The latest CD from Intrada is a re-release of Angelo Badalamenti's warm, melodic score for David Lynch's change-of-pace 1999 drama THE STRAIGHT STORY, which earned former stuntman Richard Farnsworth a Best Actor nomination for his performance as Alvin Straight, the elderly man who rode 240 miles on his lawn mower to visit his estranged brother. The Intrada CD features the same cues as the previous release on the Disney label.
The latest releases from Buysoundtrax and its related labels are THE GOLDEN AGE OF SCIENCE-FICTION VOL. 4, featuring music from The Day the World Ended (Ronald Stein) and The Earth Dies Screaming (Elisabeth Lutyens); the first release of the score for DEATH HUNT, the period outdoor adventure film from 1981 starring Charles Bronson, Lee Marvin and Carl Weathers, and scored by Jerrold Immel (Megaforce, Dallas); THE DAVID MICHAEL FRANK COLLECTION VOL. 4, featuring cues from the composer's scores to Poison Ivy, Call Me, Suburban Commando and Going Under; and a second volume of FRANZ WAXMAN: LEGENDARY HOLLYWOOD, featuring previously released re-recordings of music from such Waxman classics as Sorry, Wrong Number and The Paradine Case.
CDS AVAILABLE THIS WEEK
Roma Bene - Luis Bacalov - Quartet
The Straight Story - Angelo Badalamenti - Intrada
IN THEATERS TODAY
The Dead Don't Hurt - Viggo Mortensen
Deer Camp '86 - Will Musser
Ezra - Carlos Rafael Rivera
Guy Friends - Emi Nishida
Hidden Master: The Legacy of George Platt Lynes - Sarah Lynch
In a Violent Nature - Music Supervisor: Christine Leslie
Kidnapped: The Abduction of Edgardo Mortara - Facio Massimo Capogrosso
Solo - Charles Lavoie
Summer Camp - Tom Howe
Young Woman and the Sea - Amelia Warner
COMING SOON
June 7
Two Evil Eyes - Pino Donaggio - Rustblade
THIS WEEK IN FILM MUSIC HISTORY
May 31 - Rene Cloerec born (1911)
May 31 - Akira Ifukube born (1914)
May 31 - Mario Migliardi born (1919)
May 31 - Clint Eastwood born (1930)
May 31 - Jerry Goldsmith records his score for Studs Lonigan (1960)
May 31 - Giovanni Fusco died (1968)
May 31 - Lalo Schifrin begins recording his score for The Concorde…Airport ’79 (1979)
May 31 - Maurice Jarre begins recording his unused score for The River Wild (1994)
June 1 - Werner Janssen born (1899)
June 1 - Frank Cordell born (1918)
June 1 - Nelson Riddle born (1921)
June 1 - Tom Bahler born (1943)
June 1 - Konstantin Wecker born (1947)
June 1 - Barry Adamson born (1958)
June 1 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Emissary" (1989)
June 1 - John Debney begins recording his score for Hocus Pocus (1993)
June 2 - Frederic Devreese born (1929)
June 2 - Marvin Hamlisch born (1944)
June 2 - David Dundas born (1945)
June 2 - Alex North begins recording his score to Les Miserables (1952)
June 2 - Patrick Williams begins recording his replacement score for Used Cars (1980)
June 2 - Bill Conti begins recording his score for Cohen & Tate (1988)
June 2 - Recording sessions begin for Danny Elfman’s score to Big Top Pee-Wee (1988)
June 2 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Duet” (1993)
June 3 - Curtis Mayfield born (1942)
June 3 - Shuki Levy born (1947)
June 3 - Gail Kubik begins recording his score for The Desperate Hours (1955)
June 3 - Michael Small begins recording his score for Jaws the Revenge (1987)
June 3 - Jerry Goldsmith begins recording his score for Small Soldiers (1998)
June 4 - Marjan Kozina born (1907)
June 4 - Irwin Bazelon born (1922)
June 4 - Oliver Nelson born (1932)
June 4 - Suzanne Ciani born (1946)
June 5 - William Loose born (1910)
June 5 - Laurie Anderson born (1947)
June 5 - Tyler Bates born (1965)
June 5 - Amanda Kravat born (1966)
June 5 - Danny Lux born (1969)
June 5 - Aesop Rock born (1976)
June 5 - David Newman begins recording his score for DuckTales The Movie: Treasure of the Lost Lamp (1990)
June 6 - Aram Khachaturian born (1903)
June 6 - Ed Plumb born (1907)
June 6 - Edgar Froese born (1944)
June 6 - Herbert Stothart begins recording his score to The Yearling (1946)
June 6 - Miklos Rozsa begins recording his score for The Red Danube (1949)
DID THEY MENTION THE MUSIC?
