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Rat Race (unused score) - Elmer Bernstein - La-La Land  


BlackBerry - Jay McCarrol
Book Club: The Next Chapter - Tom Howe 
Fool's Paradise - Jon Brion
Hypnotic - Rebel Rodriguez
It Ain't Over - Jacques Brautbar
Knights of the Zodiac - Yoshihiro Ike
L'immensita - Rauelsson
Monica - Music Supervisor: Lina Cardillo
Rally Road Racers - Tom Howe
The Starling Girl - Ben Schneider
Still: A Michael J. Fox Movie - John Powell
The Wind & the Reckoning - Elia Cmiral 


May 19
The Last Kingdom: Destiny Is All - John Lunn, Eivor, Danny Saul - Absolute Label Services 
A Man Called Otto - Thomas Newman - Mercury 
June 16
Dungeons & Dragons: Honor Among Thieves - Lorne Balfe - Decca
July 28
The Super Mario Bros. Movie - Brian Tyler - iam8bit  
Date Unknown

Asterix et le coup de Menhir
- Michel Colombier - Music Box 
An Elephant Called Slowly
 - Howard Blake - Dragon's Domain
The Exterminator
 - Joe Renzetti - Noteforenote
Lucky Luke [re-issue]
- Claude Bolling - Music Box
The Morton Stevens Collection Vol. 1
 - Morton Stevens - Dragon's Domain
Munchie Strikes Back
 - Chuck Cirino - Dragon's Domain
The Wonders of the Universe (The Music from the Big Finish Space: 1999 Audio Dramas)
 - Joe Kraemer - Buysoundtrax


