior restraint. That keeps 'Alice, Darling' from any sense of contrivance, the silent worry in Kendrick’s every gesture maintaining sufficient tension despite the lack of overt thriller devices. The thoughtful assembly is complemented in particular by Owen Pallett’s piano-based original score and Mike McLaughlin’s handsome but unshowy cinematography."
Dennis Harvey, Variety
ALL THAT BREATHES - Roger Goula
"One shot of people gathering around a firepit blurs until you can only see a previously invisible snail crawling across the extreme foreground of the frame. Another, straight out of Janusz Kaminski’s fever dreams, watches insects slurp from a puddle as a plane screams through the reflection a few thousand feet overhead. Roger Goula’s orgiastic synth score (a little Philip Glass, a lot of Dan Deacon) and Niladri Shekhar Roy and Moinak Bose’s visceral sound recording (brace for an entire chorus of rats) complement the micro-attention of the camerawork by hearing a tumult of life in even the most unassuming frame."
David Ehrlich, IndieWire
"That line between real and apocalyptic is one that Sen and director of photography Benjamin Bernhard are ever mindful of, one that traces through Roger Goula’s ephemeral and mechanical score as well. That long opening shot is just the first of many times that the camera is left to take in the intersection of natural and human-chaotic in the city. Wild hogs march in procession along a river. Oxen navigate the increasingly decrepit streets. Monkeys teeter precariously on the wires that connect stacked apartment complexes to modernity."
Daniel Fienberg, The Hollywood Reporter
CALL JANE - Isabella Summers
"Directed by Phyllis Nagy (screenwriter of sensual classic 'Carol)', Hayley Schore and Roshan Sethi’s script focuses on Joy Griffin (Banks), a happy homemaker and wife to upwardly mobile criminal lawyer Will (Chris Messina), and mother to ultra-precocious, sheltered fifteen-year-old Charlotte (a talented but wildly mature Grace Edwards). When Joy’s pregnancy threatens her own life, signified by a tinnitus-inducing heart condition, she must seek out a termination. Nagy, with the help of cinematographer Greta Zozula and composer Isabella Summers, crafts an atmosphere of confusion and frustration as Joy’s petition to a male hospital board is summarily denied, and she’s instead given the advice to either plead insanity, or fall down a staircase."
Shayne Maci Warner, Paste Magazine
"'Call Jane' casually opens in a posh Chicago hotel as Joy (Elizabeth Banks) meanders through the lobby, past the live music of the dining room that intentionally clashes with the score. She emerges from the hotel, wide-eyed and naive as she steps into a police line that has formed to intimidate protesters across the street. It’s a strong opening from director Phyllis Nagy, but much like Joy’s aimless wandering in the hotel, 'Call Jane' loses some of its momentum along the way."
Maggie Lovitt, Collider
"Though the screenplay might hit a point or two rather neatly on the head, Carol screenwriter Nagy, at the helm of her first theatrical film (she directed a starry cast in the 2005 true-crime TV movie 'Mrs. Harris'), builds a subtle and affecting sense of time and place, with nods to ’70s indie filmmaking. The character-driven design contributions from Jona Tochet and Julie Weiss are steeped in a lived-in period palette, pops of vibrancy included. A soundtrack of refreshingly unobvious ’60s rock and funk weds well to the action, and Isabella Summers’ eloquent score offers keens of alarm and suspenseful percussive riffs, emphasizing the sense of upheaval, life-or-death danger and galvanic optimism that we experience through Joy’s eyes."
Sheri Linden, The Hollywood Reporter
CORSAGE - Camille
"To that temporally fluid end, Kreutzer has also seeded the film with historical inventions and anachronistic touches of deadpan insouciance, like suspiciously inauthentic clothing and locations (you can spot a wall telephone), and in two music-filled scenes, chamber performances of Kris Kristofferson’s 'Help Me Make It Through the Night' and the Rolling Stones’ 'As Tears Go By.' The well-layered score is further augmented by wonderfully resonant, bracketing song selections (of the non-diegetic kind) from Camille and Soap&Skin, whose 'Italy' gives anthemic heft to the stirringly conceived closing sequence."
