Film Score Daily: Film Score Friday 10/27/23

IN THEATERS TODAY

Another Body - Holland Andrews
Blue Giant - Hiromi Uehara
Divinity - DJ Muggs, Dean Hurley - Score CD due Nov. 17 on Sacred Bones
Fingernails - Christopher Stracey
Five Nights at Freddy's - The Newton Brothers
Freelance - Geoff Zanelli, Elliot Leung
Inspector Sun - Fernando Velazquez
The Killer - Trent Reznor, Atticus Ross
Priscilla - Phoenix
To Kill a Tiger - Jonathan Goldsmith
Waikiki - Woody Pak

Angie Han, The Hollywood Reporter

GLORIOUS - Jake Hull

"The repeated use of swelling music is used sparingly enough to not overdo it or become a crutch for the comedy. Instead, it just ratchets up everything at key moments to ensure some of its best bits….let's just say kill."

Chase Hutchinson, Collider

INU-OH - Otomo Yoshihide

"Instead of classical dance-dramas, the movie’s musical sequences look like contemporary gigs, complete with light shows, crowd participation, and even black-clad security guards. Beyond the vocal tracks, the rest of the score maintains this playfulness, as instrumentalist and turntablist Yoshihide Otomo injects electronic tones into feudal surroundings."

Kambole Campbell, Polygon

"What good is a rock concert without memorable songs? The genesis of 'Inu-Oh' was the idea of these elaborate glam rock/hip-hop concerts taking place in the Muromachi period. Yuasa has been experimenting with this confluence of sound and movement since his first feature, 'Mind Game,' so 'Inu-Oh' sees that concept’s evolution. Leading the charge in the music department of Inu-Oh, Otomo Yoshihide arranged pivotal anthems while Avu-Chan (who also performs as the lead singer in the band Queen Bee) and Moriyama carry the vocals. The songs themselves tell the ancient stories of the Heike and Inu-Oh himself, but the presentation is never boring. In fact, when Tomona and Inu-oh perform their stories, I kept envisioning Queen and Freddy Mercury in the ‘80s, these large stadium shows with audience participation."

Max Covill, Paste Magazine

"That imagery brings to life a series of musical performances that pulse with a rare rock-opera energy, usually reserved for cult classics like 'Streets of Fire.' Every song is gigantic, every beat hits hard, every story is overflowing. The mark of any great musical is when the audience leaves the theater and wants to run out and buy the soundtrack for further enjoyment of composer Yoshihide Ôtomo’s work here."

William Bibbiani, The Wrap

"Unfortunately, there’s a fundamental disconnect between these musical numbers’ raucous energy -- specifically how they’re visually represented -- and the music that we hear on the soundtrack, possibly because these scenes were first choreographed by Yuasa and then scored by composer Otomo Yoshihide. So while there’s some visual poetry on screen -- thanks to the supervision of two Noh supervisors (Keizo Miyamoto and Hirotada Kamei) and one biwa composer (Yukihiro Goto) -- it’s not always an intuitive match with the accompanying score, which was also enhanced by Goto’s supervision."

Simon Abrams, RogerEbert.com

"It becomes futile to resist the intoxication of Otomo Yoshihide's rock music and the visual excess. Yoshihiro Sekiya's cinematography dances with Inu-Oh's supernatural ballad, extending and sprawling across the lakes and stage. Easily, those concerts are the most enthralling and splashiest sequences, recreating the adrenaline of witnessing stagecraft, all culminating into a hell-raising musical finale. Admittedly, during those electrifying concerts, the main pair do morph into animators' dancing puppets as a means to showcase spectacular animation, sprinkled with intermittent reminders that they're supposed to be characters."

Caroline Cao, Slashfilm

"In the context of a relatively staid and strictly government-regimented musical tradition, Inu-oh and Tomona’s first performance has the galvanizing effect of Bob Dylan going electric. In the movie’s most inspired stroke, the music festivals of Muromachi-period Japan are transformed into their own rock scene, complete with androgynously glammed-out musicians, head-banging crowds and, at one point, a gorgeous projection of a giant, fiery whale. In its lengthy midsection, the movie essentially morphs into a concert film in which the performers unleash a series of banger ballads, each tune excavating a story about the fallen Heike warriors, often set to a jolting we-will-rock-you beat. (The music is credited to the experimental musician Otomo Yoshihide.)"

