Intrada has two new releases from composer Christopher Young this week -- his score for the new horror film THE PIPER, starring Charlotte Hope and the late Julian Sands; and a two-disc release of his score for the 1995 sci-fi horror thriller SPECIES, with the complete score on Disc One and Young's own CD sequencing on Disc Two, plus extras.
CDS AVAILABLE THIS WEEK
The Piper - Christopher Young - Intrada
Species - Christopher Young - Intrada Special Collection
Three for the Road - David Shire - Caldera
IN THEATERS TODAY
Abigail - Brian Tyler
Deep Sky - Paul Leonard-Morgan
Hard Miles - Andrew Brick Johnson
The Ministry of Ungentlemanly Warfare - Christopher Benstead
Mourning in Lod - Frank Ilfman
Rebel Moon - Part 2: The Scargiver - Tom Holkenborg
Spy x Family Code: White - Know Name
We Grown Now - Jay Wadley
COMING SOON
May 17
One Day - Anne Nikitin, Jessica Jones, Tim Morrish - Silva
THIS WEEK IN FILM MUSIC HISTORY
April 19 - William Axt born (1888)
April 19 - Joe Greene born (1915)
April 19 - Sol Kaplan born (1919)
April 19 - Dudley Moore born (1935)
April 19 - Jonathan Tunick born (1938)
April 19 - Alan Price born (1942)
April 19 - David Fanshawe born (1942)
April 19 - Lord Berners died (1950)
April 19 - Ragnar Bjerkreim born (1958)
April 19 - Henry Mancini begins recording his score for The Great Race (1965)
April 19 - John Williams begins recording his score for Fitzwilly (1967)
April 19 - Michael Small begins recording his score to Klute (1971)
April 19 - Thomas Wander born (1973)
April 19 - John Addison begins recording his score for Swashbuckler (1976)
April 19 - Dag Wiren died (1986)
April 19 - Ron Jones records his score for the Star Trek: The Next Generation episode "We'll Always Have Paris" (1988)
April 20 - Herschel Burke Gilbert born (1918)
April 20 - David Raksin begins recording his score for Kind Lady (1951)
April 20 - Miklos Rozsa records his score to Valley of the Kings (1954)
April 20 - Richard LaSalle records his score for The New Adventures of Wonder Woman episode “The Man Who Could Not Die” (1979)
April 20 - Bruce Broughton begins recording his score for The Monster Squad (1987)
April 20 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “The Die Is Cast” (1995)
April 20 - Johnny Douglas died (2003)
April 20 - Bebe Barron died (2008)
April 21 - Mundell Lowe born (1922)
April 21 - John McCabe born (1939)
April 21 - Steve Dorff born (1949)
April 21 - Franz Waxman begins recording his score to The Story of Ruth (1960)
April 21 - Recording sessions begin for Michel Colombier’s score to Colossus: The Forbin Project (1969)
April 21 - Jerry Goldsmith begins recording his score to Wild Rovers (1971)
April 21 - Charles Fox begins recording his score for The New, Original Wonder Woman (1975)
April 21 - Eddie Sauter died (1981)
April 21 - Georges Delerue begins recording his unused score for Something Wicked This Way Comes (1982)
April 21 - David Bell records his score for the Star Trek: Deep Space Nine episode “Soldiers of the Empire” (1997)
April 21 - Velton Ray Bunch records his score for the Star Trek: Enterprise episode “The Council” (2004)
April 22 - Isao Tomita born (1932)
April 22 - Jack Nitzsche born (1937)
April 22 - Lalo Schifrin begins recording the soundtrack to Kelly's Heroes (1970)
April 22 - Steven Price born (1977)
April 22 - Craig Safan records his score for the Remo Williams TV pilot (1987)
April 22 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Pen Pals” (1989)
April 22 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Emergence” (1994)
April 22 - Brian Tyler records his score for the Enterprise episode “Regeneration” (2003)
April 22 - Jay Chattaway records his score for the Star Trek: Enterprise episode “Terra Prime” (2005)
April 23 - Sergei Prokofiev born (1891)
April 23 - Louis Barron born (1920)
April 23 - Patrick Williams born (1939)
April 23 - Alain Jomy born (1941)
April 23 - Jay Gruska born (1952)
