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I am currently on vacation, so if there has been breaking film music news in the last few days, you should be able to learn about it on our Message Board.


The Exterminator - Joe Renzetti - Noteforenote 


Afire - no original score
Final Cut - Alexandre Desplat - Score CD Coupez! on Rambling (import)
It Only Takes a Night - Helena Czajka 
The Miracle Club - Edmund Butt
Mission: Impossible - Dead Reckoning Part One - Lorne Balfe - Score 2-CD set due July 25 on La-La Land
Theater Camp - James McAlister, Mark Sonnenblick
They Cloned Tyrone - Pierre Charles, Desmond Murray
Two Tickets to Greece - Mocky


July 28
Mission: Impossible - Dead Reckoning Part One - Lorne Balfe - La-La Land
The Super Mario Bros. Movie - Brian Tyler - iam8bit  
August 11
Indiana Jones and the Dial of Destiny - John Williams - Disney
December 1
Scream VI - Brian Tyler, Sven Faulconer - Varese Sarabande
Date Unknown

Bloody Fury
 - Susan Dibona, Salvatore Sangiovanni - Kronos 
The David Michael Frank Collection Vol. 2: Cinematic Noir
 - David Michael Frank - Dragon's Domain
The Escape Artist
 - Georges Delerue - Silva
Excessive Force II: Force on Force
 - Kevin Kiner - Dragons' Domain [CD-R]

The Golden Age of Science Fiction Vol. 2
 - Paul Dunlap, Gerald Fried, Walter Greene - Dragon's Domain
 - John Barry - Silva

The Lee Holdridge Collection Vol. 3
 - Lee Holdridge - Dragon's Domain

Phar Lap
 - Bruce Rowland - Buysoundtrax
The Wonders of the Universe (The Music from the Big Finish Space: 1999 Audio Dramas) - Joe Kraemer - Buysoundtrax  


July 14 - Michel Michelet born (1894)
July 14 - Jan Krenz born (1926)
July 14 - Elliot Kaplan born (1931)
July 14 - J.A.C. Redford born (1953)
July 14 - Nicholas Carras records his score for Missile to the Moon (1958)
July 14 - Harry Geller records his score for the Land of the Giants episode “The Inside Rail” (1969)
July 14 - Benny Golson records his score for the Mission: Impossible episode “Blind” (1971)
July 14 - Joe Harnell died (2005)
July 15 - H.B. Barnum born (1936)
July 15 - Geoffrey Burgon born (1941)
July 15 - Walter Greene begins recording his scores for The Brain from Planet Arous and Teenage Monster (1957)
July 15 - Paul Sawtell begins recording his score for The Hunters (1958)
July 15 - Lalo Schifrin begins recording his score for The Cincinnati Kid (1965)
July 15 - Bill Justis died (1982)
July 15 - Dennis Wilson died (1989)
July 15 - Derek Hilton died (2005)
July 16 - Goffredo Petrassi born (1904)
July 16 - Serge Baudo born (1927)
July 16 - Fred Myrow born (1939)
July 16 - Stewart Copeland born (1952)
July 16 - Jon Lord died (2012)
July 17 - Piero Umiliani born (1926)
July 17 - Wojciech Kilar born (1932)
July 17 - Peter Schickele born (1935)
July 17 - Kenyon Hopkins begins recording his score for The Hustler (1961)
July 17 - Stanley Wilson died (1970)
July 17 - Jerry Goldsmith begins recording his score to Babe (1975)
July 17 - Bruce Broughton begins recording his score to Eloise at Christmastime (2003)
July 18 - Barry Gray born (1908)
July 18 - James William Guercio born (1945)
July 18 - Nathan Van Cleave begins recording his score for The Lonely Man (1956)
July 18 - Richard Markowitz records his score for The Wild Wild West episode “The Night of the Golden Cobra” (1966)
July 18 - Abel Korzeniowski born (1972)
July 18 - David Shire records his score for the Amazing Stories episode "Hell Toupee" (1985)
July 19 - Paul Dunlap born (1919)
July 19 - Tim McIntire born (1944)
July 19 - Dominic Muldowney born (1952)
July 19 - Gerald Fried's score for the Star Trek episode "Amok Time" is recorded (1967)
July 19 - Gerald Fried's score for the Star Trek episode "The Paradise Syndrome" is recorded (1968)
July 19 - Ramin Djawadi born (1974)
July 19 - John Barry begins recording his score for Dances With Wolves (1990)
July 19 - Van Alexander died (2015)
July 20 - Since You Went Away released in theaters (1944)
July 20 - Franz Waxman begins recording his score for Elephant Walk (1953)
July 20 - Gail Kubik died (1984)