EVIL DOES NOT EXIST - Eiko Ishibashi
"'Evil Does Not Exist' is quite the title to ponder as Ryûsuke Hamaguchi’s great new film opens on a serene tracking shot through a wintry forest, accompanied by an Eiko Ishibashi score that is both subdued and foreboding. Could this be the untouched calm before a malevolent disturbance? We’re primed to think so, especially when the music cuts off abruptly and the sound of a chainsaw is heard. But they want to help, no matter their greedy overseers. And when this pair heads back with an embarrassingly naive notion of how to persuade the reserved Takumi to sign on to the project, our sense of where this next confrontation could lead creates all kinds of unease. It’s a mood exacerbated by every lulling re-emergence of composer Ishibashi’s searching score -- which always gets interrupted, as if a plug had been pulled. The effect is never not a surprise. After so fruitful a collaboration on 'Drive My Car,' Hamaguchi and Ishibashi may have topped themselves with something even more compelling."
Robert Abele, Los Angeles Times
"Ryusuke Hamaguchi, the writer-director behind such recent gems as 'Drive My Car' and 'Wheel of Fortune and Fantasy,' originally intended his latest film, 'Evil Does Not Exist,' to be a series of silent visuals that would accompany new music from his 'Drive My Car' composer Eiko Ishibashi. At the beginning of 'Evil Does Not Exist,' it’s easy to think that’s exactly what we are going to see, as Ishibachi’s score plays over Hamaguchi’s shots of snow-covered trees under a gorgeous sky. The opening shot lasts almost too long, and the music comes to an abrupt stop, as if Hamaguchi is assuring us that 'Evil Does Not Exist' will be more than just an accompaniment to another beautiful Ishibashi score.If anything, by not focusing so much on an actual story, Hamaguchi allows for the other aspects of the filmmaking to shine through. Naturally, Ishibashi’s score becomes the centerpiece of the story, playing over gorgeous imagery, then cutting out in shocking fashion when we’ve finally been lulled into the sense of security it offers. As previously mentioned, Hamaguchi originally intended this to be all about the visuals, and he still accomplishes that with the help of Yoshio Kitagawa’s stunning cinematography. The way he’s able to frame these walks through the woods is compelling in its own right, and watching something as simple as the snow drift away while Takumi cuts a piece of wood is captivating."
Ross Bonaime, Collider
"The opening, multi-minute shot of 'Evil Does Not Exist' stares upwards at the trees, floating backwards through the forest, while Eiko Ishibashi’s haunting score casts a spell on us. It’s contemplative but not peaceful; weirdly arresting, like a thriller with no tangible thrills. It’s almost a shock when the story kicks in, but writer/director Ryusuke Hamaguchi looks at his characters much the same way. He’s fascinated and concerned by who they are and what they might do, and he watches them float by."
William Bibbiani, The Wrap
"Unusually, this film was initially conceived as footage to accompany a piece of live music by Hamaguchi’s 'Drive My Car' composer Eiko Ishibashi. The music -- all wistful strings -- accompanies the film now, but those sui generis origins can still be felt in this collage of sharply topical themes and quietly observed character beats. Perhaps they even explain a tantalisingly elusive final scene that will bamboozle far greater minds than mine."
