IN THEATERS TODAY
Atlas - Andrew Lockington
Furiosa: A Mad Max Saga - Tom Holkenborg
The Garfield Movie - John Debney
Hit Man - Graham Reynolds
Invisible Nation - Wei-San Hsu
Jim Henson: Idea Man - David Fleming
Sight - Sean Philip Johnson
COMING SOON
June 7
Two Evil Eyes - Pino Donaggio - Rustblade
THIS WEEK IN FILM MUSIC HISTORY
May 24 - Sadao Bekku born (1922)
May 24 - Bob Dylan born (1941)
May 24 - Waddy Wachtel born (1947)
May 24 - Franz Waxman begins recording his score for Sorry, Wrong Number (1948)
May 24 - Pierre van Dormael born (1952)
May 24 - David Ferguson born (1953)
May 24 - Leith Stevens records his score for the Land of the Giants episode “Underground” (1968)
May 24 - Jerry Fielding begins recording his score for Shirts/Skins (1973)
May 24 - Duke Ellington died (1974)
May 24 - Recording sessions begin for Graeme Revell’s score to Child’s Play 2 (1990)
May 24 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “In Theory” (1991)
May 25 - Pierre Bachelet born (1944)
May 25 - Alex North begins recording his score for Decision for Chemistry (1953)
May 25 - Rick Smith born (1959)
May 25 - Miklos Rozsa begins Los Angeles recording sessions for Ben-Hur (1959)
May 25 - Elmer Bernstein wins the Outstanding Music Composition Emmy for The Making of the President 1960 (1964)
May 25 - Trevor Morris born (1970)
May 25 - Quincy Jones begins recording his score for Killer by Night (1971)
May 25 - Star Wars released in theaters (1977)
May 25 - Alien released in theaters (1979)
May 26 - Bruno Nicolai born (1926)
May 26 - Miles Davis born (1926)
May 26 - William Bolcom born (1938)
May 26 - Alfred Newman begins recording his score for Man Hunt (1941)
May 26 - Nicola Piovani born (1946)
May 26 - David Torn born (1953)
May 26 - Howard Goodall born (1958)
May 26 - Jerry Goldsmith begins recording his score for The Satan Bug (1964)
May 26 - Sonny Sharrock died (1994)
May 26 - George Greeley died (2007)
May 26 - Earle Hagen died (2008)
May 27 - Rene Koering born (1940)
May 27 - Franz Waxman begins recording his score for Botany Bay (1952)
May 27 - Angelo Milli born (1975)
May 27 - James Horner records his score for Tummy Trouble (1989)
May 27 - Derek Scott died (2006)
May 28 - Victor Young begins recording his score for I Walk Alone (1947)
May 28 - Vertigo is released in theaters (1958)
May 28 - Maurice Jarre begins recording his score for The Island at the Top of the World (1974)
May 28 - Fred Karlin wins the Emmy for The Autobiography of Miss Jane Pittman; Morton Stevens wins for the Hawaii Five-O episode score “Hookman” (1974)
May 28 - Maurice Jarre records his score for Posse (1975)
May 28 - Maurice Jarre begins recording his score for Solar Crisis (1990)
May 28 - Tony Ashton died (2001)
May 28 - Johnny Keating died (2015)
May 28 - Lennie Niehaus died (2020)
May 29 - Erich Wolfgang Korngold born (1897)
May 29 - Masaru Sato born (1928)
May 29 - Vyacheslav Ovchinnikov born (1936)
May 29 - David McHugh born (1941)
May 29 - Danny Elfman born (1953)
May 29 - Ed Alton born (1955)
May 29 - Deborah Mollison born (1958)
May 29 - J.J. Johnson begins recording his score for Cleopatra Jones (1973)
May 29 - Maurice Jarre begins recording his score for Shogun (1980)
May 29 - Simon Brint died (2011)
May 30 - Michael Small born (1939)
May 30 - Lalo Schifrin begins recording his score for Golden Needles (1974)
May 30 - Devendra Banhart born (1981)
DID THEY MENTION THE MUSIC?