May 12 - Gordon Jenkins born (1910)
May 12 - Philip Springer born (1926)
May 12 - Burt Bacharach born (1928)
May 12 - Klaus Doldinger born (1936)
May 12 - Jacob Groth born (1951)
May 12 - Niki Reiser born (1958)
May 12 - Nitin Sawhney born (1964)
May 12 - Steven M. Stern born (1967)
May 12 - Alex Ebert born (1978)
May 12 - Ernest Gold begins recording his unused score for Used Cars (1980)
May 12 - Humphrey Searle died (1982)
May 13 - David Broekman born (1902)
May 13 - Ken Darby born (1909)
May 13 - Isaak Shvarts born (1923)
May 13 - Charles Gross born (1934)
May 13 - John Lunn born (1956)
May 13 - Alison Goldfrapp born (1966)
May 13 - Craig Safan begins recording his unused score for Wolfen (1981)
May 13 - Recording sessions begin on Basil Poledouris’ score for RoboCop (1987)
May 13 - Alan Silvestri begins recording his score to Predator (1987)
May 13 - Ira Newborn begins recording his score for The Naked Gun 2 1/2: The Smell of Fear (1991)
May 13 - Leon Klatzkin died (1992)
May 13 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Basics, Part 1” (1996)
May 13 - Jay Chattaway records his score for the Star Trek: Enterprise episode “Zero Hour” (2004)
May 13 - Robert Drasnin died (2015)
May 14 - J.S. Zamecnik born (1872)
May 14 - Kenneth V. Jones born (1924)
May 14 - Tristram Cary born (1925)
May 14 - The Adventures of Robin Hood released (1938)
May 14 - Ken Lauber born (1941)
May 14 - Frank Churchill died (1942)
May 14 - David Byrne born (1952)
May 14 - Miklos Rozsa begins recording his score for Tip on a Dead Jockey (1957)
May 14 - Alex North begins recording his score for Hot Spell (1957)
May 14 - Raphael Saadiq born (1966)
May 14 - John Williams wins the Emmy for his Jane Eyre score, and Pete Rugolo wins for the Bold Ones episode “In Defense of Ellen McKay” (1972)
May 14 - Michael Kamen begins recording his score for Adventures in Babysitting (1987)
May 14 - Michael Kamen begins recording his score for Die Hard 2 (1990)
May 14 - Dennis McCarthy records his score for the Enterprise episode “The Expanse” (2003)
May 15 - Bert Shefter born (1904)
May 15 - Lars-Erik Larsson born (1908)
May 15 - John Lanchbery born (1923)
May 15 - Freddie Perren born (1943)
May 15 - Brian Eno born (1948)
May 15 - Mike Oldfield born (1953)
May 15 - Andrey Sigle born (1954)
May 15 - Recording sessions begin for Bronislau Kaper's score for Somebody Up There Likes Me (1956)
May 15 - Gordon Parks begins recording his score for Shaft's Big Score! (1972)
May 15 - David Munrow died (1976)
May 15 - Jerry Goldsmith wins his third Emmy, for Babe; Alex North wins his only Emmy, for Rich Man, Poor Man (1976)
May 15 - Rob aka Robin Coudert born (1978)
May 15 - Billy Goldenberg records his score for the Amazing Stories episode "Secret Cinema" (1985)
May 15 - John Green died (1989)
May 15 - Jay Chattaway records his score for the Star Trek: Voyager episode “Learning Curve” (1995)
May 15 - Dennis McCarthy records his score for the Enterprise episode “Shockwave, Part 1” (2002)
May 15 - Marius Constant died (2004)
May 15 - Alexander Courage died (2008)
May 16 - Jonathan Richman born (1951)
May 16 - Elmer Bernstein begins recording his score to Hawaii (1966)
May 16 - Alan Silvestri begins recording his score for Back to the Future (1985)
May 16 - Jerry Goldsmith begins recording his score for The Shadow (1994)
May 16 - Recording sessions begin for David Arnold’s score for Shaft (2000)
May 17 - Taj Mahal born (1942)
May 17 - Joanna Bruzdowicz born (1943)
May 17 - Heitor Villa-Lobos died (1959)
May 17 - Trent Reznor born (1965)
May 17 - Ron Grainer begins recording his score for The Omega Man (1971)
May 17 - Joshua Homme born (1973)
May 17 - Hugo Friedhofer died (1981)
May 17 - Elmer Bernstein begins recording his score for Wild Wild West (1999)
May 17 - Jay Chattaway records his score for the Star Trek: Voyager episode “Equinox: Part 1” (1999)
May 17 - Ikuma Dan died (2001)
May 17 - Cy Feuer died (2006)
May 18 - Meredith Willson born (1902)
May 18 - Recording sessions begin for Cyril Mockridge’s score to The Luck of the Irish (1948)
May 18 - Rick Wakeman born (1949)
May 18 - Mark Mothersbaugh born (1950)
May 18 - Jacques Morelenbaum born (1954)
May 18 - Reinhold Heil born (1954)
May 18 - Ruby Raksin died (1979)
May 18 - James Horner begins recording his score for Testament (1983)
May 18 - Hilding Rosenberg died (1985)
May 18 - Ron Jones records his score for the Star Trek: The Next Generation episode "Menage a Troi" (1990)
May 18 - Kevin Gilbert died (1996)
May 18 - Albert Sendrey died (2003)
May 18 - Philippe-Gerard died (2014)


BEAU IS AFRAID - Bobby Krlic
"The film’s third act, its specific events not spoiled here, has 'Beau Is Afraid' taking its full form as an exploitation film adapted from a therapist’s notepad. It’s full-on Grand Guignol emotional and psychological trauma, with moments of terror, jaw-dropping cartoonish absurdity, and an uneasy blend of past and present accompanied by a perfectly chosen Mariah Carey song. Aster packs in more characters, revelations, and more explosions of the psychological variety. But for all of the power within this feverish work, including its fire-and-brimstone performances, it creates a weariness that does not work in Aster’s favor. The sequence is admirable visually -- its disquieting modern architecture setting looms over its characters, and there are laugh-out-loud inserted images to level the tone. But like the intense strings of Bobby Krlic’s score, its pressing atonal nature at such a high volume becomes numbing; so too does the centerpiece dialogue that makes for an Oedipal screed and the twists that verge on self-parody. In its grand statement, 'Beau Is Afraid' risks canceling out its intricate but chaotic arrangement into a simple scream."
Nick Allen, 