Phil de Semlyen, Time Out
"An immediate follow-up feature was not obviously in the cards. 'Evil Does Not Exist' was first conceived as a thirty-minute short film and intended to serve as visual accompaniment for an electronic score, composed by Eiko Ishibashi, which would be performed live. But dramatic inspiration took root, and Hamaguchi, never one to place arbitrary limits on running time ('Happy Hour' runs a leisurely five hours and seventeen minutes), wound up coaxing his material into feature-length form. The live-score component lives on in a wordless, truncated experimental version of the movie, titled 'Gift,' which I haven’t seen yet, and which reportedly deploys Ishibashi’s music in lieu of diegetic sound. That music is heard early and often in 'Evil Does Not Exist' and it is no less powerful for having to share screen time with the sounds of running water, buzzing chainsaws, and shoes trudging through snow. The score’s main theme feels, above all, like a progression -- a steady movement from melody to dissonance, from keening violins to ominous cellos, from pastoral splendor to something more sinister and unresolved. As if to complete the effect, the music often cuts off abruptly mid-scene, a technique that leaves you feeling bereft and unmoored. It could be the director’s way of preparing us for the story’s ending, of which I will say little, except that it startles and confounds in ways that have no precedent in Hamaguchi’s body of work. As darkness descends and the mist-shrouded final images roll into view, that loftily ruminative title no longer sounds so reassuring."
Justin Chang, The New Yorker
"'Evil Does Not Exist' begins and ends with an extended shot of treetops, filmed from below as if someone is looking up as they wander through the forest. Eiko Ishibashi's score is mournful, but we don't quite know why yet. The peaceful village of Mizubiki seems to be in a state of transition at the tail end of winter. Snow is still on the ground, but it is slowly melting. Golden grass peaks through the frost, the ice on the lake is making way for a reflection of the sky above. Bookended by these two sequences, the moments in between vacillate between slice-of-life vignettes -- a town hall meeting, a dinner between friends, a walk between father and daughter -- and something more ominous. Mysterious gunshots ring out, presumably hunters in some neighboring village. Ishibashi's score will skip to sudden silence as Hamaguchi cuts to another image. It's all meant to feel slightly off, as if we aren't supposed to find our balance within this seemingly idyllic world."
Graeme Guttmann, Screen Rant
"'Evil Does Not Exist' began life as essentially a high-brow music video or slide show— a series of silent visuals meant to accompany the live performances of a new piece by Eiko Ishibashi, his 'Drive My Car' composer. The project expanded to become a two-parter -- taking the form of this narrative film as well as the music-only version --comprised of the same footage but likely excising the dialog sequences, among other things. It will premiere later in 2023 at the Ghent Film Festival in Belgium as a 30-minute presentation. For what it is, the film is immaculately directed and staged with the quiet competence of a superlative filmmaker. In particular, the considerable exterior footage, filmed on location in visually enticing settings, is pristine and well-photographed. The snow-laden winter setting and the mist and fog of the topography add visual interest throughout the film. Eiko Ishibashi’s music -- which sparked the genesis of this project -- is attractive in its evocation of layered harmonies akin to something you might hear in Wagner. The central theme, in particular, occurs several times throughout the film and will be easily recognizable due to its distinctive contours.
Ankit Jhunjhunwala, The Playlist
"The images alternate with a minimalist credits sequence and are heightened by Ishibashi Eiko’s haunting score, which suggests a blend of Philip Glass’s crystalline despair with the operatic undertow of Howard Shore’s work for David Cronenberg. The enveloping yet cold images put us on our guard, while the score prepares us to be moved. Every scene in the film is designed in such a way, pulling us simultaneously toward opposing emotional responses. The pastoral scenes of Takumi navigating the woods, chopping logs, and teaching his eight-year-old daughter, Hana (Nishikawa Ryo), the ways of the land -- from the tracks of the deer to the types of trees that grow nearby -- are emotionally involving. Yet Hamaguchi routinely alienates his audience. 'Evil Does Not Exist''s score sweeps us up yet often drops off the soundtrack abruptly, seemingly mid-note, before we’ve had the opportunity to 'land.' Curtailing his narratives, seizing up his action, which he foreshadows with the clipped-off score and strange tracking shots, Hamaguchi forces us to reckon with the industrialization of nature -- and stew in it. 'Evil Does Not Exist' is a politically engaged act of coitus interruptus, then, though you may not be convinced that Hamaguchi’s new interest in theme over character is a wonderful development in the long run. Preachers are a dime a dozen, while true humanists are as endangered as the woods of Mizubiki Village."