BOY KILLS WORLD - Ludvig Forssell
"For those preferring choreography and performance to a lookie-lookie director armed with a drone, 'Boy Kills World' will disappoint, even as the music by Ludvig Forssell and El Michels Affair provides suitably thumping accompaniment."
Robert Abele, Los Angeles Times
FORCE OF NATURE: THE DRY 2 - Peter Raeburn
"Standing in for the fictional Giralang Ranges are magnificent Victorian locations in Great Otway National Park, the Dandenong Ranges and the Yarra Valley. Cinematographer Andrew Commis takes full advantage of all the natural splendor, from the spectacular waterfall that marks the start of the women’s hike to the growing claustrophobia of the dense foliage and its canopy as their plight becomes more desperate. Peter Raeburn’s ominous score enhances the moody undertones."
David Rooney, The Hollywood Reporter
JEANNE DU BARRY - Stephen Warbeck
"Much of Jeanne’s early days are recounted in 'Jeanne du Barry' with the aid of dignified narration, regal compositions (emphasis on magisterial master shots), and Stephen Warbeck’s imperial orchestral score, all of which lend the film its reserved, semi-dreamy stateliness."
Nick Schager, The Daily Beast
"The affair between the king and a woman of the street is far from a fairytale and, yet, Maïwenn is adamant in imbuing their falling in love with the heavy-handed romanticism of classic Disney animations, from the gasp-inducing grand entrances to the mousy-faced villains in the shape of spoilt princesses. In 'Jeanne du Barry,' people float aimlessly through the half-baked script as there is no anchor to ground them to an ounce of tangibility, the film often over-relying on aesthetics to compensate for an ever-present sense of senselessness. Sure, the pompous golden-laden rooms of Versailles are beautiful to look at, but no amount of adorned production design and overly dramatic score can mask the gaping hole of pointlessness."
Rafaela Sales Ross, The Playlist
"It’s unfortunate this happens, given the marriage of subject matter and Maïwenn’s talents as a director, which are best showcased this time through the high level of craft -- whether it’s the costumes by Jürgen Doering, the polished photography of Laurent Dailland or the sets by Angelo Zamparutti capturing the extreme wealth of the time. Tying up the package is a seductive score by Stephen Warbeck ('Shakespeare in Love') which, more often than not, fills in for emotions that fail to be generated on screen."
Jordan Mintzer, The Hollywood Reporter
KINGDOM OF THE PLANET OF THE APES - John Paesano
"Ball is a director who often doesn’t get enough credit or respect for his ability to excel in delivering both drama and action. His controlled and balanced execution of both, previously evidenced in his 'The Maze Runner' trilogy, is something many may have previously overlooked. However, 'Kingdom of the Planet of the Apes' allows him to showcase his skills perfectly. Where the film requires intimacy and contemplative introspection, Ball delivers. Where it involves tension and excitement, Ball provides thrills. And where the film requires epic scale that at times feels so engaging to the degree that the film envelopes the audience, Ball, you’ve guessed it, achieves it all. Part of that credit should also go to cinematographer Gyula Pados, who previously shot the second and third 'Maze Runner' movies with the director, who does stellar work that displays a level of nuance 'Kingdom' didn’t need to have yet benefits from. Also, John Paesano, another Ball collaborator from the 'Maze Runner' era, does a beautiful job of scoring 'Kingdom of the Planet of the Apes,' echoing elements of the original Apes movies but still feeling unique and contemporary. "
Simon Thompson, The Playlist
"Cinematographer Gyula Pados, who shot Ball’s last two 'Maze Runner' entries, brings muscularity and hyper-agility to the visuals, which include some awe-inspiring scenic wonders, while John Paesano’s full-bodied orchestral score propels things along with a robust emotional charge. Fans of the franchise should find much to enjoy in this very solid new installment, which points the way forward to a potential new recalibration of the human-ape balance."