Robert Abele, Los Angeles Times
"These acts of warmth towards the empress persist in moments of on-screen rebellion. While the film prefers to depict Sisi’s struggles without the accompaniment of musical score, it does employ a modern soundtrack to highlight her (small) acts of defiance against the royal system. Much like Sofia Coppola’s 'Marie Antoinette,' 'Corsage' juxtaposes the seriousness of the royal period piece with contemporary song. When Elisabeth successfully fakes a fainting spell to get out of a belittling royal commitment early in the film, French artist Camille’s 2011 track 'She Was' plays as she and her posse make their sneaky escape: 'When she was home / She was a swan / When she was out she was a tiger / And a tiger in the wild is not tied to anyone.' Not only does this choice of music help convey Kreutzer’s views on her protagonist, it assists in modernizing the empress’ plight and invites viewers to consider her with 21st century sensibilities."
Kathy Michelle Chacon, Paste Magazine
"The soundtrack, too, colludes. The patriotic anthems and orchestral Viennese waltzes we might expect in a film about a 19th-century royal European court jostle with oddly moving covers of Kris Kristofferson’s 'Help Me Make It Through The Night' and Marianne Faithfull’s 'As Tears Go By.' These anachronisms are not as pronounced, nor as self-consciously hip, as the sneakers-and-Sex-Pistols vibe of Sofia Coppola’s 'Marie Antoinette,' and the drama is less archly melodramatic than in the other nearest comparison point, Pablo Larraín’s 'Spencer.' But then Kreutzer and Krieps (the executive producer and originator of the idea) are less interested in wholesale reimagining of history than in prodding at it here and there, to see if it will give a troubled, hamstrung woman a second chance."
Jessica Kiang, Variety
"Indeed, without making a big fuss of it, there’s a strong sense throughout that the mostly female key crewmembers are pulling together to tell this woman-centric story through the lens of female identity -- from DP Judith Kaufmann, blending natural sunlight and defiantly anachronistic electric illumination with style throughout, to composer Camille, whose dreamy, drifty contemporary songs add a charming atmosphere."
Leslie Felperin, The Hollywood Reporter
LIVING - Emilie Levienaise-Farrouch
"With the magnitude of its creators, Living could have easily buckled under the pressure of its predecessors. The Ishiguro script, however, is deftly handled by director Oliver Hermanus, who tells what is ultimately a very simple, intimate tale with measured grace. The shots of London’s County Hall from cinematographer Jamie D. Ramsay, the well-tailored suits from costume designer (and 15-time Oscar nominee) Sandy Powell, and the delicate, string-infused score from Emilie Levienaise-Farrouch all contribute to the finely tuned perfection of the film. While its quaint, well-mannered, uplifting if melancholy tone may be reminiscent of other pleasing British fare like 'Downton Abbey,' 'The King’s Speech,' and 'Mrs. Harris Goes To Paris,' 'Living' offers more gravitas without ever feeling weighty."
Matthew Huff, The Onion AV Club
"The sense of repression is heightened by the film’s self-consciously old-fashioned look, which asserts itself from the opening credits -- the grainy texture and elegant score mimic midcentury films so effectively that you might wonder for a moment if you’ve stepped into the wrong theater, or clicked on the wrong title. The predominating tone of 'Living' is one of dignified restraint, in Mr. Williams’ case to the point of self-erasure. In a gut-wrenching detail, on the rare occasions that Williams works up the courage to reveal his diagnosis with someone, he still can’t help prefacing it with 'It’s rather a bore, but …'"
Angie Habn, The Hollywood Reporter
THE MAN IN THE BASEMENT - Bruno Coulais
"'The Man in the Basement' sounds like a horror movie, doesn’t it? And that ominous title is well-matched by an edgy score, tense editing, and a tough-to-watch buildup of pressure. But in Philippe Le Guay’s sharp French drama it’s the dead who need rescuing and the living who must save them. What’s more, the only weapons used are words."
Elizabeth Weitzman, The Wrap
"Le Guay effectively keeps the pressure on his characters and their loaded situation throughout, using ominous camera angles and anxious music cues to heighten the dread and uncertainty. He receives a fine assist from Renier and Cluzet, who commit to their divergent roles with unnerving intensity."