"Empathy is eroded and transferred as dark secrets are revealed, but Ashcroft also appreciates that he is crafting a true monster in Mandrake. It's Gillies' performance that raises 'Coming Home in the Dark' from fascinating to utterly chilling, complimenting Matt Henley's cold, angular cinematography and John Gibson's score, all reed instruments and long, clean draws over strings, like an icy wind blowing slow through dead grass and bones. But Gillies evokes rare, inhumane pleasure in Mandrake's measured brutality, with glimpses of a shattered child underneath. Conversations of nature versus nurture, accident versus causality, and shades of evil pervade, without ever feeling forced. It's a razor's edge between the visceral and the cerebral that Ashcroft balances upon, an indictment of a cycle of powerlessness begetting abuse. 'Coming Home in the Dark' bears a bleak, bleak message: There is no fixing the sins of the past, no restorative grace that will ever prevent them from obliterating the façade of a peaceful now. Instead, you just better bloody well hope that they don't get repeated."
Richard Whittaker, The Austin Chronicle 
DETAINEE 001 - Claude Chalhoub
"The tearful interview with Alison Spann is moving on its own, as she recalls how eye-opening it was for her to meet her late father’s Muslim comrades, yet even her scenes are occasionally undermined by Claude Chalhoub’s incessantly gloomy score, which is laid on far too thickly. The trial recreations also add an unnecessary layer of artificiality to the picture with their dramatized readings of court transcripts. Far more compelling is the archival footage itself, which alone makes the film worth seeing, yet editor Langdon Page’s interest in contriving suspense tends to get in the way of exploring Lindh’s psyche with sufficient depth. Rather than investigate the reasons behind Lindh’s devotion to Islam, we’re treated to recounted moments of tension, such as when an orange in Lindh’s pocket is mistaken for a grenade."
Matt Fagerholm, 


Elegantly directed by Hsu, the film is lensed with a moody, expressionistic glow by his director of photography, Chou Y-Hsien. Wang Chih-cheng’s detailed production design and Luming Lu’s unsettling strings score, too, are both of an unusually high grade, which goes a long way toward establishing the school’s otherworldly atmosphere. The editing, by Shieh Meng-ju, is several degrees less inspired, making “Detention” something closer to a studio product with its over-reliance on fast cuts and jump-scares; this feels more like a commercial decision than a creative one, but it has the unintended effect of making a convoluted narrative even messier. 
Isaac Feldberg, 
"More surprisingly still, this homegrown hit, which won in five categories at the 2019 Golden Horse Awards in Taipei, is based on a videogame, which accounts for many of its strengths but quite a few of its weaknesses too. In the former column there’s a novel approach to narrative, an inventive visual look full of swinging lightbulbs and expressionist nightmare-scapes, and a blurring of the boundaries between real and imaginary that it’s hard to see a more straightforward historical drama embracing. In the latter category, though, there are flaws common to many game-to-film adaptations: The characterizations are thin, the point of view wavers confusingly between the two principals (who apparently can both be 'played' in the game), and the movement through the story can feel stifled and deterministic, as though teasing you with the idea of autonomy, when the controller is in someone else’s hands. Still, to know of its provenance as a game might help the uninitiated navigate a rather confusing opening third. A realistic if romantically shot prologue, drenched in rueful voiceover and Luming Lu’s omnipresent stirring score, introduces us to Wei (Tseng Ching-hua), a good-looking teenager attending Greenwood High School in the early 1960s. "
Jessica Kiang, Variety 
ELEMENTAL - Thomas Newman
"So much of modern Pixar comes mired in 'almost’s' and 'what-if’s,' and Peter Sohn’s 'Elemental' is no exception. It’s as conflicted as they come: a heavy-handed, mixed bag immigrant metaphor punctuated by a genuinely moving romance. It gets frequently lost down the rabbit-hole of its own conceptual details, but at the same time, it yields occasionally stunning images and thoughtful aesthetics -- like Thomas Newman’s incredibly effective Indian-inspired score -- resulting in a film that embodies the very best and worst of the studio’s recent output, defined more by its potential than whether or not it fulfills it. Even when things don’t quite add up, and get lost in a pile of mixed metaphors, Thomas Newman’s score rushes in to uplift the entire film, with its use of classical Indian instruments like sitars, tabla drums, and bansuri flutes, and vocalizations in Indian raags that range from thrilling to soul-touching, especially when they’re peppered with the occasional subdued acoustic guitar or hint of electronica. 'Elemental' may be rife with lip-service to cultural specifics -- so many that they end up a cultural hodgepodge -- but its music is the one aesthetic choice that fully embodies the bi-cultural notions the film so desperately attempts to dramatize."
Siddhant Adlakha, IndieWire 
"There's nothing particularly awful about 'Elemental.' It's beautifully animated, has a fantastic soundtrack courtesy of Thomas Newman, and the story is a heartwarming one about love, growth, and acceptance. However, there's also nothing particularly amazing about 'Elemental' either. Set in a world where the elements of fire, water, earth, and air live together, the us versus them mentality of the other elements' prejudice against fire feels very familiar. Scenes where we see Ember and Wade exploring a flooded tunnel or watch as Ember's flame changes color when she touches mineral rocks are pieces of art, especially when coupled with Newman's score. In many ways, it's a pity that the story is not as strong as the animation. The film's inability to color outside the lines makes a story that is undeniably endearing feel underwhelming, neither unique nor original."
Therese Lacson, Collider