Justin Chang, Los Angeles Times

KILLERS OF THE FLOWER MOON - Robbie Robertson

"The first and most obvious of those is a gangster drama in the grand tradition of the director’s previous work. Just when it seemed like 'The Irishman' might’ve been Scorsese’s final word on his signature genre, they’ve pulled him back in for another movie full of brutal killings, bitter voiceovers, and biting conclusions about the corruptive spirit of American capitalism. 'Gimme Shelter' may not have made it into the final cut, but the chugging bass groove of Robbie Robertson’s brilliantly anachronistic score almost leads you to believe that it might."

David Ehrlich, IndieWire

"With its wide-open vistas and slow, droning score (composed by Robbie Robertson, a close friend of Scorsese’s), 'Killers of the Flower Moon' is drawing on a cinematic language developed and perfected in Hollywood’s tellings of how the West was won. That’s significant: Most of our popular conception of the West is borrowed from movies about heroes and cowboys, in which Native Americans have frequently been sidelined or positioned as outsiders. Scorsese evokes that kind of storytelling while flipping it on its head. The first moments of the movie are Osage leaders mourning that their children will 'be taught by white people'; the next is the discovery of oil on Osage land and a jubilant dance."

Alissa Wilkinson, Vox

"Clocking in at 206 minutes, 'Killers of the Flower Moon' displays tremendous vigor and vitality through the early going. That’s to do with Robbie Robertson’s rumbling and rustling score, slide guitars that slice open the mood to pour intoxicating notes onto immaculate compositions that suggest how much care Scorsese and cinematographer Rodrigo Prieto are taking in recharging history. Crimson reds, forest greens, and brushed beiges paint the sprawling scenes and give shape to the vivid garb. Ethereal rays and hellish hues mark the community’s steady decline, while the lithe camera, which devours every detail on this vast canvas, acutely balances the epic with the intimate. How Thelma Schoonmaker manages to stitch together Scorsese’s visual playfulness -- there is much, from a Silent Cal joke to changes in medium -- is still a wonder to behold."

Robert Daniels, The Playlist

"Regardless of the catch-up the viewers might have to do, the intro is still breathtaking, observing the adults of an Osage tribe lamenting their relocation and what the future will hold for them with their kids likely to forget their own culture in the hands of white men. There is then celebration upon hitting an oil line, which also introduces us to the brawniest segments of Robbie Robertson’s bravura score: drummy, pulsating and defiantly hair-rising, like the sounds of the earth brimming with liquid gold right before it ruptures."

Tomris Laffly, The Wrap

"What’s hard to convey in the format of a review is the enveloping, overpowering experience of watching 'Killers of the Flower Moon.' The opening scene, in which an outdoor Osage ritual is interrupted by the sudden explosion of a geyser of black oil, is accompanied by a soaring score by Robbie Robertson, a part-Indigenous Canadian musician and longtime Scorsese friend who died earlier this year. The cinematography, worthy of an Old Master painting, is by Rodrigo Prieto ('The Wolf of Wall Street,' 'Silence,' 'The Irishman'). The almost dementedly intricate production design, created by the legendary Jack Fisk in his first collaboration with Scorsese, brings the past to life in the smallest and most unexpected details, such as a billiard parlor that contains its own in-house barber station. The costumes, splendidly imagined by Jacqueline West, also deliver jolts of surprise: Mollie’s wedding outfit, while based on a historical photograph, fits into the time’s popular image of neither a white nor an Indigenous woman."

Dana Stevens, Slate

"Of course, Scorsese's visions don’t work without his team of collaborators, and he’s brought in some of the best to tell this tale. Rodrigo Prieto’s cinematography is sweeping when it needs to capture the vast territory of the Osage Nation but can also be intense with a sweaty close-up. Robbie Robertson’s thrumming score is practically a character, giving the film a heartbeat that adds tension to its notable runtime. This story wouldn't have nearly the same momentum with a traditional, classical score. Finally, Thelma Schoonmaker is partially responsible for Scorsese’s sense of rhythm as director, and 'Killers of the Flower Moon' is one of her most notable accomplishments. Some will crack jokes about the editing given the runtime of Scorsese’s longest film but think of the scope of this multi-year saga and how deftly Schoonmaker helps pace the final piece, pushing us forward through our nation’s violent history without ever losing the thread of this complex saga."