Gary Goldstein, Los Angeles Times
MISSING - Julian Scherle
"However, if there's one small gripe to be made with Missing, it’s that if the film wants to present itself as a story told entirely through screens, the use of non-diegetic music is technically a cheat to this concept. Julian Scherle’s score is effective and plays with the audience’s tension is fun ways, but considering that we have Spotify, YouTube, and any other number of sites to listen to music, this seems like an easy fix for the film's only break from its concept."
Ross Bonaime, Collider
"With Chaganty out of the picture for the 'Searching' franchise’s follow-up installment (aside from a lone story co-credit), dual directors Nicholas D. Johnson and Will Merrick, who both worked on 'Searching' as editors, now helm 'Missing.' Filmed in the same laptop and smartphone-bound style as the first film, Merrick and Johnson’s stylistic approach to the desktop movie format is strikingly different than Chaganty’s. With some liberties taken, Chaganty seemed to do his relative best to keep the computer screen as realistically cinematic as possible. Meaning what was made cinematic was kept largely within the confines of computer and smartphone functionality, with some added close-ups, zooms, and escalation of dramatic music that can’t help but seem funny when one is merely watching the click of a mouse. Merrick and Johnson play around more heavily with the rules that Chaganty created, doing more to purposefully make the film’s chosen format more exciting and movie-like. Doing so creates a film that is far busier, far more throwing, and often feels like it betrays the purpose of the format altogether."
Brianna Zigler, The Playlist
"Unlike such earlier screenlife films as 'Unfriended' whose conceit is effectively that the story is comprised of unfiltered 'found' footage, there’s no reason that the film must be confined to a phone or computer monitor, especially since composer Julian Scherle provides a buzzing, fairly constant score to ratchet up the intensity, and Johnson and Merrick freely cut to external angles when it suits their needs. But in adhering to the notion that as much of the action as possible should be delivered via June’s devices, the filmmaking pair undercuts key payoffs by photographing them from dispassionate wide angles and then zooming in like they’re trying to make the best of grainy surveillance footage."
Todd Gilchrist, Variety
THE PRICE WE PAY - Aldo Shllaku
"Kitamura’s stylish direction, DP Matthias Schubert’s vivid, color-drenched images and a crunching score by Kitamura’s frequent collaborator Aldo Shllaku makes sure there’s barely a dull moment even in such familiar surrounds. We’ve been down this road before and we’ll go there again, but 'The Price We Pay' has enough gas in the tank to make the detour worthwhile."
Richard Kuipers, Variety
RETROGRADE - H. Scott Salinas
"The scenes at Kabul Airport made the front pages of newspapers around the world. The footage in the documentary is terrifying and heart-rending. H. Scott Salinas' score is mournful, elegiac, and -- it goes without saying -- tremendously sad. When paired up with the faces of women, men, and children, where nerves and despair are almost on the surface of the skin, the full weight of the catastrophe unfolding is felt."
Sheila O'Malley, RogerEbert.com
"In one of his more impressive gets, Heineman makes his way into a Taliban leadership meeting during which spooky music murmurs in the background as a firebrand riles up the crowd. As he rhapsodizes about the brutal aggressions of the power-hungry West, one might start to think the guy’s onto something, until he pins all the unrest on the machinations of those nefarious Jews. Nonetheless, the scene illustrates a crucial core of contradiction in the tangled web of motivations that fueled the past twenty years of disaster, a complicated grey area in which the opposite of the wrong thing isn’t necessarily right. Heineman’s thesis that because leaving has gone so poorly, staying would’ve necessarily been better is incorrect at best, and disingenuous at worst. He wants to think structurally, aware that America can and does flatten other nations beneath our clumsy footfalls. He just can’t -- or won’t -- see the whole structure out of apparent fear that it’ll be too unflattering for all involved, including him, the army’s useful launderer of their image-sanitizing talking points."
Charles Bramesco, The Playlist
TANTURA - Ophir Leibovitch
"As much as the film is about facts erased from history, it’s also about memory -- both individual and collective. It may not fully ruminate on the former, but composer Ophir Leibovitch imbues each recollection with a sense of painful gravitas, even if the words and images presented don’t quite live up to his sobering score."