"From there, 'Beau Is Afraid' becomes a long parade of grotesquely teachable moments, its script flowing along like a children’s story that leads straight to hell. Pawel Pogorzelski’s rich cinematography lends yet another Aster project the patina of a lucid dream, allowing Beau’s adventure is made to feel both real and fantastical all at once. Aster exploits that duality to supreme effect down the home stretch of a movie that provides mythical explanations for Beau’s inherited trauma, the director also leaning on Bobby Krlic’s atonal score and two of the most discombobulatingly hilarious needle drops in recent memory to ensure that viewers remain off-balance even as we begin to gain our bearings. The songs used here shouldn’t be spoiled, so let’s just say that Aster doesn’t let his formal classicism disguise the fact that he’s also an unrepentant ’90s kid (which helps to explain a damning Moviefone reference and Parker Posey’s pitch-perfect casting in a climatic role)."
David Ehrlich, IndieWire 


"The mountains are important. Time is given to allow us to soak up the atmosphere, and to get to know the familiar slopes in different weathers, at dawn, dusk, winter, and summer. Swedish composer Daniel Norgren's score is a huge contribution. Music plays almost throughout, sometimes a long keening note, with muffled percussion underneath, creating an eerie, lonely feeling. There are songs, too, utilized to smooth over the passage of time. The film works cumulatively. There is conflict on occasion, but it's not the driving force. Lifelong friendships aren't made up of intense highs and lows. They're made up of time spent, of being mindful and thoughtful towards your friend and ensuring to stay in touch, even with the distance between them."
Sheila O'Malley, 

"While Bruno speaks of destiny and the inevitability of staying loyal to the land, Pietro wonders if climbing the world’s peaks is better than climbing the largest one in his own backyard. Though the film relies at times on melancholy songs with obvious lyrics to underscore its points -- about people’s connections to place, the privilege of choice when it comes to the world opening itself to us -- its lyrical images by and large speak for themselves. Rich in novelistic detail and lucid in its realism, the film is a meditative, slow crescendo of wounded feelings and quiet epiphanies."
Greg Nussen, Slant Magazine  
"That might make 'The Eight Mountains' sound, on paper, like a movie beholden to too many well-worn dramatic binaries: father vs. son, friend vs. friend, town vs. country, the material vs. the intellectual. Happily, the movie doesn’t exist only on paper. It lives in Marinelli’s and Borghi’s beautifully harmonized performances, in their expressive physicality and intense if sometimes hesitant emotions; in the soft-polished grit and enveloping romanticism of Daniel Norgren’s songs; and especially in the heart-stopping grandeur of Ruben Impens’ square-framed compositions. Anguished feelings, pleasing music and crystalline visuals have of course long been hallmarks of van Groeningen’s work, not always to productive ends, in movies like 'The Broken Circle Breakdown' and 'Beautiful Boy.' (This is his first filmmaking collaboration with Vandermeersch, an actor making her directing debut; the two are married and based in Belgium.)"
Justin Chang, Los Angeles Times 
"Silence is often filled with the songs of Daniel Norgren, the film’s composer who lends his back catalog to perfect moments of contemplation that earn the weight of the greatest mood pieces of Dire Straits, Neil Young, and, well, every other great folk songwriter of our lifetime. It somehow always just works, learning from the mistakes of the emotional if sometimes contrived soundtrack for the often emotionally manipulative 'Beautiful Boy' which went from Sigur Rós to Aphex Twin to John Coltrane and back to Neil Young again while this suffering teenage boy stuck another needle in his arm again and again."
Ella Kemp, IndieWire 
"This village was once home to 183 souls, but Bruno notes that when a road was built to encourage more folks to settle here, most escaped instead. Where others see a dead end, Pietro sees paradise unpaved. He yearns to return when summer’s over and the scratches of stinging nettles heal. Becoming more adventurous with every visit -- he’ll fall in love with Nepal’s peaks one day -- he still struggles to keep up with the boundless energy of his father (Filippo Timi) and Bruno. Swedish singer-songwriter Daniel Norgren’s ethereal score occasionally races, heartbeat-like, ominously."
Stephen A. Russell, Time Out 
"That being said, 'The Eight Mountains' remains an impressive cinematic experience, capturing the sweep of the Italian mountains with handsome Academy-ratio photography from 'Titane' cinematographer Ruben Impens while setting it against a soundtrack of bluesy tunes from Swedish songwriter Daniel Norgren. Time and again, the filmmakers succeed in capturing the majesty and melancholy of nature, and the glorious banality of the lives that pass through." 
Ben Croll, The Wrap 