David Rooney, The Hollywood Reporter
THE MINISTRY OF UNGENTLEMANLY WARFARE - Christopher Benstead
"But the real star of 'The Ministry of Ungentlemanly Warfare' is the film’s composer, Christopher Benstead, whose music playfully evokes the energy and tone of Ennio Morricone, giving the film a charming 'macaroni combat' vibe. In addition to sounding just delightful, Benstead’s score puts the film in a helpful context. This isn’t a serious World War II film, it’s a pulpy adventure that uses a real story as the foundation for pure sensationalism."
William Bibbiani, The Wrap
"If Tarantino uses a stylistic pastiche of 1960s and ’70s exploitation films and spaghetti westerns in order to rewrite history to his own liking, Ritchie borrows Tarantino’s approach to perform a kind of pulpy myth-making and celebrate a group of undersung real-life war heroes (who may have inspired Ian Fleming’s James Bond). The score by Christian [sic] Benstead is all Ennio Morricone-style whistles and guitars."
Katie Walsh, Los Angeles Times
"At a critical juncture in the war, a plan is hatched to form a commando unit. This off-the-books assemblage of misfits and rogues (read: psychopaths) will launch guerrilla warfare on the Nazis from the shadows, denied official recognition from British armed forces. Who will lead this motley crew? Only one man right for the job, muses Brigadier Gubbins (Cary Elwes) -- grinning rule-breaker Gus March-Phillipps (Henry Cavill), currently cooling his heels in prison for reasons unknown. Summoned to meet with top brass about a covert mission (the real-life Operation Postmaster), Gus is heard before he’s seen, his shackles audibly jangling like spurs, in concert with Christopher Benstead’s spaghetti western flavored score. The audio cue is amusingly on-the-nose: Gus is an ungovernable gunslinger, but not without a code. In other words, a standard-issue Guy Ritchie hero."
Kimberley Jones, The Austin Chronicle
"Backing up the action is a swinging score by Ritchie’s long-time composer Christopher Benstead. It’s so shrewd in its mood shifts that it makes a bigger impact than one of the film’s stars -- even the debonair Cavill. And in a movie that readily favours style over substance, costume designer Loulou Bontemps adds essential glamour, while cinematographer Ed Wild turns Turkey into a sunny substitute for Spain."
Elizabeth Weitzman, Time Out
"It may not outdo Tarantino’s masterpiece in any other department, but that certainly isn’t for lack of trying. From the opening notes of Christopher Benstead’s jangly, Jacques Loussier-inspired score, it’s clear that Ritchie is gunning for that same kind of grindhouse-adjacent pastiche, and 'The Ministry' is at its best when it embraces the cigar-chomping ultra-violence that 'Basterds' elevated into high art."
David Ehrlich, IndieWire
"Naturally, complications ensue once Phillipps and company are en route, but no obstacle ever proves especially daunting for the team. This means maneuvers that should be nail-biters look like a piece of cake for the jolly Postmaster crew, and despite a considerable number of explosions and gunfire exchanges, it all seems a bit too easy to ramp up the conflict or build suspense. Chris Benstead’s jazzy score only adds to the lightweight feel of it all."
David Rooney, The Hollywood Reporter
POOLMAN - Andrew Bird
"Chris Pine's first film as a director, 'Poolman,' is a character comedy about oddball Los Angelenos that doubles as a spoof of 1940s detective movies. Pine also cowrote (with Ian Gotler), co-produced, and plays the title character, Darren Barrenman. Darren is a big-bearded, long-haired, talkative, thoroughly goofy pool cleaner who lives in a tiny trailer right next to the pool that he tends, which is in the courtyard of an old Tiki-style motel that's been converted into apartments. I think it's set in the present, but maybe not. Nobody uses a cell phone, and there's a heavy pre-1950s influence in the production design and costuming. One of the presumed bad guys drives a huge roadster like you'd see in the 1930s. The score is retro-hipster jazz with a violin and a zither. A mysterious woman named June Del Rey (DeWanda Wise) who appears out of nowhere and draws the hero into a mystery has a silhouette like a film noir dame and the wardrobe to match."