"There’s similarly nothing in 'Elemental' to recall the wondrous aesthetic imagination of modern Pixar classics like 'Finding Nemo' and 'Wall-E,' with the exception of a rich score by composer Thomas Newman that takes its cues from a potpourri of global musical traditions and presents a more fully formed vision of cross-cultural exchange than the film’s muddled depiction of immigrant communities. Perhaps fittingly for a film that would have more accurately been titled 'When Fire Met Water…,' 'Elemental' is combustible enough from minute to minute, but it evaporates from memory the second you leave the theater."
Isaac Feldberg, 


"Yet this takes nothing away from the moments that do work, the sense of genial gravitas that Ford can still convey. John Williams’ score shines as always, and his new themes provide the appropriate levels of fanfare. Key leitmotifs return at expected moments, but there are more subtle allusions that uber-fans will pickup. The same can be said for dialogue and situations, where a song originally performed in front of the Bantu Wind is heard offscreen. The most surprising moments come in the last act, where the most obvious choice is diverted, even as it evokes similar sentiments to the close of 'The Last Crusade'. That is not meant as criticism -- the whole point of the serialized format is to give the audience what they expect, in a slightly new way, and then leave them wanting for more. Indiana Jones and the 'Dial of Destiny''s closing elements toy with the film’s center, showing most clearly the power that this final chapter can evoke, even if there are plenty of middling moments along the way."
Jason Gorber, Paste Magazine 

"That doesn’t mean that 'Dial of Destiny' is short on action: Helen and Jones race through the streets of Tangier in a rickshaw; they plunge past deep sea killer eels; they rifle through ancient tombs, and crack riddles left unanswered for centuries. You just wish the editing wasn’t so workmanlike, the compositions weren’t so obvious, and the queues for John Williams’ stirring music weren’t done at such basic moments. They get the job done. But not much else. Because what should be inherent in adventure is a sense of danger, and there’s no sense of danger when every inch of the frame has been rendered to a biting coldness."
Robert Daniels, The Playlist 
"'The Dial of Destiny' works much better when it’s less worried about spending that massive budget. When Indy and Helena get to actual treasure-hunting, and John Williams’ all-timer theme kicks in again, the movie clicks. And, without spoiling, it ends with a series of events and ideas that I wish had been foregrounded more in the 130 minutes that preceded it. Ultimately, 'The Dial of Destiny' is about a man who wants to control history being thwarted by a man who wants to appreciate it but has arguably allowed himself to get stuck in it through regret or inaction. There’s a powerful emotional center here, but it comes too late to have the impact it could have with a stronger script. One senses that this script was sanded down so many times by producers and rewrites that it lost some of the rough edges it needed to work."
Brian Tallerico, 

"Oddly, the comedy of this partnership is dialled down, and the film’s few wisecracks don’t really land. It’s adventure, though, that everyone really wants from an Indiana Jones movie, and on that front it delivers and then some by prising open the old box of tricks and performing them one-by-one with care and respect. Add to that the rousing familiarity of John Williams’s score, and it all amounts to a comforting if not especially challenging reboot."
Dave Calhoun, Time Out 