"The narration -- so often a crutch that book-to-film adaptations rely on too heavily -- is sparing. Back in the city after an endless childhood summer, Pietro (Luca Marinelli) remembers how his 'legs forgot their nettle-stings'; later he notes how his mother was 'used to living among silent men.' This verbal language shares with the visual language an unassuming, direct kind of poetry. It also establishes the elegiac tone, with its rueful past tense, and the lovely, bluesy folk songs from Swedish singer-songwriter Daniel Norgren that provide the film’s only soundtrack, hinting from the start that for whatever reason, this story has already ended, and is being told from the far side."
Jessica Kiang, Variety

"The use of Swedish singer-songwriter Daniel Norgren’s ambient score is effective, though the frequent neo-folky vocal tracks often feel like padding to provide emotional texture that should be more robustly woven into the storytelling."
David Rooney, The Hollywood Reporter 
ENOLA HOLMES 2 - Daniel Pemberton
"Thanks to the incredible editing and score, the story never loses momentum. In fact, due to real-world parallels (as a part of the plot is based on true events), 'Enola Holmes 2' offers more intrigue and danger than the original. In addition, the way it expands upon the first to flesh out the characters and their world is fantastic. Bradbeer and company have crafted a superior sequel to an excellent initial romp."
Bobby LePire, Film Threat 
MAFIA MAMMA - Alex Heffes

"As a result, even though filming took place entirely on location in Italy, the production, complete with its 'Godfather-esque' musical cues, somehow ends up packing all the convincing cultural authenticity of Hot Pockets."
Michael Rechtshaffen, Los Angeles Times 
"Stereotypical Italian music -- florid strings and soulful trumpets -- swells as gunshots ring out and dead bodies and squashed tomatoes pile up around a gorgeous stone fountain. A woman in black stilettos walks through the carnage. It’s Monica Bellucci. She spots a man with a gun in the distance. 'This means war,' she says as she spits on the ground, and the film’s title 'Mafia Mamma' -- in 'The Godfather'” font -- is the finishing touch that lets us know just what kind of pastiche we’re in for."
Marya E. Gates, 

"Avery’s A24-released debut 'Son of a Gun' promised hipper genre workouts than this, but he nonetheless throws himself into these churchy, borderline-camp pyrotechnics -- complete with grisly, crimson-eyed prosthetics, wrathful explosions and a digital tornado of symbolically loaded red cardinals -- with aplomb. He’s aided in this regard by DP Khalid Mohtaseb’s artfully dank lensing in shades of green and gold and gunge, and the shrieking ceremonials of Jed Kurzel’s suitably unrestrained score. 'You don’t get to stay handsome in this business for long,' Amorth sighs, but the film mostly manages it."
Guy Lodge, Variety
RIMINI - Fritz Ostermayer, Herwig Zamernik 