Brian Tallerico, RogerEbert.com

"Kudos to Robbie Robertson, who never allows the score to descend into stereotype, employing processed guitar sounds and incessant rhythm to drive the score in subtle yet exceptional ways. The period recordings from the likes of Jimmie Rodgers augment the soundscape, and while they’re not nearly as dominant as with other Scorsese crime dramas, the needledrops are as always employed exquisitely."

Jason Gorber, Paste Magazine

"From its opening scene -- in which a group of Osage strike oil, dancing in slow motion around the vein as the bass and dirty harmonica of Robbie Robertson’s anachronistic score (his last for Scorsese, tragically) thumps around them -- 'Killers of the Flower Moon' commits itself to packing a lot into its gargantuan three and a half hour runtime. It’d be a lie to say that time passes by like nothing, but it’s certainly more fleet-footed than that number might imply. (Thank Scorsese’s greatest muse, the indelible Thelma Schoonmaker, for such brisk, clear editing.)"

Clint Worthington, Consequence

"In 'Killers of the Flower Moon,' he does this with unfussy confidence, working with his longtime editor Thelma Schoonmaker to pace out its intricate, intimate story over a linear three and a half hours that’s unhurried, but never draggy. The whirligig adrenaline rushes that powered his earlier true-crime epics, like 'Goodfellas,' 'Casino,' and 'The Wolf of Wall Street,' are notably absent. Instead, the film moves with a steadier but no less hypnotic gait, driven by the quietly insistent pulse and shiver of a bluesy score from the late Robbie Robertson. For all the cowboy hats on display, this movie is no conventional Western, but it has some of that genre in its easy sweep, as well as its sudden bursts of shockingly matter-of-fact violence."

Oli Welsh, Polygon

"This accounts for the monumental runtime -- but that's a determined decision, not a flaw, one intended to fill the audience with a sense of fury at a crime initially indulged and ultimately barely punished. Under a brooding score by longtime musical collaborator Robbie Robertson (one of many returning Scorsese regulars), he lays out a true crime tale of race, greed, and betrayal."

Richard Whittaker, The Austin Chronicle

"But truly, everyone here is top of their game. Thelma Schoonmaker’s masterful editing weaves together the story’s many threads and its rich ensemble of characters (special mention to Louis Cancelmi, who channels pure New Jersey hitman into his Okie lowlife). And Robbie Robertson’s old-timey blues score beats time to a movie so richly entertaining, its three hours and 26 minutes whip by in a blur. As the great man himself would say, what a picture!"

Phil de Semlyen, Time Out

"This is why someone needs to stand up and tell Marty to rein it in. They should’ve done it before he started shooting, since the pace is built in, and Scorsese’s projects don’t compress well after the fact. In its present form, 'Killers' is still a compelling true story, one that Scorsese and co-writer Eric Roth shifted from being a standard white-savior detective yarn to a more morally thorny look at how the white culprits plotted and carried out the murders. Stylistically, this feels like a young man’s movie. It’s engrossing from the get-go, the palpable tension methodically echoed by Robbie Robertson’s steady-heartbeat score. But it keeps going and going until everyone we care about is dead, dying or behind bars, with nearly an hour still in store."

Peter DeBruge, Variety

"The degree to which Scorsese seems revitalized by this material can be seen in the brisk backgrounding that opens the film. The solemnity of an Osage burial ceremony at the end of the 19th century gives way to a jubilant explosion when oil gushes from the cracked earth, and young tribesmen hurl themselves in slow-motion into the air, getting showered in black sludge to the electrifying sounds of Robbie Robertson’s century-spanning rootsy rock score....But without taking the limited series route, Scorsese and Roth make necessary choices in focusing on the steady buildup of treachery and dissemination of fear, planting a sense of horrified indignation that keeps you riveted throughout. Our investment in Mollie and the devastating losses she suffers makes the stakes in the courtroom scenes more tangible, with suspense expertly measured out in the haunting drumbeats of Robertson’s score."

David Rooney, The Hollywood Reporter

OUTLAW JOHNNY BLACK - Michael Bearden

"White is unsurprisingly charismatic, translating his undefeatable badass attitude into an outlaw who sees the folly of his obsession and fakes his way into commanding a congregation. While White’s horseback riding posture might look novice, Johnny Black is a natural fit for his take-no-guff steeliness. Whenever White can blend martial arts expertise into scenes where he’s backhand-slapping and pistol-whipping scoundrels who can’t keep up with his swift movements, 'Outlaw Johnny Black' hits its champion tone. Head composer Michael Bearden’s soul-funky score unites with White’s anti-establishment swagger and becomes everything we’d expect from White’s take on a lawless America from a satirical Black perspective. It’s funny, chippy and lets White lovingly poke fun at generations of whitewashed spaghetti Westerns -- albeit inconsistently."