"This is a big, bombastic movie that goes through the motions but never finds much joy in the process, despite John Williams’ hard-working score continuously pushing our nostalgia buttons and trying to convince us we’re on a wild ride. Indy ignores the inevitable jokes about his age and proves he can still handle himself in a tight spot. But Ford often seems disengaged, as if he’s weighing up whether this will restore the tarnished luster to his iconic action hero or reveal that he’s past his expiration date. Both the actor and the audience get a raw deal with this empty exercise in brand redemption."
David Rooney, The Hollywood Reporter 
LOVE GETS A ROOM - Victor Reyes
"Technically, 'Love Gets A Room' is a tour-de-force in several ways: Cortés is a director who likes to set himself challenges and then see whether he can meet them. Rafa Garcia’s camera is rarely motionless, a constant reminder of the nervous urgency of life under such extreme conditions, exploiting the shadowy, electricity-free backstage areas to ominous effect -- where a dark reality underpins all the on-stage optimism and defiance. Victor Reyes’s score and mostly jaunty songs, set to lyrics by Jurandot, are key, encompassing a range of period musical styles, while Cortés’ editing is precision-tooled, brilliantly maintaining the emotional momentum beneath the breakneck pace of the action while never submitting to the merely sentimental."
Jonathan Holland, Screen Daily
PETER PAN & WENDY - Daniel Hart
"Ever Anderson (the daughter of Milla Jovovich and Paul W.S. Anderson) is excellent and exciting as Wendy Darling, a young girl who is about to be sent to boarding school and forced to grow up. That is until Peter Pan (Alexander Molony) and Tinker Bell (Yara Shahidi) break into the room she shares with her younger brothers John (Joshua Pickering) and Michael (Jacobi Jupe). Peter has been looking for his shadow, and after he finds it in Wendy’s dresser, he convinces the three siblings to join him (with the help of Tinker Bell’s magic) in the time-defying magical world of Neverland. The scene in which the Darlings soar through the London night skyline is just one sequence in which Daniel Hart’s rousing and full-orchestra score is like the movie’s pixie dust, moving it along with a bit of magic."
Nick Allen, The Playlist

"Save for Daniel Hart’s score temporarily aping John Williams’ 'Jurassic Park' theme, 'Peter & Wendy' doesn’t make a major misstep along its journey. Nor, however, does it do much to profoundly justify its own existence. During its climax, a few self-conscious touches creep into the proceedings: Peter’s announcement that he and Hook are fighting 'one last time' is delivered with a wink; one pirate goes to take a nap, telling others to wake him if one of the two finally defeats the other. Like its prior nods to the role of storytelling in Peter’s saga, though, the film only flirts with grander ideas; in most crucial respects, it’s content to be the same old thing in newer, fancier CGI threads."
Nick Schager, The Daily Beast 

SON OF MONARCHS - Cristóbal Maryán 
"While many filmmakers attempt to marry the study of science and cinema, there are few that do it so seamlessly as 'Monarchs.' Gambis, who is both a director and a biologist, has crafted a piece of art that captivates as much as it informs. He’s assisted by gorgeous cinematography from Alejandro Mejía, a fantastic score from composer Cristóbal Maryán and impressive editing from Èlia Gasull Balada."
Gregory Ellwood, The Playlist

"The undefined mysticism that coats Mendel’s inner untangling, including magical-realist underwater shots that project his unresolved notions of a tragic event in the family, is procured through Cristóbal Maryán’s transfixing score and cinematographer Alejandro Mejía’s luminous attention to the motifs, in the biological sense with the vivid insects as well as the rituals that make Mendel feel more at ease. Slightly more subtly, Gambis also uses the contrast of the urban landscape in cold weather in New York and the sunny vastness of the Mexican forestry to further the link the protagonist and the butterflies."
Carlos Aguilar, The Wrap 
SUZUME - Radwimps, Kazume Jinnouchi
"To be lost in the painterly visuals, to traverse through the sheer scale of Shinkai’s real and imagined worlds, is an experience deserving of the biggest screen you can find. Shinaki’s regular music collaborators, Radwimps, are joined by composer Kazume Jinnouchi, with this score sounding far more cinematic -- more like Howard Shore’s 'The Fighting Uruk-hai' than the contemporary pop sound of Shinkai’s prior works -- to suitably accompany the scope of the expanding story."
Steph Green, IndieWire 