"The film opens with Richie’s return to his provincial home in Lower Austria, where his mother has recently passed away. The bulky, lushly coiffed man reunites with his much slighter and more modestly styled brother, Ewald (Georg Friedrich), getting drunk and shooting bottles in the basement of their parents’ mostly empty home on the night before the funeral. At the service, the professional singer intones one of his trademark nostalgic ballads (written by Fritz Ostermayer and Herwig Zamernik), memorializing his mother with borrowed sentiment."
Pat Brown, Slant Magazine 
"Even so, the initial characterization is almost affectionate, with Richie, again, so fully embodied by Thomas that 'Rimini' can feel at times like a documentary given all-areas access to a real-life has-been pop star running on the fumes of past glories. A tragic figure, but not an unlikable one. Richie pours himself, waist-training spanx and all, into gaudy stagewear, embellished with massive belt buckle and snakeskin cowboy boots. He swigs vodka from a water bottle, because it leaves no smell on the breath. He sings schmaltzy schlanger music (somewhere between folk, country and traditional oom-pah-pah) to enthralled audiences of six or maybe 10 people -- his pitch-perfectly awful songs are composed especially by Fritz Ostermayer and Herwig Zamernik with an earnestness that somehow makes their pathos all the more absurd. But Richie is sincere when he sings. He’s genial to those around him. And despite everything, a certain swaggery charisma still envelops him as snugly as his prized sealskin coat, a garment that deserves a co-star credit. For a time, it seems like this might be Seidl -- again co-writing with his wife Veronika Franz -- on unusually gentle form. Don’t get too comfortable."
Jessica Kiang, Variety 

"First met coming home to his suburban family home in Austria to see his newly widowed, senile father (Hans-Michael Rehberg) and brother Ewald (Georg Friedrich), Richie is simultaneously a ridiculous figure and sort of a likable guy. Still working a look he must have perfected back in the 1980s, with a bleached blond mane of hair and sleeveless undershirts, he struts on stage and off, always on, always performing, whether he’s having a beer, singing a classical leid for his mother’s funeral or crooning his moldy old hits. (Fritz Ostermayer and Herwig Zamernik’s original compositions written for the film absolutely nail the true horror of the Schlager music sound; think easy listening meets country but with a lobotomy.)"
Leslie Felperin, The Hollywood Reporter 

ROSALINE - Drum & Lace, Ian Hultquist
"Maine and her cadre of craftspeople gift her follow-up to 'Yes, God, Yes' with a lavish, tactile feel typically missing from the bland, flat look of streaming films of its ilk (like Netflix’s 'Persuasion'). Cinematographer Laurie Rose harnesses the power of soft, natural light to highlight characters’ pure intentions. Editor Jennifer Lee’s sense of montage delights, as she cuts with precision to heighten comedic effect. The soundtrack complements the equally anachronistic modern dialogue, pulling influence from 'A Knight’s Tale' in track selection and 'Bridgerton' in period-stylized covers. Maine, along with composers Drum & Lace and Ian Hultquist, even drop a winking nod to 'Clueless' for kicks and giggles."
Courtney Howard, The Onion AV Club

"The anachronistic details of the film exist in every nook and cranny. Its dialogue is modern, the score and soundtrack contain renditions of contemporary songs, and the accents of the characters in Verona range from Southern United States to British. This flippant tossing of contrasting anachronisms throughout every aspect of the film toes the line of intentional comedy and neglectful detailing. However, it cuts right through all the formalities of traditional Shakespeare that might not appeal to certain audiences, so it has that going for it."
Peyton Robinson, 