Matt Zoller Seitz, RogerEbert.com
SWEET DREAMS - Martial Foe
"Meanwhile, Emo Weemhoff’s cinematography casts the plantation and its jungle environs in an unreal, lurid glow, framing the characters (Cornelis especially) as ludicrous. But it’s Vincent Sinceretti’s sound design that kicks 'Sweet Dreams' up a notch. In scene after scene, the meandering whine of mosquitoes fills the soundtrack, deflating Cornelis and Josefien’s desire to see the colony as some exotic paradise and serving as an insistent reminder of their own parasitic role. When non-diegetic music is present, it’s often a period-inappropriate drum-machined electronica that hampers the viewer from lapsing into uncritical absorption. The comedic exaggeration of certain sound effects, like the resounding click of an empty revolver or the splat of a sausage thrown against the wall, pushes the tone to the borders of slapstick."
William Repass, Slant Magazine
UNFROSTED - Christophe Beck
"Seinfeld is clearly having a ball playing with the 1950s and ’60s cliches, aesthetics, motifs, and music, again 1950s 'Mad Men' execs platitudes, retro-futurist notions from the space-age race, and a jazz/easy listing/space age orchestral score that plays like musical slapstick if only anyone else were having just as much fun. 'Unfrosted' seems smugly self-satisfied throughout, too, the type of moving so in love with itself, it uses its credits to feature outtakes, bloopers, and additional scenes; God forbid someone misses one of these gems of comedy."
Rodrigo Perez, The Playlist
"Buoyed by Christophe Beck’s score, a midcentury world-of-tomorrow vibe infuses the proceedings. The exuberant playfulness of Clayton Hartley’s production design and Susan Matheson’s vibrant costumes is balanced by the formal restraint of William Pope’s lensing."
Sheri Linden, The Hollywood Reporter
WE GROWN NOW - Jay Wadley
"Tackling those questions -- and broader ones about public housing, brutal policing, racism, and urban planning -- Baig’s film is a tender meditation on what we make with what we have and on the flights of imagination necessary to carve new paths ahead. It’s an intimate film that’s awash with beauty: 'There’s poetry in everything,' Malik’s grandmother (S. Epatha Merkerson) tells him at one point -- she may as well be describing the very aesthetic of 'We Grown Now.' Everything from its sun-dappled cinematography (Pat Scola finding warmth in the grittiness of Cabrini-Green) to its lush score (Jay Wadley going big and bold to engulf us in Eric and Malik’s playful tenor) finds Baig’s film defying expectations about the story it can be, the place it is capturing. There’s artistry here in how a boy’s world is coming to a close, an elegy for what was and a welcome invitation to see what could yet be."
Manuel Betancourt, The Onion AV Club
"The film’s geographical core of Cabrini-Green is the most infamous of Chicago’s many historied housing projects, and its filmic legacy is most likely to awaken memories of the dangerous, dilapidated corridors and crumbling, graffiti stained infrastructure in 'Candyman,' a film that takes place in the same year of 'We Grown Now.' While these are vastly different films, each laudable in their own right, their depictions are clear dichotomous representations of reputation and reality. Yet, 'We Grown Now' doesn’t sidestep the underbelly of its locale. While utilizing it as a biographical moment in the lives of Malik and Eric, it also permits a full, real spectrum of its history: both the plague of crime’s collateral damage and the play and plainness of an overall happily lived life. Though Jay Wadley’s string-heavy score sometimes tips into oversentimentality alongside a few heavy-handed moments of dialogue, 'We Grown Now' is largely firmly planted in authenticity."
Peyton Robinson, RogerEbert.com
"Other touches work better. A constant hum of background noise weaves throughout the film -- people talking outside, kids yelling, guys playing basketball -- all the better to remind the audience how communal this place is, how everyone’s business is inevitably bound up in everyone else’s. Jay Wadley’s score adds a touch of whimsy, while Patrick Scola’s cinematography finds beauty in all sorts of spaces."
Kate Erbland, IndieWire
"At one point, the real world does catastrophically pierce the boys’ bubble when a near-army of police descend on the complex in the wake of a shooting, ransacking homes and turning residents into suspects. This violence gives the story dramatic tension, creating a crisis in Malik’s life when his mother considers moving elsewhere. The police raid also widens his (and the movie’s) horizons when he learns that his grandparents moved to Cabrini to escape the violence in their Southern hometown. Some of this is effective, even if too many of Baig’s filmmaking choices -- the honeyed cinematography, the score’s agitated violins and Malik’s preternaturally knowing voice-over -- finally overwhelm the story’s fragile lyrical realism."