"Shinkai is still incredible at constructing a rousing crescendo for his films at a textural level -- the combination of his iridescent visual style and RADWIMPS’s sentimental pop-rock is a potent one-two punch -- but the finale here is just a bit too muddled. The big set piece that ends the film is spectacular, but the life-affirming speech that accompanies it is fairly generic, and not especially anchored to Suzume’s or Souta’s personal journey. But while it might not stick the landing, 'Suzume' is consistently delightful, offering up an unrelenting supply of shimmering, sun-dappled visuals and a sweet, strange story about a young girl making peace with her past."
Ross McIndoe, Slant Magazine 
"Shinkai brings a contemporary, youth-friendly feel to his films by collaborating with the rock band Radwimps, joined here by composer Kazuma Jinnouchi’s atmospheric instrumentations. The ethereal chanting track that accompanies Suzume’s gravity-defying showdown in the sky over Tokyo is a high point, as is the bouncy theme song. Shinkai also keeps things relevant by incorporating modern technology, like text messaging and social media: One running gag finds the mischievous Keystone becoming a viral sensation as people post photos of its cutesy antics online. The design of the cat Daijin will almost certainly remind 'Puella Magi Madoka Magica' fans of the show’s naughty kitty, Kyubey."
Peter Debruge, Variety 

WHITE BUILDING - Jean-Charles Bastion
"There is an eerie, otherworldly beauty to the opening shot of Kavich Neang’s 'White Building.' Accompanied by the pressure-cooker whine that introduces the more uncanny sections of Jean-Charles Bastion’s score, a drone camera, steady as though it were mounted on tracks in the sky, drifts over the eponymous structure, looking down. Even just the rooftop of this vast, scabbed Phnom Penh apartment complex seems to have a thousand stories to tell -- it’s perhaps little wonder that Neang’s melancholic, perplexed, slightly ponderous feature debut gets a little lost navigating them."
Jessica Kiang, Variety 


Screenings of older films in Los Angeles-area theaters.

July 14
COFFEE & CIGARETTES [BrainDead Studios]
CONTEMPT (Georges Delerue) [Los Feliz 3]
THE FIFTH ELEMENT (Eric Serra) [New Beverly]
FREE WILLY (Basil Poledouris) [Alamo Drafthouse]
THE HATEFUL EIGHT (Ennio Morricone) [New Beverly]
INTERSTELLAR (Hans Zimmer) [Alamo Drafthouse]
L'AVVENTURA (Giovanni Fusco) [New Beverly]
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Alamo Drafthouse]
TENET (Ludwig Goransson) [Alamo Drafthouse]
WE ARE THE BEST! [BrainDead Studios]
THE WILD BUNCH (Jerry Fielding) [Aero]
WINGS OF DESIRE (Jurgen Knieper [Vidiots]

July 15
AN AMERICAN TAIL (James Horner) [Vidiots]
BOOKSMART (Dan the Automator) [Los Feliz 3]
CONTROL [BrainDead Studios]
CONTEMPT (Georges Delerue) [Los Feliz 3] 
FANTASTIC MR. FOX (Alexandre Desplat) [Landmark Westwood]
FRANCES HA [Alamo Drafthouse]
FRANK (Stephen Rennicks) [BrainDead Studios]
FROZEN (Christophe Beck) [New Beverly]
HOW TO MARRY A MILLIONAIRE (Cyril J. Mockridge, Alfred Newman) [Vidiots]
THE INCREDIBLES (Michael Giacchino) [Academy Museum]
INTERSTELLAR (Hans Zimmer) [Alamo Drafthouse] 
LAWRENCE OF ARABIA (Maurice Jarre) [Aero]
MY BEST FIEND (Popol Vuh) [BrainDead Studios]
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Alamo Drafthouse]  
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart] 
SEIZURE (Lee Gagnon) [Los Feliz 3]
SUSPIRIA (Thom York) [Vidiots]
TENET (Ludwig Goransson) [Alamo Drafthouse]

July 16
AMERICAN SPLENDOR (Mark Suozzo) [BrainDead Studios]
THE BLACK HOLE (John Barry) [Academy Museum]
COMPENSATION (Atiba Y. Jali, Reginald R. Robinson) [Academy Museum]
CONTEMPT (Georges Delerue) [Los Feliz 3]  
FACTOTUM (Kristin Asbjornsen) [BrainDead Studios]
FRANCES HA [Alamo Drafthouse]
FROZEN (Christophe Beck) [New Beverly]
HEAT (Elliot Goldenthal) [Vidiots]
INTERSTELLAR (Hans Zimmer) [Alamo Drafthouse]
IT'S A MAD, MAD, MAD, MAD WORLD (Ernest Gold) [New Beverly]
LAST ACTION HERO (Michael Kamen) [Aero]
9 TO 5 (Charles Fox) [Vidiots]
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Alamo Drafthouse] 
PINOCCHIO (Leigh Harline, Paul J. Smith, Ned Washington) [Vidiots]
ROMA [Aero]
SABRINA (Frederick Hollander) [Los Feliz 3]
TENET (Ludwig Goransson) [Alamo Drafthouse] 