April 23 - Andre Previn begins recording his score for The Fastest Gun Alive (1956)
April 23 - Kenji Kawai born (1957)
April 23 - Hilmar Orn Hilmarsson born (1958)
April 23 - Christopher Komeda died (1969)
April 23 - Jonsi born (1975)
April 23 - Harold Arlen died (1986)
April 23 - Satyajit Ray died (1992)
April 23 - James Horner begins recording his score for House of Cards (1992)
April 23 - Robert Farnon died (2005)
April 23 - Arthur B. Rubinstein died (2018)
April 24 - Vaclav Trojan born (1907)
April 24 - Barbra Streisand born (1942)
April 24 - Double Indemnity is released in theaters (1944)
April 24 - Hubert Bath died (1945)
April 24 - Dana Kaproff born (1954)
April 24 - Lennie Hayton died (1971)
April 24 - John Williams begins recording his score for Dracula (1979)
April 24 - Georges Delerue records his score for the Amazing Stories episode "The Doll" (1986)
April 24 - Tristam Cary died (2008)
April 25 - Heinz Roemheld's score for Union Station is recorded (1950)
April 25 - Franz Waxman records his score for Stalag 17 (1952)
April 25 - David A. Hughes born (1960)
April 25 - John Williams begins recording his score for How to Steal a Million (1966)
April 25 - Georges Delerue records his score for L’Homme Qui Revient De Loin (1972)
April 25 - Alec Puro born (1975)
April 25 - Gary Hughes died (1978)
April 25 - Brian May died (1997)
DID THEY MENTION THE MUSIC?
DAMSEL - David Fleming
"If that doesn’t sound like much of a movie, it’s not (and how that’s supposed to fly in 2024 seems baffling). And talents like cinematographer Larry Fong ('Kong: Skull Island') and Hans Zimmer, who produced composer Dan [sic] Fleming’s score, do little to convince you otherwise. Even the editing is sometimes conspicuously clumsy. One scene of fitting a dress onto Millie Bobby Brown’s Elodie character, readying for her royal wedding, is filled with so many unnecessary gratuitous cuts that it begins to resemble that over-edited scene in 'Bohemian Rhapsody' that was ridiculed over social media for the same kind of overwroughtness."
Rodrigo Perez, The Playlist
THE FIRST OMEN - Mark Korven
"Director Arkasha Stevenson doesn’t skimp on reliable genre elements, from shadowy streets, carved faces, lantern-lit corridors, and screamy jump scares to a score that’s drowning in prayer-like whispers, strident strings and soaring choral singing. It’s every gimmick in the unholy-cinema playbook, and yet Stevenson knows how to strikingly frame a composition. Moreover, she can conjure up a few eerie images, such as Margaret watching an unwed mother writhe and shriek while giving birth at the convent, during which she has a vision of a monstrous hand emerging from where a baby’s head should. In this and other sporadic instances, the filmmaker exhibits a knack for embellishing her familiar material with arresting punctuation marks."
Nick Schager, The Daily Beast
"How long will it be before Margaret, teetering around in heels at a disco, suffers a mysterious pregnancy that somehow manifests in weeks, not months? Don’t question 'The First Omen' too hard. Its dark magic, such that it works, functions in sensory impressions: the gravelly basso of 'The Witch' star Ralph Ineson’s voice (a special effect in itself) or the choral doom of Jerry Goldsmith’s original score from 1976, revived to fine effect."
Joshua Rotkhopf, Los Angeles Times
"Stevenson takes a respectful approach to the 'Omen' series, if not to Catholic traditions or clergy. In addition to reverently acknowledging Jerry Goldsmith’s disconcerting choral score, 'The First Omen' brings back Father Brennan (Ralph Ineson), whom we saw so iconically impaled in the 1976 film. While it’s fun to see this blathering loon alive again, the true protagonist is a virginal American novice named Margaret (Nell Tiger Free), who arrives wide-eyed and openhearted at Vizzardeli Orphanage in Rome, incapable of imagining the scope of the conspiracy practiced within."