Matt Donato, Paste Magazine

THE PIGEON TUNNEL - Philip Glass, Paul Leonard-Morgan

"Stylistically, Morris is working with his familiar tools, and that’s just fine; at this point in his career, after effectively creating the aesthetic of an entire subset of nonfiction filmmaking, he is under no obligation to reinvent the wheel. Cornwall is the only interview subject, but Morris illustrates his tale with archival footage and film and TV adaptations of his work, as well as such Morris trademarks as close-ups of his words on pages (so close you can see the pulp of the paper), handsomely staged dramatizations (not, it’s still worth clarifying thirty-plus years on, recreations), a gripping score (by Paul Leonard-Morgan and Morris’s frequent collaborator Philip Glass), and a dizzying array of coverage in interviews, some composed directly to camera."

Jason Bailey, The Playlist

"Intellectually rich and cinematically disciplined (brief movie clips, another perfectly aligned Philip Glass score), 'The Pigeon Tunnel' is a cautious, playful portrait of an expert manipulator. And though Morris’s dramatization of the titular event -- Cornwell’s boyhood memory of a horrifying hunting trip -- offers a delightful visual metaphor for Morris’s interviewing style, his other re-enactments are unnecessary: Surrender to Cornwell’s eloquence and the images create themselves. Exactly how many of them are inventions perhaps even he couldn’t have said for sure."

Jeannette Catsoulis, The New York Times

SALOUM - Reksider

"'Saloum' opens with a musical riff that sounds like an accelerating jet engine, a declarative African drumbeat, and a droning white-noise machine fed together through a whirring meat grinder. It’s a jarringly unnerving, unexpectedly catchy cacophony of noise that follows its own pattern -- sometimes pausing and sometimes ricocheting forward -- and burrows its way into your raw nerve endings, your clenched teeth, your jostled bones. That surprisingly ingratiating feeling of dissonance immediately sets the tone for writer-director Jean Luc Herbulot’s twisty fusion of heist thriller, African-Caribbean mysticism, and political horror, and it’s a pleasure to sprint alongside Saloum in an effort to keep up. That wild soundscape from composer Reksider (doing great work alongside sound editor Ousmane Coly) starts Saloum off with an introduction to the mercenary trio Bangui Hyenas, whose 'guns for hire, live by fire' ideology -- as explained by that unidentified narrator, voiced by Alvina Karamoko -- has made them a legend throughout Africa in 2003, when the film is set."

Roxana Hadadi, New York

"Set to a terrific score by French multi-instrumentalist Reksider that includes everything from heavenly choruses to thumping afro drum beats, 'Saloum' is nicely shot in widescreen by first-time feature DP Gregory Corandi. All of the film’s technical aspects are on the money."

Richard Kuipers, Variety

THE TERRITORY - Katya Mihailova

"Right from the get-go, Pritz skirts the conventions of the documentary, a form defined in the public consciousness by its most banal and straightforward examples. He introduces the story not through interviewed voices and faces, but through the harsh sound design of Peter Albrechtsen, who captures the Amazon rainforest being culled by machines, and through measured, tightly-controlled closeups of the gloved hands responsible. A propulsive electronic score by Katya Mihailova both envelops and intrigues."

Siddhant Adlakha, IndieWire

"This is a frustrating documentary, in that it honors the work of its subject with wide-screen cinematography and leaves-crunching sound design, but as a viewing experience cannot shake the overall feeling of a dirge. The score seems to recognize this problem, whipping between many different traditional and non-traditional arrangements, more or less trying to make sure we understand the urgency. And for all of its heroes that it introduces to us, like the young leader Bitate and the longtime Uru-Eu-Wau-Wau advocate Neindha, their stories run flat, even with what they symbolize."

Nick Allen, RogerEbert.com

THE NEXT TEN DAYS IN L.A.

Screenings of older films in Los Angeles-area theaters.