Chuck Bowen, Slant Magazine
"For his follow-up to 2023’s [sic] accolade magnet 'Drive My Car,' filmmaker Ryûsuke Hamaguchi has, not surprisingly, thrown a changeup with 'Evil Does Not Exist.' Originally conceived as a 30-minute collaboration with musician Eiko Ishibashi -- her music, his images -- Hamaguchi has expanded the short film to feature length by weaving into this ethereal atmosphere the arrival of a Tokyo company that wishes to build a glamping retreat site in the village. The town meeting between the residents and the two company representatives is a riveting and satisfying takedown, one that leaves the glamping site (temporarily) stalled, but never underestimate the power of capitalism, especially when government subsidies are at stake. This theme of human encroachment on nature and finding a balance between the two is large enough to warrant using the prefix 'eco' in describing 'Evil Does Not Exist,' but ultimately, Hamaguchi has more primal ideas in mind. The film’s lingering shots of nature set to Ishibashi’s beautiful, often unnerving score (here forlorn, there uplifting) reinforce the idea of two converging forces, not necessarily in conflict, but independent nonetheless, the music imbuing emotional layers while maintaining its discreteness. Hamaguchi’s narrative, in turn, wanders between characters and storylines before joining them up for the film’s unsettling conclusion. But to its credit, the film never feels like a patchwork, but rather a cohesive whole. Or to be more specific: a haunting and meditative yet often hilarious cohesive whole."
Josh Kupecki, The Austin Chronicle
"The alienation of that experience -- he’s admitted to never wanting to get too much bigger than his box as an independent filmmaker of small movies -- led him to 'Evil Does Not Exist.' The film began as footage for a performance piece in collaboration with 'Drive My Car' composer Eiko Ishibashi before Hamaguchi realized the material had potential as a narrative feature. 'Evil Does Not Exist' is a slow-moving film with few epiphanies and no answers to the questions it posits. The film’s reverence for nature and those maintaining its cycles reflects in its unhurried capturing of the village’s flora and fauna, long takes gazing upward at the topiary of the forest bookending the movie, Eiko Ishibashi’s accompanying score a mix of plaintive strings and discomfiting electronic background noise. 'Evil Does Not Exist' is hesitant to reveal itself -- until an ending reminiscent of Korean filmmaker Lee Chang-dong’s 'Burning,' also centered on a man who decides he can take no more. This is slow, patient cinema that on its surface seems as serene as a Kelly Reichardt film, but has a darker, less hopeful attitude about life lived in a purer world the deeper you go."
Ryan Lattanzio, IndieWire
"Hamaguchi began work on 'Evil Does Not Exist' with the intention of creating a visual art piece to accompany the work of musician Eiko Ishibashi, who also composed the score for 'Drive My Car.' Even expanded into a 106-minute feature film, 'Evil Does Not Exist' retains the feeling of an abstract tone poem, more about what the viewer has to say in response than about anything the filmmaker puts on screen. The moral obviousness of the film’s central conflict, therefore, feels like a trick -- a sleight of hand, a dare to watch more closely."
Joshua Rivera, Polygon.com
"From the outset indicating the centrality of composer Eiko Ishibashi‘s score, we are drawn into the film with a long musical excerpt, only accompanied by fluid tracking shot, looking upward: a tracery of tree branches, feathered out against a winter sky. The music is surprising, changeable, moving from twangy electric guitar to lush symphonic layers ('Gift,' Hamaguchi’s next collaboration with Ishibashi, which is dialogue-free altogether and conceived almost as a music video, will premiere in October). Here the effect is beautifully restful -- less an introduction than an overture -- as though Hamaguchi is unstoppering a bottle of calming scent and inviting us to breathe deep. Then, as will happen often throughout, the score cuts out abruptly. We would do well to heed the warning of these blunt music edits, and their implicit foreshadowing effect: mood can lie. Everything ends, sometimes harshly."
Jessica Kiang, Variety
"Developed from a concept by Hamaguchi and composer Eiko Ishibashi, the project began as a silent film to be accompanied by the musician in live performances. But observing the interactions of people in nature during that shoot inspired the director to expand the idea into a feature, in which the mercurial moods of Ishibashi’s score play a significant role. It’s a full 10 minutes before a word is spoken. During that time, DP Yoshio Kitagawa’s camera gazes up through the wintry treetops while taking a long backwards stroll through the woods as Ishibashi’s melodic opening piece gradually folds in notes of ominous dissonance. Kiyagawa keeps the camerawork loose and fluid, with a rough-edged feel that suits the environment, and Ishibashi’s ever-changing score, with its abrupt cutoffs, works in sync with Hamaguchi’s radical shifts in perspective and tone. 'Evil Does Not Exist' may not have the staggering emotional force of 'Drive My Car,' but as a penetrating study of character and milieu, it’s the work of a mature and enormously talented filmmaker not afraid to take chances."