Peter Debruge, Variety
FREE TIME - Mason Margut
"From art to fiction to motivational speakers, we’re constantly told to make the most of our free time, but what exactly are people like Drew supposed to do with all that freedom? How do you make your dreams come true when you don't really have interesting dreams? Some of the direction is a little too loose, and the non-stop piano score grows a little grating, but Brown’s script is wonderfully natural and organic, allowing Burgess to drift through the film in a way that’s consistently fascinating. Whether he’s completely blowing a potential hook-up (Jessie Pinnick, so great in 'Princess Cyd') or aggressively trying to get his job back, Burgess is perfect here, never leaning too hard into what could have been a really mannered performance. We all know guys like Drew. We may have even been guys like Drew."
Brian Tallerico, RogerEbert.com
HUNDREDS OF BEAVERS - Chris Ryan
"Such timing allows jokes both simple (i.e. falling in ice-holes) and elaborate (a Rube Goldbergian climax at the beavers’ highly automated HQ) to repeat in near-endless variations without growing repetitious, while rare misfiring bits are over in a trice. One assumes much of that success rate must also be due to Mike Wesolowski, whose credit as 'gag man' has been seldom seen since the heyday of Hal Roach Studios. A big part of the fun is the soundtrack, which -- with its combined foley effects, nonverbal exclamations, amusingly selected library music, and diverse original score by Chris Ryan -- proves equal to the visual imagination on display."
Chris Ryan, Variety
IN THE LAND OF SAINTS AND SINNERS - Diego Baldenweg, with Nora Baldenweg & Lionel Baldenweg
"Lorenz really shows a deft hand here, balancing rising tension, quieter character beats, and Ireland's real-life violent past to the point where none feel at odds with the rest. Though the film opens with a bombing and then quickly moves to Finbar forcing a target to dig his own grave in a boggy patch, some of its strongest moments involve characters merely chatting along the roadside or at the local pub. Finbar has a sweet relationship with a woman who lives next door played by Niamh Cusack, and Neeson and Cusack play it just perfectly. And while 'In the Land of Saints and Sinners' isn't the first movie to use beautiful Irish vistas for its benefit, it's still tough not to be wowed by its stunning and perfectly framed natural locations. (The film was primarily shot in County Donegal, where it's also set.) Add to that a melodic and Irish-tinged score by Diego Baldenweg (with Nora Baldenweg & Lionel Baldenweg), and, well, it starts to be tough for me to be anything but on board with this movie."
Robert Brian Taylor, Collider
"This isn’t 'Schindler’s List' Neeson, but as a Northern Irish Catholic he brings a weight and pathos of personal connection to these horrors. The inevitable bloody gunfight has no catharsis to it, allowing the now veteran (in so many senses of the word) action actor to play against what has increasingly become type. Lorenz may undercut his efforts a little by none-too-subtle musical stings that evoke Ennio Morricone’s compositions for Sergio Leone’s spaghetti westerns (moreover, the inclusion of Jack Gleeson as Murphy’s younger, cockier replacement renders the themes of age and regret blindingly obvious). But Neeson’s quietness doesn’t simply come across as tough guy silence. Instead, there’s a maudlin introspection that bears surprisingly meaningful fruit."
Richard Whittaker, The Austin Chronicle
"This unique geographic, historical and political milieu confers a certain intrigue to this otherwise familiar fare, but the story itself is pure Western, the classic genre explicitly referenced in the plaintive score by sibling composers Diego, Nora and Lionel Baldenweg, and in the seasoned narrative beats of the script by Mark Michael McNally and Terry Loane."
Katie Walsh, Los Angeles Times
"Perhaps that’s because this story isn’t rooted in the north of Ireland so much as it is in the American West. The vaguely Catholic overtone is the lone trope here that doesn’t feel like it’s been exported from overseas, and even that only brings itself to bear in the scene where a gunshot victim crawls into a nearby church to die (cue: a thousand flickering votive candles and a gust of choral chanting). The only dissonance in Diego Baldenweg’s sweet and jangly score is owed to the fact that it doesn’t play out over wide shots of Monument Valley, while the script’s hoariest choices -- which include a smiling African refugee who came to County Donegal in an ironic bid to escape his unspecified war torn homeland -- feel out of place without a lovably racist Clint Eastwood character around to lend them some grizzled moral context."