"Shaking off the dust of years in studio development hell, Soman Chainani’s series-spawning YA novel, 'The School for Good and Evil,' lumbers its way to the screen trailing not only the baggage of Harry Potter and 'Miss Peregrine’s Home for Peculiar Children,' but that of too many knockoffs to list. Given his inexperience with fairy tale fantasy, it’s no surprise that Paul Feig exhibits zero feel for the genre’s world-building. Still, this is a uniquely tiresome slog — madly over-plotted, thuddingly derivative, insanely overlong and slathered in a big symphonic score that strives to infuse momentum into a saga with minimal emotional stakes."
David Rooney, The Hollywood Reporter 
"There is a good chance that this moment will alienate some viewers who were buying into the more grounded elements of the story. It is a work that lives or dies on whether you are willing to go along for the ride it takes you on. On a second watch, knowing how it all plays out, there are a few cheeky lines that prove to be incredibly yet intentionally silly when understood in context. While not an outright parody, there is an element that borders on being a riff on a film like 'Annihilation' or 'Under The Skin.' It is nowhere near as good as either of those, but it still manages to be good fun in its own way. Even when you can feel a bit of its budgetary limitations, it doesn’t skimp on the necessary technical craft where it counts. There is a creeping score from Oliver Coates who notably worked in the music department on the aforementioned 'Under The Skin,' that feels once again like a key reference point, as did the composing for the outstanding upcoming film 'Aftersun.' On top of that, it creates some rather unsettling sequences via solid effects work which proves to be both macabre and menacing. Even when it doesn’t always cohere with what the rest of the film itself is going for, there is no denying just how well-crafted all the nuts and bolts of the filmmaking are."
Chase Hutchinson, Collider 
TETRIS - Lorne Balfe
"Of course, things do happen in Tetris, and there are moments that are sure to pique most viewers’ interest. When Henk marches into a Soviet government building without permission, for example, it’s bound to raise your pulse by at least a couple beats per minute; and a car chase done right is always a beautiful thing -- especially when paired with Lorne Balfe’s groovy, video game-like score."
Aurora Amidon, Paste Magazine 

"This might have been less of a problem if the film was a little less serious overall, but given the political setting of the movie, 'Tetris' seems to want to avoid being too playful. At the same time, that playfulness results in many of the film’s best moments. One standout is a chiptune soundtrack that toys with the first six notes of the video game theme in varying moods. Even if this instrumentation adds an immediate lightness to the tone, as the score allows the film to move with a surprising amount of lightness and energy. 'Tetris' also adopts other video game flourishes, including 8-bit animations for title cards and NES damage effects overlaying a climactic car chase. These touches sometimes feel disconnected from the movie around them, but the result is still undeniably fun."
Matthew Monagle, The Playlist

"And they are all presented, in a belabored game-recognize-game metaphor, as players: The principal characters are given old-school avatars, and the movie’s many international locations are delineated using primitive video graphics. These visual touches are nicely evocative, though by the time Henk finds himself in a car chase through the streets of Moscow, enhanced with exploding 8-bit-style graphics that suggest an unusually dull and glitchy Super Mario Kart prototype, it’s hard not to sense the filmmakers’ desperation. It’s as if they were trying, too late, to tie 'Tetris' back to Tetris, to introduce points of stylistic connection that go beyond composer Lorne Balfe’s playful variations on the game’s infernally catchy music."
Justin Chang, Los Angeles Times 
"But the same filmmakers repeatedly clobber viewers over the head with curdled nostalgia, especially 8-bit style chiptune sfx and music, including sugary covers of instantly recognizable 1980s pop songs like 'I Need a Hero' and the aforementioned 'The Final Countdown.' The hyper and instantly wearying soundtrack makes it seem as if the makers of the movie don’t trust their viewers enough to appreciate this story’s distinguishing features."
Simon Abrams, The Wrap 


Screenings of older films in Los Angeles-area theaters.

May 12
ALIENS (James Horner) [BrainDead Studios]
ALIENS (James Horner) [New Beverly]
THE FAST AND THE FURIOUS (BT) [Alamo Drafthouse]
FUNNY GAMES [Los Feliz 3]
MAMMA MIA! (Benny Anderson, Bjorn Ulvaeus) [New Beverly]
NEMESIS (Michel Rubini) [Los Feliz 3]
SPACE JAM (James Newton Howard) [Alamo Drafthouse]