David Rooney, The Hollywood Reporter
FURIOSA: A MAD MAX SAGA - Tom Holkenborg (aka Junkie XL)
"That’s not to say that Furiosa isn’t thrilling in its own right. Action sequences charge forward and build and build, casually leaving all manner of bodies in their wake. (Junkie XL’s score this time is less operatic as well, opting for steady rhythms instead of booming, electronica-inspired crescendos.) Miller still tosses in his beloved bits of makeshift technology -- attack gliders with propellers, parachutists on skates, chariots made of motorcycles -- and peculiar, throwaway characters, such as a guy named Pissboy who seems to exist solely to feed urine to a truck’s carburetor."
Bilge Ebiri, New York
"The dizzying circus stunts and pedal-to-the-metal drag-racing are still spectacular enough to recall Steven Soderbergh's two questions about 'Fury Road:' how did Miller get those action sequences finished, and how come hundreds of people weren't killed? But the fact is that they don't top what's been done in previous 'Mad Max' films, and, because they lack a clear, urgent narrative purpose, Miller's strenuous efforts to up the ante come to feel more exhausting than exhilarating. You soon reach the point where you're sick of sand, sick of explosions, sick of off-puttingly sadistic violence, and sick of thunderous drums bashing away on the soundtrack, and yet the film keeps piling on more and more and more of them."
Nicholas Barber, BBC.com
"Every facet of 'Furiosa' -- not just Rob Mackenzie’s immaculate sound design and Tom Holkenberg’s thundering score, but also the minimal dialogue that’s interspersed between them -- is geared toward the shared purpose of creating a diesel-strength harmony between the people and machinery of the Wasteland, so that the outsized roar of Dementus’ chariot or the guttural purr of Praetorian Jack’s “'Valiant' becomes more expressive than anything these characters might otherwise have to say. No movie this cacophonous has ever sounded more like music."
David Ehrlich, IndieWire
"The production design is still as amazing as it was in the first film, but Miller's vision lacks refinement here. Cinematographer Simon Duggan ('The Great Gatsby,' '300: Rise of an Empire') does not have the same sweeping visual eye that John Seale had in 'Fury Road.' We lose some of the size and scope of these battles on war rigs and the roaming caravans of bandits. 'Fury Road 'is undoubtedly an action flick first, but 'Furiosa' is much more of a character study. Similarly, while Junkie XL returns as the composer, there are whole chase sequences and action sequences that are devoid of his heart-pounding compositions that had me wondering, "Why are we sitting here in silence?'"
Therese Lacson, Collider
"No one knows how to do scale better than Miller. Margaret Sixel and Eliot Knapman’s editing is breathtakingly seamless -- quickly building both rapport between characters and gnarly deaths with equal tenacity -- to the point that DP Simon Duggan’s eloquent photography of these desolate death valleys, matched by composer Tom Holkenborg deafeningly propulsive score, wholly immerses you in way that isn’t needlessly showing. Each large set piece feels necessary, aware of space and story, and brimming with a camera that takes delight in knowing exactly what kill shot or angle of the many battles we want to take in as it swoops between lunging bodies, massive infernos, monster trucks, big rigs, and over sand dunes."
Robert Daniels, RogerEbert.com
"And it’s just as well that the majority of the dialogue is disposable, because the amped-up sound mix renders great chunks of it inaudible beneath the ferocious growl of the motors and the thunderous notes of Tom Holkenborg’s score."
David Rooney, The Hollywood Reporter
GASOLINE RAINBOW - Casey McAllister
"As the crew heads towards the semi-mythical, mostly forgotten promise of The Party at the End of the World, endlessly introducing themselves as they freighthop and get blitzed, this vague narrative and the stammering improvisations that get it from A to B clutter 'Gasoline Rainbow''s collage. Casey McAllister’s score does heavy lifting to fill the dead air and ornament the verbal white noise. These sounds range from low-key city pop to distorted guitar so bent it almost sounds like it’s playing backwards. It’s accompanied by a familiar collection of pop cultural flotsam that just floats through our air at any given moment. That could mean the kids start singing 'Sweet Child O’ Mine' or 'Moana' songs, it could mean that a tiny TV is playing a Cheech & Chong movie."