July 17
CONTEMPT (Georges Delerue) [Los Feliz 3]
FRIDAY THE 13TH PART VI: JASON LIVES (Harry Manfredini) [Los Feliz 3]
HOW TO TRAIN YOUR DRAGON 2 (John Powell) [Alamo Drafthouse]
INTERSTELLAR (Hans Zimmer) [Alamo Drafthouse] 
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Alamo Drafthouse]  
PHOENIX (Stefan Will) [Aero]
THE SWEET BODY OF DEBORAH (Nora Orlandi), PARANOIA (Piero Umiliani) [New Beverly]
TENET (Ludwig Goransson) [Alamo Drafthouse] 

July 18
CHICAGO (John Kander, Danny Elfman) [Los Feliz 3]
HUMANOIDS FROM THE DEEP (James Horner) [Los Feliz 3]
INTERSTELLAR (Hans Zimmer) [Alamo Drafthouse] 
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Alamo Drafthouse]  
THE RIVER (John Williams) [Academy Museum]
SMALL SOLDIERS (Jerry Goldsmith) [Alamo Drafthouse]
SPLICE (Cyrille Aufort) [Alamo Drafthouse]
THE SWEET BODY OF DEBORAH (Nora Orlandi), PARANOIA (Piero Umiliani) [New Beverly]
TENET (Ludwig Goransson) [Alamo Drafthouse]  

July 19
CERTIFIED COPY [BrainDead Studios]
FREE WILLY (Basil Poledouris) [Alamo Drafthouse]
INTERSTELLAR (Hans Zimmer) [Alamo Drafthouse]  
KILLER'S KISS (Gerald Fried), STRANGER'S KISS (Gato Barbieri) [New Beverly]
SMALL SOLDIERS (Jerry Goldsmith) [Alamo Drafthouse]
SPLICE (Cyrille Aufort) [Alamo Drafthouse]
TENET (Ludwig Goransson) [Alamo Drafthouse]  

July 20
THE GODFATHER (Nino Rota) [Academy Museum]
INHERENT VICE (Jonny Greenwood) [Aero]
KILLER'S KISS (Gerald Fried), STRANGER'S KISS (Gato Barbieri) [New Beverly]

July 21
APOCALYPSE NOW (Carmine Coppola, Francis Ford Coppola) ]Aero]
THE HATEFUL EIGHT (Ennio Morricone) [New Beverly]
KWAIDAN (Toru Takemitsu) [BrainDead Studios]
PITCH BLACK (Graeme Revell) [New Beverly]
SOUL POWER [Academy Museum]
TAXI ZUM KLO (Hans Wittstatt) [Los Feliz 3]
WHIPLASH (Justin Hurwitz) [BrainDead Studios]

July 22
AQUAMARINE (David Hirschfelder) [New Beverly]
BABYLON (Justin Hurwitz) [Aero]
CAVE OF FORGOTTEN DREAMS (Ernst Reijseger) [BrainDead Studios]
HOOK (John Williams) [New Beverly]
RATATOUILLE (Michael Giacchino) [Academy Museum]
A SUMMER PLACE (Max Steiner) [Los Feliz 3]

July 23
EARTH (live score by Luke Corradine) [Academy Museum]
HOOK (John Williams) [New Beverly]
IN A LONELY PLACE (George Antheil) [Los Feliz 3]
NOPE (Michael Abels) [Aero]
RETURN TO OZ (David Shire) [Academy Museum]
YEAR OF THE DRAGON (David Mansfield) [Aero]


La terra (Donaggio); Le fati ignoranti (Guerra); River of No Return/Niagara (Newman/Kaplan); L'anima Gemella (Donaggio); Serial (Ascher/Schifrin); Loro (Marchitelli, various); Way of a Gaucho (Kaplan)

Read: Quiller Salamander, by Adam Hall (aka Elleston Trevor)

Seen: Nope; Joy Ride (2023); Insidious: The Red Door; A Man Escaped

Watched: The Newsroom ("Amen"); Veep ("The Vic Allen Dinner); Person of Interest ("Legacy"); The Venture Bros. ("The Belicose Proxy"); Succession ("Sad Sack Wasp Trap"); You're the Worst ("It's Been: Part 1"); The Wire ("All Due Respect")

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