Manohla Dargis, The New York Times
"Achingly empathetic -- there is so much grace in these performances -- 'We Grown Now' occasionally tilts a touch too capital-A Arthouse Film. (The generally effective score by Jay Wadley, heavy on the pizzicato strings and piccolo, can sometimes veer into territory I call 'NPR picaresque.') But 'We Grown Now' has precisely two, pint-sized aces up its sleeve, its astonishingly expressive little-man leads. James and Ramirez wear their joy and their stress on their faces as big as a billboard -- and that’s about as big as your heart will swell for these boys, too."
Kimberley Jones, The Austin Chronicle
"Our way in is via grade-school besties Malik (Blake Cameron James) and Eric (Gian Knight Ramirez), spirited kids fueled by a love of exploration (sometimes during school hours), a commitment to perfecting their playground 'jump' onto piled mattresses cadged from empty units and a running commentary of jokes, teasing and Bulls analysis. (This is the rare period film devoid of needle-drop music cues, Baig preferring Jay Wadley’s flinty string score as accompaniment.)"
Robert Abele, Los Angeles Times
"These self-conscious lines plop out like they’re filling leaden speech bubbles. The visual poetry, condensed into inelegant voiceover -- or worse, into characters lamely announcing their deepest feelings -- becomes distancing to the point of embarrassment. It’s like trying to tell someone about part of a song that made you cry. The very act of articulating it feels like a silly betrayal of real emotion. Behind the words, a string-dense score can overbear as an emotional guide. If you don’t already get that cops trashing a family’s apartment at 2 AM is a violent tragedy perpetrated by the main authorities in their lives…well, no amount of swelling music will make the point stick. And yet you want to forgive the clumsiness because 'We Grown Now' has already successfully made its characters your neighbors."
Jacob Oller, Paste Magazine
"The kids grapple with the news via differing shades of unease, with Malik wrestling with unspoken feelings of guilt he can’t articulate, and Eric struggling with the anxiety of getting left behind. Still, the kids search for ways to hold onto the time they’ve left together, skipping school, visiting a museum and defiantly screaming 'I exist' from the rooftops in deeply emotional moments. James and Ramirez both bring an extraordinary sense of resolve and wisdom to their respective roles, a kind of actorly maturity well beyond their years, accompanied and elevated by Jay Wadley’s melancholic score. Even in its quietest moments, 'We Grown Now' feels alive through the kids’ joint triumphant spirit and Baig’s discernible love and care for them."
Tomris Laffly, Variety
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
May 24
AUDITION (Koji Endo) [Nuart]
BLIND BEAST (Hikari Hayashi) [BrainDead Studios]
BRIDE OF RE-ANIMATOR (Richard Band) [Alamo Drafthouse]
GIANT (Dimitri Tiomkin) [Vista]