Jacob Oller, Paste Magazine
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
May 31
THE ABOMINABLE DR. PHIBES (Basil Kirchin) [Vista]
AMADEUS [Academy Museum]
THE BIG LEBOWSKI (Carter Burwell) [Vidiots]
DICK TRACY (Danny Elfman) [Egyptian]
DRUGSTORE COWBOY (Elliot Goldenthal) [Alamo Drafthouse]
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]
THE CABINET OF DR. CALIGARI [Orpheum]
CLUELESS (David Kitay) [Vidiots]
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]
ROBIN HOOD (George Bruns) [Vidiots]
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]
THE SEVEN YEAR ITCH (Alfred Newman) [Orpheum]
SOCIETY (Phil Davies, Mark Ryder) [Alamo Drafthouse]
STOP MAKING SENSE [Vidiots]
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]
THE FAST AND THE FURIOUS (BT) [Vidiots]
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]
THE PRINCESS BRIDE (Mark Knopfler) [Vidiots]
SCARECROW (Fred Myrow) [Aero]
THE SEA HAWK [UCLA/Hammer]
THE TWILIGHT SAGA: BREAKING DAWN - PART 2 (Carter Burwell) [Alamo Drafthouse]
UNFORGIVEN (Lennie Niehaus) [Egyptian]
June 3
DESPICABLE ME (Pharell Williams, Heitor Pereira) [Alamo Drafthouse]
DODES'KA-DEN (Toru Takemitsu) [Los Feliz 3]
HENRY: PORTRAIT OF A SERIAL KILLER (Robert McNaughton, Ken Hale, Steven A. Jones) [Egyptian]
MANCHESTER BY THE SEA (Lesley Barber) [Aero]
NIGHT OF THE STRANGLER (Jim Helms) [New Beverly]
PINK FLOYD: THE WALL (Roger Waters, Michael Kamen) [Vidiots]
REAL WOMEN HAVE CURVES (Heitor Pereira) [Academy Museum]
A TIME FOR DRUNKEN HORSES (Hossein Alizadeh) [Los Feliz 3]
June 4
BACK TO THE FUTURE PART II (Alan Silvestri) [Alamo Drafthouse]
BROKEBACK MOUNTAIN (Gustavo Santaolalla) [Landmark Pasadena]
FUNERAL PARADE OF ROSES (Joji Yuasa) [Vidiots]
GHOSTS...OF THE CIVIL DEAD (Nick Cave) [Los Feliz 3]
MENACE II SOCIETY (QD III) [Egyptian]
MIDNIGHT COWBOY (John Barry), MY OWN PRIVATE IDAHO [New Beverly]
RUN AND KILL [Los Feliz 3]
WE NEED TO TALK ABOUT KEVIN (Jonny Greenwood), YOU WERE NEVER REALLY HERE (Jonny Greenwood) [Aero]
June 5
CAROL (Carter Burwell) [Academy Museum]
I'M THINKING OF ENDING THINGS (Jay Wadley), ANAMOLISA (Carter Burwell) [Aero]
IVANSXTC (Matt Schultz, Elmo Weber) [Los Feliz 3]
MIDNIGHT COWBOY (John Barry), MY OWN PRIVATE IDAHO [New Beverly]
OPERA [Alamo Drafthouse]
RATCATCHER (Rachel Portman) [Egyptian]
TWENTYNINE PALMS [Los Feliz 3]
June 6
ALL ABOUT MY MOTHER (Alberto Iglesias) [Vidiots]
HAPPY TOGETHER (Danny Chung) [Los Feliz 3]
IN VANDA'S ROOM [Los Feliz 3]
MIDNIGHT COWBOY (John Barry), MY OWN PRIVATE IDAHO [New Beverly]
MORVERN CALLAR [Aero]
SYNECDOCHE, NEW YORK (Jon Brion) [Egyptian]
June 7
HOLLYWOOD SHUFFLE (Patrice Rushen, Udi Harpaz) [Vidiots]
JU DOU (Zhao Jiping) [Los Feliz 3]
LILYA 4-EVER (Nathan Larson) [Los Feliz 3]
MIRACLE MILE (Tangerine Dream) [Los Feliz 3]