October 27
THE BATTLE OF ALGIERS (Ennio Morricone, Gillo Pontecorvo) [Academy Museum]
EYES WITHOUT A FACE (Maurice Jarre) [Los Feliz 3]
FIRST BLOOD (Jerry Goldsmith) [Alamo Drafthouse]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
GOODBYE, DRAGON INN [UCLA/Hammer]
THE GUEST (Steve Moore) [Vidiots]
NIGHT OF THE LIVING DEAD [New Beverly]
PSYCHO (Bernard Herrmann) [Aero]
RIFIFI (Georges Auric) [Los Feliz 3]
ROCKY BALBOA (Bill Conti) [Alamo Drafthouse]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
TALES FROM THE DARKSIDE: THE MOVIE (John Harrison, Chaz Jankel, Jim Manzie, Pat Regan, Donald Rubinstein) [New Beverly]
WENDELL & WILD (Bruno Coulais) [Alamo Drafthouwe]
YOU'RE NEXT (Mads Heldtberg, Jasper Lee, Kyle McKinnon, Adam Wingard) [Vidiots]

October 28
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner) [Alamo Drafthouse]
THE ADDAMS FAMILY (Marc Shaiman) [Vidiots]
BEETLEJUICE (Danny Elfman) [New Beverly]
CECIL B. DEMENTED (Basil Poledouris, Zoe Poledouris), A DIRTY SHAME (George S. Clinton) [Academy Museum]
THE FLY (Howard Shore) [New Beverly]
HALLOWEEN (John Carpenter) [Alamo Drafthouse]
HALLOWEEN (John Carpenter) [Vidiots]
THE LIZARDS (Ennio Morricone) [Academy Museum]
MONSTER HOUSE (Douglas Pipes) [Alamo Drafthouse]
NIGHT OF THE LIVING DEAD [New Beverly]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
STOKER (Clint Mansell) [Los Feliz 3]
TREMORS (Ernest Troost) [Vidiots]
THE WITCHES (Stanley Myers) [Academy Museum]

October 29
BEETLEJUICE (Danny Elfman) [New Beverly]
DESTROY ALL MONSTERS (Akira Ifukube) [BrainDead Studios]
DRACULA [Los Feliz 3]
DRACULA'S DAUGHTER (Heinz Roemheld) [Vidiots]
ESCAPE TO WITCH MOUNTAIN (Johnny Mandel) [UCLA/Hammer]
THE EXORCIST [Fine Arts]
THE EXORCIST [Vidiots]
FIRST BLOOD (Jerry Goldsmith) [Alamo Drafthouse]
GOZU (Koji Endo) [BrainDead Studios]
THE HATEFUL EIGHT (Ennio Morricone) [Academy Museum]
MONSTER HOUSE (Douglas Pipes) [Aero]
THE MUMMY, THE WOLF MAN [Alamo Drafthouse]
NIGHT OF THE LIVING DEAD [New Beverly]
PARANORMAN (Jon Brion) [Vidiots]
WENDELL & WILD (Bruno Coulais) [Alamo Drafthouse]

October 30
THE AMITYVILLE HORROR (Lalo Schifrin) [Los Feliz 3]
CRUISING (Jack Nitzsche) [Los Feliz 3]
DIAL M FOR MURDER (Dimitri Tiomkin) [Aero]
HALLOWEEN (John Carpenter) [Alamo Drafthouse]
HALLOWEEN H20: 20 YEARS LATER (John Ottman) [BrainDead Studios]
ROCKY BALBOA (Bill Conti) [Alamo Drafthouse]
SCREAM (Marco Beltrami) [Alamo Drafthouse]
SUGAR HILL (Nick Zesses, Dino Fekaris), J.D.'S REVENGE (Robert Prince) [New Beverly]
YI YI (Kai-Li Peng) [Academy Musuem]

October 31
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner) [Alamo Drafthouse]
CREATURE FROM THE BLACK LAGOON, HOUSE OF WAX (David Buttolph) [Aero]
CRONOS (Javier Alvarez) [Los Feliz 3]
FREAKS, MARK OF THE VAMPIRE [New Beverly]
HALLOWEEN (John Carpenter) [Alamo Drafthouse]
HALLOWEEN (John Carpenter) [Vidiots]
HALLOWEEN III: SEASON OF THE WITCH (John Carpenter, Alan Howarth) [BrainDead Studios]
THE INNOCENTS (Georges Auric) [Los Feliz 3]
THE MUMMY, THE WOLF MAN [Alamo Drafthouse]
VILLAGE OF THE DAMNED (John Carpenter, Dave Davies) [Alamo Drafthouse]