David Ehrlich, IndieWire
IRISH WISH - Nathan Lanier
"And, of course, the Irish countryside is gorgeous. From the sparkling waters of Lough Tay to the awe-inspiring Cliffs of Moher, viewers are transported to a verdant, mystical land where mischievous fairies may well still exist and the power of true love can still prevail. The Irish-ness of it all is augmented by a sometimes cheesy, but mostly charming score by Nathan Lanier that riffs on variations of prototypical Celtic music."
Marya E. Gates, RogerEbert.com
KIM'S VIDEO - Enrico Tilotta
"Whatever one’s threshold for this type of comparative analysis and higher-calling rationalization, Redmon and Sabin’s film slyly absorbs bit players and potential antagonists into the larger fabric of their cinematic collage. A standoffish local police chief becomes somewhat fond of the camera, and a willing interview subject; Enrico Tilotta, whom we first meet after Redmon sneaks into the Salemi warehouse, ends up being an amateur composer, and contributes a pulsing synth score which feels like it would be at home in a Nicolas Winding Refn film."
Brent Simon, The Onion AV Club
OUTLAW POSSE - Dontae Winslow
"Later, when they stumble upon a community that feels built around compassion and kindness in a harsh world, the clear point being made is a little saccharine though still plenty genuine. One almost wishes that we could sit in this energy a bit longer so that we could get to know these characters and how the traveling posse could fit into the situation. Of course, we don’t spend long here and instead move on to the next situation. Some of this exists to add some wrinkles to what we just saw, as we see some are living on the margins of this utopia, though it is communicated with such heavy-handed dialogue and music that it cheapens the scene. There is a cathartic bringing of justice eventually, but it’s all too pat to truly feel earned."
Chase Hutchinson, Collider
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
April 19
ADVENTURELAND (Yo La Tango) [Los Feliz 3]
ANGST (Klaus Schulze) [Alamo Drafthouse]
BLOW-UP (Herbie Hancock) [Nuart]
THE COLOR OF POMEGRANATES (Tigran Mansuryan) [Academy Museum]
DESPERADO (Los Lobos) [New Beverly]
FEAR AND LOATHING IN LAS VEGAS (Ray Cooper) [Alamo Drafthouse]
FRIGHT NIGHT (Brad Fiedel), NIGHT OF THE CREEPS (Barry DeVorzon) [New Beverly]
JONAS BROTHERS: THE 3D CONCERT EXPERIENCE [El Capitan]
KIKI'S DELIVERY SERVICE (Joe Hisaishi) [Vidiots]
LAST TANGO IN PARIS (Gato Barbieri) [Fine Arts]
MALLRATS (Ira Newborn) [Alamo Drafthouse]
ON THE WATERFRONT (Leonard Bernstein) [Aero]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
PORKY'S (Paul Zaza, Carl Zittrer) [Vista]
RESIDENT EVIL (Marco Beltrami, Marilyn Manson) [Vidiots]
April 20
THE BIG LEBOWSKI (Carter Burwell) [Alamo Drafthouse]
BLOOD IN, BLOOD OUT (Bill Conti) [Vidiots]
CHEECH & CHONG'S NICE DREAMS (Harry Betts) [New Beverly]
FAREWELL, MY LOVELY (David Shire) [Los Feliz 3]
FRIGHT NIGHT (Brad Fiedel), NIGHT OF THE CREEPS (Barry DeVorzon) [New Beverly]