Siddhant Adkalha, IndieWire
"Some of those who agree to speak with Schwarz, now in their 90s, admit to having witnessed the crimes, but deny taking part in them. Others, emboldened perhaps by their advanced age, and more so by the impunity their status as heroes grants them, confess to the killings. An eerie score by Ophir Leibovitch accompanies their chilling accounts."
Carlos Aguilar, Los Angeles Times
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
February 17
BOOGIE NIGHTS (Jon Brion) [Aero]
ESSE MUNDO E MEU (Lindolfo Gaya, Sergio Ricardo), THAT MAN OF MINE [Academy Museum]
I AM CURIOUS (YELLOW) [BrainDead Studios]
LE BONHEUR (Jean-Michel Defaye) [BrainDead Studios]
MILLENIUM MAMBO (Giong Lim) [Los Feliz 3]
PERFECT BLUE (Masahiro Ikumi) [Nuart]
SID AND NANCY (Pray for Rain) [New Beverly]
STRAW DOGS (Jerry Fielding) [New Beverly]
SYNECDOCHE, NEW YORK (Jon Brion) [Los Feliz 3]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
February 18
THE ADVENTURES OF BARON MUNCHAUSEN (Michael Kamen) [Academy Museum]
APPROPRIATE BEHAVIOR (Josephine Wiggs) [UCLA/Hammer]
CRIMES OF PASSION (Rick Wakeman) [BrainDead Studios]
THE DECLINE OF WESTERN CIVILIZATION [Academy Museum]
THE FLYING ACE, MIDNIGHT SHADOW [Academy Museum]
HAROLD AND MAUDE (Cat Stevens) [Alamo Drafthouse]
INDIANA JONES AND THE LAST CRUSADE (John Williams) [New Beverly]
JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES [Aero]
THE LAST DRAGON (Misha Segal) [New Beverly]
NIGHTS OF CABIRIA (Nino Rota) [BrainDead Studios]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SEBASTIANE (Brian Eno) [BrainDead Studios]
STRAW DOGS (Jerry Fielding) [New Beverly]
TOKYO DRIFTER (Hajime Kaburagi) [Los Feliz 3]
ZODIAC (David Shire) [Landmark Westwood]
February 19
CATCH ME IF YOU CAN (John Williams) [Academy Museum]
COFFY (Roy Ayers) [Alamo Drafthouse]
GLORY (James Horner) [Fine Arts]
GRADUATE FIRST (Voyage) [BrainDead Studios]
JUST ANOTHER GIRL ON THE I.R.T. (Eric Sadler) [BrainDead Studios]
KAGERO-ZA [Los Feliz 3]
LILYA 4-EVER (Nathan Larson) [BrainDead Studios]
LOVE LETTER (Michio Mamiya) [Los Feliz 3]
RAY (Craig Armstrong) [Fine Arts]
STRANGERS ON A TRAIN (Dimitri Tiomkin) [Los Feliz 3]
TEN MINUTES TO LIVE [Academy Museum]
WORLD ON A WIRE (Gottfried Hungsberg) [Aero]
WRITTEN ON THE WIND (Frank Skinner) [Alamo Drafthouse]
February 20
BELLY (Stephen Cullo), PAID IN FULL (Frank Fitzpatrick, Vernon Reid) [New Beverly]
NIGHT GAME (Pino Donaggio) [Los Feliz 3]
ORDINARY PEOPLE (Marvin Hamlisch) [Aero]
TOKYO DRIFTER (Hajime Kaburagi) [Los Feliz 3]
February 21
CARMEN FROM KAWACHI (Taiichiro Kasugi) [Los Feliz 3]
THE HOST (Byung-woo Lee), MOTHER (Byung-woo Lee) [New Beverly]
SOUTHLAND TALES (Moby) [Alamo Drafthouse]
THE THIRD MAN (Anton Karras) [Academy Museum]
February 22
COFFY (Roy Ayers) [Alamo Drafthouse]
THE HOST (Byung-woo Lee), MOTHER (Byung-woo Lee) [New Beverly]
SOUTHLAND TALES (Moby) [Alamo Drafthouse]
THICK SKINNED (Theo Hakola) [Los Feliz 3]
2 FAST 2 FURIOUS (David Arnold) [Academy Museum]