A NIGHT AT THE OPERA (Herbert Stothart), DUCK SOUP [New Beverly]
KILL BILL: VOL. 2 (RZA, Robert Rodriguez) [New Beverly]
PURPLE RAIN (Prince, Michel Colombier) [New Beverly]
TEEN WITCH (Richard Elliot) [Alamo Drafthouse]
THE TOUCH [Aero]
TWIN PEAKS FIRE WALK WITH ME (Angelo Badalamenti) [Egyptian]
2010 (David Shire) [Vista]
June 8
ADAPTATION (Carter Burwell) [Egyptian]
BEING JOHN MALKOVICH (Carter Burwell) [Egyptian]
BULLITT (Lalo Schifrin) [Los Angeles]
THE DEVIL WEARS PRADA (Theodore Shapiro) [Los Feliz 3]
DR. SUESS'S HOW THE GRINCH STOLE CHRISTMAS (James Horner) [New Beverly]
ETERNAL SUNSHINE OF THE SPOTLESS MIND (Jon Brion) [Egyptian]
GASLIGHT (Bronislau Kaper) [Los Angeles]
GLORIA (Bill Conti) [Alamo Drafthouse]
THE GREAT RACE (Henry Mancini) [Vista]
HAIRSPRAY (Kenny Vance) [Vidiots]
INTERSTELLAR (Hans Zimmer) [Fine Arts]
THE LOST WORLD: JURASSIC PARK (John Williams) [New Beverly]
A NIGHT AT THE OPERA (Herbert Stothart), DUCK SOUP [New Beverly]
PADDINGTON (Nick Urata) [Los Feliz 3]
SHAFT (Isaac Hayes) [Los Feliz 3]
SPELLBOUND (Miklos Rozsa) [Vidiots]
SPIRITED AWAY (Joe Hisaishi) [Vidiots]
SUPER TROOPERS [Vidiots]
2010 (David Shire) [Vista]
WATCHMEN (Tyler Bates) [Landmark Westwood]
June 9
BEAUTY AND THE BEAST (Alan Menken) [Vidiots]
BUCK AND THE PREACHER (Benny Carter) [Vidiots]
BUT I'M A CHEERLEADER (Pat Irwin) [Alamo Drafthouse]
DON'T LOOK BACK [Vidiots]
THE GREAT RACE (Henry Mancini) [Vista]
INTERSTELLAR (Hans Zimmer) [Fine Arts]
LOCAL HERO (Mark Knopfler) [Aero]
THE LOST WORLD: JURASSIC PARK (John Williams) [New Beverly]
MARCEL THE SHELL WITH SHOES ON (Disasterpeace) [UCLA/Hammer]
MOONSTRUCK (Dick Hyman) [Egyptian]
A NIGHT AT THE OPERA (Herbert Stothart), DUCK SOUP [New Beverly]
PADDINGTON 2 (Dario Marianelli) [Los Feliz 3]
STEEL MAGNOLIAS (Georges Delerue) [Alamo Drafthouse]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: The Buddy Holly Story (Renzetti, various); Disco (Pet Shop Boys); Red Hot & Blue: A Tribute to Cole Porter (various); One from the Heart (Waits); Poses (Wainwright); A River Runs Through It (Isham); Very (Pet Shop Boys); The American President (Shaiman); Even Cowgirls Get the Blues (lang/Mink); Arabian Knight (Folk); Eclipse (Tollar); The Best of Blondie (Blondie); Jeffrey (Endelman); When Night Is Falling (Barber); Vacation (The Go-Gos); Beautiful Thing (Mammas and the Papas, Altman)
Read: Shake Hands Forever, by Ruth Rendell
Seen: The First Wives Club; Kissing Jessica Stein; House [1977]; The Garfield Movie; Back to Black; Hellbound: Hellraiser II; Zardoz; Furiosa: A Mad Max Saga; Hit Man [2024]; Shiva Baby; Lemon; Charley Varrick; Thunderbolt and Lightfoot
Watched: Shaolin Temple [1976]; Better Call Saul ("Hero")
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