May 13
ALIENS (James Horner) [New Beverly]
BARBERSHOP (Terence Blanchard) [BrainDead Studios]
BUFFY THE VAMPIRE SLAYER (Carter Burwell) [Los Feliz 3]
CARRIE (Pino Donaggio) [New Beverly]
COLLATERAL (James Newton Howard) [Los Feliz 3]
THE FALCON AND THE SNOWMAN (Pat Metheny, Lyle Mays) [Los Feliz 3]
FAST FIVE (Brian Tyler) [Alamo Drafthouse]
FIDDLER ON THE ROOF (Jerry Bock, John Williams) [Academy Museum]
FREDDY VS. JASON (Graeme Revell), THE LAST SHOWING (Richard Bodgers), STAY HUNGRY (Bruce Langhorne, Byron Berline), A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS (Angelo Badalamenti) [Aero]
HOUSEKEEPING (Michael Gibbs) [Los Feliz 3]
MAMMA MIA! (Benny Anderson, Bjorn Ulvaeus) [Alamo Drafthouse]
MOTHER (Byung-woo Lee) [Alamo Drafthouse]
SNOOPY, COME HOME! (Richard M. Sherman, Robert B. Sherman, Don Ralke) [New Beverly]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Alamo Drafthouse]

May 14
ALIENS (James Horner) [New Beverly]
ALL ABOUT MY MOTHER (Alberto Iglesias), PARALLEL MOTHERS (Alberto Iglesias) [Aero]
DESPERATELY SEEKING SUSAN (Thomas Newman) [BrainDead Studios]
THE DEVIL NEVER SLEEPS (Mark Adler, Lola Beltran) [Academy Museum]
FRANCES HA [BrainDead Studios]
GOODFELLAS [Academy Museum]
I KILLED MY MOTHER (Nicholas Savard-L'Herbier) [Los Feliz 3]
INCEPTION (Hans Zimmer) [Fine Arts]
MAMMA ROMA (Carlo Rustichelli) [BrainDead Studios]
MARY POPPINS (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [Aero]
MOMMIE DEAREST (Henry Mancini) [Los Feliz 3]
MOTHER (Michael Gore) [Alamo Drafthouse]
MOTHER (Byung-woo Lee) [Alamo Drafthouse]
MOTHER! [Alamo Drafthouse]
THE MUMMY [Los Feliz 3]
SNOOPY, COME HOME! (Richard M. Sherman, Robert B. Sherman, Don Ralke) [New Beverly]

May 15
ALWAYS BE MY MAYBE (Michael Andrews) [Alamo Drafthouse]
FULL CONTACT (Teddy Robin Kwan) [Los Feliz 3]
MAMMA MIA! (Benny Anderson, Bjorn Ulvaeus) [Alamo Drafthouse]
MOTHER (Byung-woo Lee) [Alamo Drafthouse] 
RODAN (Akira Ifukube), SLITHIS (Steve Zuckerman) [New Beverly]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Alamo Drafthouse] 

May 16
BOYZ N THE HOOD (Stanley Clarke) [Aero]
THE CONVERSATION (David Shire) [Academy Museum]
THE FAST AND THE FURIOUS (BT) [Alamo Drafthouse] 
THE LAST STARFIGHTER (Craig Safan) [Alamo Drafthouse]
LEGALLY BLONDE (Rolfe Kent) [Alamo Drafthouse]
NIGHTCRAWLER (James Newton Howard) [Los Feliz 3]
POISON IVY (David Michael Frank) [Los Feliz 3]
RODAN (Akira Ifukube), SLITHIS (Steve Zuckerman) [New Beverly]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Alamo Drafthouse] 

May 17
THE FAST AND THE FURIOUS (BT) [Alamo Drafthouse] 
KON-TIKI (Johan Soderqvist) [Los Feliz 3]
THE LAST STARFIGHTER (Craig Safan) [Alamo Drafthouse] 
LEGALLY BLONDE (Rolfe Kent) [Alamo Drafthouse] 
MOTHER (Byung-woo Lee) [Alamo Drafthouse]  
SECRETARY (Angelo Badalamenti) [BrainDead Studios]
SORCERER (Tangerine Dream) [New Beverly]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Alamo Drafthouse] 

May 18
HAPPY END [Los Feliz 3]
SORCERER (Tangerine Dream) [New Beverly]
WAG THE DOG (Mark Knopfler) [BrainDead Studios]
ZODIAC (David Shire) [Los Feliz 3]