WR: MYSTERIES OF THE ORGANISM (Bojana Marijan) [BrainDead Studios]
YOJIMBO (Masaru Sato) [Aero]
February 23
AMELIE (Yann Tiersen) [New Beverly]
THE CONFORMIST (Georges Delerue) [Los Feliz 3]
SATAN'S TOWN (Taiichiro Kosugi) [Los Feliz 3]
SEPIA CINDERELLA [Academy Museum]
VIVRE SA VIE (Michel Legrand), THE WORST PERSON IN THE WORLD (Ola Flottum) [Aero]
February 24
AMELIE (Yann Tiersen) [New Beverly]
BETTY BLUE (Gabriel Yared) [BrainDead Studios]
THE CONFORMIST (Georges Delerue) [Los Feliz 3]
MANDY (Johann Johannsson) [Nuart]
MENACE II SOCIETY (QDIII) [Los Feliz 3]
MOULIN ROUGE (Craig Armstrong) [New Beverly]
SCHOOL TIES (Maurice Jarre), THE MUMMY (Jerry Goldsmith), BLAST FROM THE PAST (Steve Dorff) [Aero]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
TWIN PEAKS FIRE WALK WITH ME (Angelo Badalamenti) [Alamo Drafthouse]
WATTSTAX [Alamo Drafthouse]
THE WOMAN WITH THE KNIFE [Academy Museum]
February 25
ATTACK THE BLOCK (Steven Price) [Los Feliz 3]
BRING IT ON (Christophe Beck) [Alamo Drafthouse]
THE CONFORMIST (Georges Delerue) [Los Feliz 3]
DOCUMENTEUR, PLAY IT AS IT LAYS [Academy Museum]
HOWL'S MOVING CASTLE (Joe Hisaishi) [Landmark Westwood]
INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (John Williams) [New Beverly]
MY NEIGHBOR TOTORO (Joe Hisaishi) [Academy Museum]
PORTRAIT OF JASON [Academy Museum]
THE RED SHOES (Brian Easdale) [Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
TRAINING DAY (Mark Mancina) [Alamo Drafthouse]
WATTSTAX [Alamo Drafthouse]
February 26
CORPO CELESTE [Aero]
CREATURE FROM THE BLACK LAGOON [Los Feliz 3]
LADY SINGS THE BLUES (Michel Legrand) [New Beverly]
LIGHTS OF OLD BROADWAY, THE PATSY [UCLA/Hammer]
MALCOLM X (Terence Blanchard) [Fine Arts]
NYMPHOMANIAC [BrainDead Studios]
POSSESSION (Andrzej Korzynski) [Alamo Drafthouse]
REDS (Stephen Sondheim, Dave Grusin) [Alamo Drafthouse]
THE SORROW AND THE PITY [Aero]
SPACE JAM (James Newton Howard) [Alamo Drafthouse]
SPIDER BABY (Ronald Stein) [Los Feliz 3]
STAR WARS: THE FORCE AWAKENS (John Williams) [Academy Museum]
WATTSTAX [Alamo Drafthouse]
THINGS I'VE HEARD, READ, SEEN, OR WATCHED LATELY
Heard: Into the Arms of Strangers (Holdridge); Furious 7 (Tyler); The Last Days (Zimmer); The Fate of the Furious (Tyler)
Read: A Choice of Enemies, by George V. Higgins
Seen: Tell It Like a Woman; The Great McGinty; The Lady Eve; Paris Blues; A Man Called Adam; Magic Mike's Last Dance; 2022 Oscar Nominated Animated Shorts; 2022 Oscar Nominated Live Action Shorts; For Love of Ivy; Anna Lucasta [1958]; The Palm Beach Story; The Miracle of Morgan's Creek; The Sea Beast; To Leslie; Midnight; The Gilded Lily; Now, Voyager; Tár; Puss in Boots: The Last Wish
Watched: Fist of Fury; Star Trek: Enterprise ("United"); Bob's Burgers ("Burger War"); Counterpart ("No Strings Attached"); The Good Place ("Team Cockroach"); The Deuce ("The Feminism Part"); Hacks ("Interview"); Fargo ("The Narrow Escape Problem"); Inside Amy Schumer ("Gang Bang")
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