THE GHOST OF PETER SELLERS [Los Feliz 3]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [Fine Arts]
GREENER GRASS (Samuel Nobles) [Vidiots]
HANNAH MONTANA: THE MOVIE (John Debney) [El Capitan]
HOUSE OF USHER (Les Baxter) [Los Feliz 3]
INHERENT VICE (Jonny Greenwood) [Alamo Drafthouse]
KISS ME DEADLY (Frank DeVol) [Los Feliz 3]
THE LEGO MOVIE (Mark Mothersbaugh) [Vidiots]
MALLRATS (Ira Newborn) [Alamo Drafthouse]
THE MUMMY, NOSFERATU [Fine Arts]
OROCHI [UCLA/Hammer]
PAN'S LABYRINTH (Javier Navarrete) [Landmark Westwood]
A PLACE IN THE SUN (Franz Waxman) [Fine Arts]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
A SHOT IN THE DARK (Henry Mancini) [Vista]
SKATEBOARD: THE MOVIE (Mark Snow) [Aero]
3:10 TO YUMA (George Duning) [New Beverly]
UP IN SMOKE (Dave "Kootch" Kortchmar, Waddy Wachtel) [Academy Museum]
THE WATER MAGICIAN [UCLA/Hammer]
April 21
THE BIG LEBOWSKI (Carter Burwell) [Alamo Drafthouse]
BLACK ORPHEUS (Luis Bonfa, Antonio Carlos Jobim) [Vidiots]
BLAZING SADDLES (John Morris), YOUNG FRANKENSTEIN (John Morris) [Fine Arts]
FRIGHT NIGHT (Brad Fiedel), NIGHT OF THE CREEPS (Barry DeVorzon) [New Beverly]
THE GREAT RACE (Henry Mancini), SOME LIKE IT HOT (Adolph Deutsch) [Fine Arts]
THE LANDLORD (Al Kooper) [Los Feliz 3]
LE SAMOURAI (Francois De Roubaix) [Los Feliz 3]
MAN AND WIFE [UCLA/Hammer]
MISHIMA: A LIFE IN FOUR CHAPTERS (Philip Glass) [BrainDead Studios]
ON THE WATERFRONT (Leonard Bernstein) [Academy Museum]
A SHOT IN THE DARK (Henry Mancini) [Vista]
THEY DRIVE BY NIGHT (Adolph Deutsch) [Los Feliz 3]
3:10 TO YUMA (George Duning) [New Beverly]
TURNING RED (Ludwig Goransson) [Vidiots]
VALLEY GIRL (Scott Wilk, Mark Levinthal), REAL GENIUS (Thomas Newman) [Aero]
THE VINDICTIVE SNAKE [UCLA/Hammer]
WHITE (Zbigniew Preisner) [Alamo Drafthouse]
April 22
BEVERLY HILLS COP (Harold Faltermeyer) [Egyptian]
KLUTE (Michael Small) [Los Feliz 3]
A NIGHTMARE ON ELM STREET (Charles Bernstein) [Egyptian]
THE PROFESSIONAL (Eric Serra) [Vidiots]
ROCK AROUND THE CLOCK, RING A DING RHYTHM [New Beverly]
SPIDER-MAN 2 (Danny Elfman) [Alamo Drafthouse]
April 23
A.I. ARTIFICIAL INTELLIGENCE (John Williams) [Los Feliz 3]
BODY DOUBLE (Pino Donaggio) [Egyptian]
COME AND SEE (Oleg Yanchenko) [Vidiots]
THE DEER HUNTER (Stanley Myers) [Landmark Pasadena]
INDIANA JONES AND THE TEMPLE OF DOOM (John Williams) [Egyptian]
THE MASK (Randy Edelman) [Alamo Drafthouse]
THE RUNAWAYS (Lillian Berlin), LORDS OF DOGTOWN (Mark Mothersbaugh) [New Beverly]
April 24
ANGIE (Jerry Goldsmith) [Los Feliz 3]
ANGST (Klaus Schulze) [Alamo Drafthouse]
FANTASTIC MR. FOX (Alexandre Desplat) [Academy Museum]
FOOTLOOSE (Miles Goodman) [Egyptian]
GREMLINS (Jerry Goldsmith) [Egyptian]
IN THE MOOD FOR LOVE (Michael Galasso, Shigeru Umebayashi) [BrainDead Studios]
MEAN GIRLS (Rolfe Kent) [Vidiots]
THE RUNAWAYS (Lillian Berlin), LORDS OF DOGTOWN (Mark Mothersbaugh) [New Beverly]
April 25
IN A LONELY PLACE (George Antheil), THE BIG HEAT [New Beverly]
JAUJA (Viggo Mortensen) [Aero]