November 1
ELEMENTAL (Thomas Newman) [Aero]
HALLOWEEN (John Carpenter) [Alamo Drafthouse]
THE SHINING (Wendy Carlos, Rachel Elkind) [Vidiots]
VILLAGE OF THE DAMNED (John Carpenter, Dave Davies) [Alamo Drafthouse]
WINGS OF DESIRE (Jurgen Kneiper) [New Beverly]

November 2
BARRY LYNDON (Leonard Rosenman) [Aero]
CRUISING (Jack Nitzsche) [Los Feliz 3]
THE EXORCIST [Vidiots]
WINGS OF DESIRE (Jurgen Kneiper) [New Beverly]

November 3
DUNE (Toto) [Alamo Drafthouse]
KILL BILL VOL. 1 (RZA) [New Beverly]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
PAN'S LABYRINTH (Javier Navarrete) [Vidiots]
PERFECT BLUE (Masahiro Ikumi) [Vidiots]
ROSEMARY'S BABY (Christopher Komeda) [Nuart]
TEOREMA (Ennio Morricone), FISTS IN THE POCKET (Ennio Morricone) [Academy Museum]
TOUCH OF EVIL (Henry Mancini), THE LADY FROM SHANGHAI (Heinz Roemheld) [New Beverly]

November 4
COCO (Michael Giacchino) [Vidiots]
CRUISING (Jack Nitzsche) [Los Feliz 3]
ELECTION (Rolfe Kent) [Vidiots]
THE GOLD RUSH (Charles Chaplin) [New Beverly]
INVESTIGATION OF A CITIZEN ABOVE SUSPICION (Ennio Morricone), A QUIET PLACE IN THE COUNTRY (Ennio Morricone) [Academy Museum]
ROAD HOUSE (Michael Kamen) [Vidiots]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
TENACIOUS D IN THE PICK OF DESTINY (Andrew Gross, John King) [New Beverly]
THAT SPLENDID NOVEMBER (Ennio Morricone) [Academy Museum]
TOUCH OF EVIL (Henry Mancini), THE LADY FROM SHANGHAI (Heinz Roemheld) [New Beverly]
WHERE THE WILD THINGS ARE (Carter Burwell) [Academy Museum]
XANADU (Barry DeVorzon, John Farrar, Jeff Lynne) [Vidiots]

November 5
DOUBLE INDEMNITY (Miklos Rozsa) [Academy Museum]
THE GOLD RUSH (Charles Chaplin) [New Beverly]
I AM CUBA (Carlos Farinas) [Los Feliz 3]
KIKI'S DELIVERY SERVICE (Joe Hisaishi) [Alamo Drafthouse]
A POEM IS A NAKED PERSON [BrainDead Studios]
TOUCH OF EVIL (Henry Mancini), THE LADY FROM SHANGHAI (Heinz Roemheld) [New Beverly]
TROLLS (Christophe Beck), TROLLS WORLD TOUR (Theodore Shapiro) [Aero]

THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY

Heard: Gary Puckett & The Union Gap Featuring Young Girl/Incredible (Puckett/Gap); Knowing (Beltrami); Hereafter (Eastwood); Contagion (Martinez); Final Destination 5 (Tyler); Sanctum (Hirschfelder); Flight (Silvestri); The Impossible (Velazquez); Life of Pi (Danna); Gravity (Price); All Is Lost (Ebert); World War Z (Beltrami); Hours (Wallfisch); Sharknado (Kousha); Sharknado 2: The Other One (Ridenhour, Cano); Pompeii (Shorter); Into the Storm (Tyler); Everest (Marianelli); San Andreas (Lockington); The 33 (Horner); Independence Day: Resurgence (Wander/Kloser); Geostorm (Balfe)

Read: Beyond the Poseidon Adventure, by Paul Gallico

Seen: Rogue; Desperate Living; Pain Hustlers; The Pigeon Tunnel; Nocturama; The Untouchables; The Gates of Hell; The House by the Cemetery; Killers of the Flower Moon; NYAD

Watched: Get Shorty ("And What Have We Learned?"); The Good Place ("Everything Is Bonzer! Parts 1 & 2"); Justified ("Kin"); Inside Amy Schumer ("Allergic to Nuts"); The Knick ("Wonderful Surprises"); Key & Peele ("Non-Stop Party")