HOUSE (Asei Kobayashi, Mikki Yoshino) [Academy Museum]
KILL BILL, VOL. 1 (RZA) [New Beverly]
THE LIGHTHOUSE (Mark Korven) [Alamo Drafthouse]
THE MAN WITH TWO BRAINS (Joel Goldsmith) [Vista]
MASKED AND ANONYMOUS (Bob Dylan), THE LAST WALTZ [Aero]
PULP FICTION [New Beverly]
STAR WARS EPISODE I: THE PHANTOM MENACE (John Williams) [Fine Arts]
STAR WARS EPISODE II: ATTACK OF THE CLONES (John Williams) [Fine Arts]
May 25
BOOMERANG FAMILY (Jae-jin Lee), LUCKY CHAN-SIL (Jung-Yeop Jeong) [Academy Museum]
BRAM STOKER'S DRACULA (Wojciech Kilar) [Vidiots]
COOL AS ICE (Stanley Clarke) [BrainDead Studios]
DESPERATELY SEEKING SUSAN (Thomas Newman) [Los Feliz 3]
THE EMPIRE STRIKES BACK (John Williams) [Fine Arts]
FARGO (Carter Burwell) [BrainDead Studios]
FRANCIS GOES TO WEST POINT [Vista]
GIANT (Dimitri Tiomkin) [Vista]
GREASE [New Beverly]
HELLBOUND: HELLRAISER II (Christopher Young) [Academy Museum]
HOWL'S MOVING CASTLE (Joe Hisaishi) [Vidiots]
LAST ACTION HERO (Michael Kamen) [Vidiots]
THE MAN WITH TWO BRAINS (Joel Goldsmith) [Vista]
PULP FICTION [New Beverly]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SIDEWALK STORIES (Marc Marder) [Alamo Drafthouse]
SMITHEREENS (Glenn Mercer, Bill Million) [Los Feliz 3]
STAR WARS (John Williams) [Fine Arts]
STAR WARS EPISODE III: REVENGE OF THE SITH (John Williams) [Fine Arts]
TOP GUN (Harold Faltermeyer) [Vidiots]
TURNING RED (Ludwig Goransson) [Academy Museum]
ZARDOZ (David Munrow) [New Beverly]
May 26
BACK TO THE FUTURE (Alan Silvestri) [Alamo Drafthouse]
FRANCIS GOES TO WEST POINT [Vista]
GET CRAZY (Michael Boddicker) [Los Feliz 3]
GIANT (Dimitri Tiomkin) [Vista]
GODZILLA (Akira Ifukube) [Vista]
GREASE [New Beverly]
LOVE LIZA (Jim O'Rourke) [BrainDead Studios]
THE MUPPETS (Christophe Beck) [Vidiots]
NOMADLAND (Ludovico Einaudi) [Academy Museum]
PRIDE & PREJUDICE (Dario Marianelli) [Vidiots]
PULP FICTION [New Beverly]
RETURN OF THE JEDI (John Williams) [Fine Arts]
STAR WARS: THE FORCE AWAKENS (John Williams) [Fine Arts]
STAR WARS: THE LAST JEDI (John Williams) [Fine Arts]
STAR WARS: THE RISE OF SKYWALKER (John Williams) [Fine Arts]
WALLACE & GROMIT: THE CURSE OF THE WERE-RABBIT (Julian Nott) [BrainDead Studios]
May 27
HOWL'S MOVING CASTLE (Joe Hisaishi) [Vidiots]
I SAW THE DEVIL (Mowg) [Alamo Drafthouse]
RAN (Toru Takemitsu) [Vista]
SAVING PRIVATE RYAN (John Williams) [Aero]
SHIVA BABY (Ariel Marx), LEMON (Heather Christian) [Academy Museum]
VELVET GOLDMINE (Carter Burwell) [Vidiots]
May 28
BACK TO THE FUTURE (Alan Silvestri) [Alamo Drafthouse]
CHARLEY VARRICK (Lalo Schfirin), THUNDERBOLT AND LIGHTFOOT (Dee Barton) [New Beverly]
RAN (Toru Takemitsu) [Vista]
ROAD HOUSE (Michael Kamen) [Alamo Drafthouse]
May 29
AMERICAN GRAFFITI [Academy Museum]
BACK TO THE FUTURE (Alan Silvestri) [Alamo Drafthouse]
CHARLEY VARRICK (Lalo Schfirin), THUNDERBOLT AND LIGHTFOOT (Dee Barton) [New Beverly]
THE CROW (Graeme Revell) [Vidiots]
THE FAREWELL (Alex Weston) [Aero]
THE LIGHTHOUSE (Mark Korven) [Alamo Drafthouse]
RAN (Toru Takemitsu) [Vista]