ONCE UPON A TIME IN AMERICA (Ennio Morricone) [Egyptian]
April 26
ALIEN (Jerry Goldsmith) [El Capitan]
GATTACA (Michael Nyman) [New Beverly]
IN A LONELY PLACE (George Antheil), THE BIG HEAT [New Beverly]
I'VE HEARD THE MERMAIDS SINGING (Mark Korven) [Academy Museum]
LE SAMOURAI (Francois De Roubaix) [Aero]
LE SAMOURAI (Francois De Roubaix) [Egyptian]
LITTLE SHOP OF HORRORS (Alan Menken, Miles Goodman) [Nuart]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
2046 (Shigeru Umebayashi) [BrainDead Studios]
April 27
ALIEN (Jerry Goldsmith) [El Capitan]
BURNING (Mowg) [Egyptian]
THE CRIMSON KIMONO (Harry Sukman) [Los Feliz 3]
DELICATESSEN (Carlos D'Alessio) [Vidiots]
GUYS AND DOLLS (Frank Loesser, Jay Blackton, Cyril J. Mockridge) [Academy Museum]
HE NAMED ME MALALA (Thomas Newman) [Academy Museum]
LA LIBERTAD (Juan Montecchia) [Los Feliz 3]
LABYRINTH (Trevor Jones) [New Beverly]
LILIES OF THE FIELD (Jerry Goldsmith) [Vidiots]
LOS MUERTOS (Flor Maleva), LIVERPOOL (Flor Maleva) [Aero]
MANSFIELD PARK (Lesley Barber) [Academy Museum]
THE MASK (Randy Edelman) [Landmark Westwood]
MUPPETS FROM SPACE (Jamshied Sharifi) [Vidiots]
THE PROFESSIONAL (Eric Serra) [BrainDead Studios]
PULP FICTION [Alamo Drafthouse]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
RUN LOLA RUN (Tom Wykwer, Reinhold Heil, Johnny Klimek) [BrainDead Studios]
SPEED (Mark Mancina) [El Capitan]
SWEETIE (Martin Armiger) [UCLA/Hammer]
April 28
ALIEN (Jerry Goldsmith) [El Capitan]
BEAU TRAVAIL (Charles Henri de Pierrefeu, Eran Tzur) [BrainDead Studios]
BYE BYE BIRDIE (Charles Strouse, Johnny Green) [New Beverly]
THE EXILES [Los Feliz 3]
FANTASMA [Los Feliz 3]
THE FUGITIVE KIND (Kenyon Hopkins) [Academy Museum]
THE GODFATHER (Nino Rota) [Academy Museum]
JAMES AND THE GIANT PEACH (Randy Newman) [UCLA/Hammer]
LABYRINTH (Trevor Jones) [New Beverly]
McCABE AND MRS. MILLER (Leonard Cohen) [Vidiots]
PEPPERMINT CANDY (Jae-jin Lee) [Los Feliz 3]
RATATOUILLE (Michael Giacchino) [Vidiots]
RED (Zbigniew Preisner) [Alamo Drafthouse]
SPLASH (Lee Holdridge) [El Capitan]
THE WAR OF THE ROSES (David Newman) [Vidiots]
WHITE ROOM [UCLA/Hammer]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Soul (Batiste/Reznor/Ross); Funny Girl (Styne, Scharf); Humanoids from the Deep (Horner); Star Trek: Mirror, Mirror (Steiner); Hello, Dolly! (Herman/Hayton/Newman); Julia and Julia (Jarre); Sirens (Burgon); On a Clear Day You Can See Forever (Lane/Riddle); Ogro (Morricone); The One (Rabin); The Hidden (Convertino); Passion of Mind (Edelman); Picture Bride (Eidelman); Yentl (Legrand); Shattered Image (Arriagada)
Read: Lynch Town, by Warren Murphy
Seen: Holiday [1938]; Too Many Husbands; The First Omen; Monkey Man; Mothra; The H-Man; Jason and the Argonauts; Sasquatch Sunset; Julius Caesar [1953]; Asparagus; Eraserhead; Arcadian
Watched: The Good Place ("The Snowplow"); Mission: Impossible - Fallout; Dollhouse ("The Attic"); Have Gun, Will Travel ("The Reasonable Man"); Bend of the River; Get Shorty ("Selenite"); Inside Amy Schumer ("Tyler Perry's Episode 208")
| 