May 19
ALIEN (Jerry Goldsmith) [New Beverly]
EASTERN CONDORS (Ting Yat Chung) [Academy Museum]
ENOUGH SAID (Marcelo Zarvos) [Aero]
FIGHT CLUB (Dust Brothers) [BrainDead Studios]
THE MASTER (Jonny Greenwood) [BrainDead Studios]
SORCERER (Tangerine Dream) [New Beverly]
WANDA [Los Feliz 3]

May 20
AN AMERICAN TAIL (James Horner) [Academy Museum]
BEYOND THE BLACK RAINBOW (Jeremy Schmidt) [New Beverly]
BULLITT (Lalo Schifrin) [Alamo Drafthouse]
CLOSELY WATCHED TRAINS (Jiri Sust) [BrainDead Studios]
FRIENDS WITH MONEY (Craig Richey) [Los Feliz 3]
GROSSE POINTE BLANK (Joe Strummer) [Los Feliz 3]
KAPO (Carlo Rustichelli) [BrainDead Studios]
MEN IN BLACK (Danny Elfman) [BrainDead Studios]
PLEASE GIVE (Marcelo Zarvos) [Los Feliz 3]
SORCERER (Tangerine Dream) [New Beverly]
THE SWORD AND THE SORCERER (David Whitaker) [Los Feliz 3]

May 21
ACE IN THE HOLE (Hugo Friedhofer) [BrainDead Studios]
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [Academy Museum]
HOW TO GET AHEAD IN ADVERTISING (David Dundas, Rick Wentworth) [BrainDead Studios]
MISSING YOUNG WOMAN (Todd Boekelheide) [Academy Museum]
PLUS ONE (Leo Birenberg) [Alamo Drafthouse]
SORCERER (Tangerine Dream) [New Beverly]
STRAY DOGS [BrainDead Studios]
VICIOUS LIPS (Michael McCarty) [Los Feliz 3]
THE WIZARD (J. Peter Robinson) [Alamo Drafthouse]
ZODIAC (David Shire) [Aero]


Heard: Battle of Britain (Walton); Fantasia (various); Zbigniew Preisner Sampler (Preisner); Amazing Grace (Franklin); Bridge to Terabithia (Zigman, various); Glass Onion: A Knives Out Mystery (Johnson)

Read: The Big Country, by Donald Hamilton

Seen: Trouble in Paradise; Design for Living; The Millionaires' Express; Pedicab Driver; Hand in Hand; Project A; Wheels on Meals; Dragons Forever; Guardians of the Galaxy Vol. 3; Painted Faces; Psycho [1960]; Psycho II; Psycho III; Don't Look Now; Carmen; Somewhere in Queens

Watched: The Deuce ("Morta di Fame"); The Good Place ("Derek"); Dollhouse ("Instinct"); Inside Amy Schumer ("Terrible People"); Fargo ("Who Rules the Land of Denial?"); Key & Peele ("Obama College Years"); Justified ("Coalition"); Silicon Valley ("Homicide"); The Knick ("Working Late a Lot"); 30 Rock ("Into the Crevasse")

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Today in Film Score History:
April 18
Alois Melichar born (1896)
Andrew Powell born (1949)
Buxton Orr born (1924)
Dave Grusin begins recording his score for The Goonies (1985)
Ed Plumb died (1958)
Jerry Goldsmith begins recording his score for Players (1979)
John Debney records his score for the Star Trek: Deep Space Nine episode “Progress” (1993)
Kings Row released in theaters (1942)
Maurice Jarre wins his second Oscar, for Dr. Zhivago's score; presumably decides to stick with this David Lean kid (1966)
Mike Leander died (1996)
Mike Vickers born (1941)
Miklos Rozsa begins recording his score to The King's Thief (1955)
Miklos Rozsa born (1907)
Recording sessions begin for Marco Beltrami’s score for Red Eye (2005)
Robert O. Ragland died (2012)
Tony Mottola born (1918)
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