ROSENCRANTZ AND GUILDENSTERN ARE DEAD (Stanley Myers) [Los Feliz 3]
May 30
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Academy Museum]
WELCOME TO THE DOLLHOUSE (Jill Wisoff), HARRIET THE SPY (Jamshied Sharifi) [New Beverly]
May 31
THE ABOMINABLE DR. PHIBES (Basil Kirchin) [Vista]
AMADEUS [Academy Museum]
DICK TRACY (Danny Elfman) [Egyptian]
KILL BILL, VOL. 1 (RZA) [New Beverly]
THE LION HAS SEVEN HEADS (Baden Powell) [Los Feliz 3]
THE MISSION (Ennio Morricone) [New Beverly]
OPERA [Alamo Drafthouse]
TABU [Los Feliz 3]
TEETH (Robert Miller) [Vidiots]
THE THIRD MAN (Anton Karas) [New Beverly]
TRON (Wendy Carlos) [Nuart]
WELCOME TO THE DOLLHOUSE (Jill Wisoff), HARRIET THE SPY (Jamshied Sharifi) [New Beverly]
June 1
THE ABOMINABLE DR. PHIBES (Basil Kirchin) [Vista]
BOOGIE NIGHTS (Michael Penn) [Academy Museum]
DESTROYER (Theodore Shapiro) [Los Feliz 3]
DRUGSTORE COWBOY (Elliot Goldenthal) [Alamo Drafthouse]
HIS GIRL FRIDAY [Vista]
THE KARATE KID (Bill Conti) [Academy Museum]
MERRILY WE GO TO HELL [Egyptian]
THE MIDDLEMAN (Satyajit Ray) [Los Feliz 3]
PAISAN (Renzo Rossellini), GERMANY, YEAR ZERO (Renzo Rossellini) [Aero]
THE PANIC IN NEEDLE PARK [Egyptian]
QUIZ SHOW (Mark Isham) [UCLA/Hammer]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
ROME, OPEN CITY (Renzo Rossellini) [Aero]
THE ROOM (Mladen Milicevic) [Landmark Westwood]
SEVEN (Howard Shore) [Egyptian]
SOCIETY (Phil Davies, Mark Ryder) [Alamo Drafthouse]
TESTAMENT (James Horner) [Los Feliz 3]
THE TWILIGHT SAGA: BREAKING DAWN - PART 2 (Carter Burwell) [Alamo Drafthouse]
June 2
BACK TO THE FUTURE PART II (Alan Silvestri) [Alamo Drafthouse]
COME AND SEE (Oleg Yanchenko) [Egyptian]
THE DEVIL (Andrzej Korzynski) [Los Feliz 3]
DR. STRANGELOVE (Laurie Johnson) [Academy Museum]
HARD TO BE A GOD (Viktor Lebedev) [Aero]
HIS GIRL FRIDAY [Vista]
LADIES IN RETIREMENT (Ernst Toch) [Los Feliz 3]
LOS ANGELES PLAYS ITSELF [Academy Museum]
MARGARET (Nico Muhly) [Egyptian]
NATURAL ENEMIES (Don Ellis) [Los Feliz 3]
SCARECROW (Fred Myrow) [Aero]
THE SEA HAWK [UCLA/Hammer]
THE TWILIGHT SAGA: BREAKING DAWN - PART 2 (Carter Burwell) [Alamo Drafthouse]
UNFORGIVEN (Lennie Niehaus) [Egyptian]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Pepe (Green, Previn, various); Practical Magic (Nyman, various); The Rocky Horror Show (O'Brien); Night Watch (Potyenko); Porgy and Bess (Gershwin/Previn/Darby); Far from Heaven (Bernstein); Mackenna's Gold/In Cold Blood (Jones); Summer of '85 (Dunckel); Introspective (Pet Shop Boys); Want One (Wainwright); Cromwell (Cordell); Behaviour (Pet Shop Boys); Shadowland (lang); Tommy (Townsend)
Read: The Day the World Ended by Gordon Thomas and Max Morgan-Witts
Seen: The Spirit of the Beehive; Evil Does Not Exist; Woman of Fire; IF; Wildcat; Babes; RRR; Frankenstein Meets the Wolf Man; House of Frankenstein
Watched: Star Trek V: The Final Frontier; Succession ("Pre-Nuptial); You're the Worst ("There's Always a Back Door"); Fear No Evil [1969]; The Wire ("Moral Midgetry")
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