Film Score Daily: Film Score Friday 7/26/24

IN THEATERS TODAY

The Beast Within - Nathan Klein, Jack Halama
Deadpool & Wolverine - Rob Simonsen - Song CD on Disney with 1 Simonsen cue
Didi - Giosue Greco
The Fabulous Four - David Hirschfelder
Made in England: The Films of Powell & Pressburger - Adrian Johnston
Mountain Queen: The Summits of Khakpa Sherpa - Adam Peters

Sheri Linden, The Hollywood Reporter

DADDIO - Dickon Hinchliffe

"Hall shows real mastery in facing the challenges of filming her own material and filming an entire movie inside a car. There is precedent for this! ('Locke', for one.) Phedon Papamichael's cinematography is beautiful and moody, with the lights of Manhattan blurred into abstraction out the windows, the shadows and lights brushing through the interior, the way Johnson's face is seen in the rearview against the back window, floating around in space (reminiscent of the gorgeous shots of Cybill Shepherd in the final scene of 'Taxi Driver'). Hall makes intelligent use of angles: Penn's eyes are seen head-on or through the rearview, her reflection, his. The frame is never static. The film feels alive. Dickon Hinchliffe's melancholy score is a huge contribution, adding subtext and shadings from the moment she gets into the back seat of his cab. You know this isn't going to be just any ordinary ride."

Sheila O'Malley, RogerEbert.com

"Hall, who also wrote the film‘s script (it was originally envisioned as a stage play, and still holds on to all the worst impulses that would come with that), perhaps believes that ascribing that sort of anonymity to her characters serves the bigger swings she’s taken in penning a screenplay ostensibly about the power of connection between two strangers stuck together for a brief period of time. Take away the things that make them unique, strip them down, and something more profound might emerge. Not here. Instead, as Girlie (ugh) and Clark settle into their ride -- much of it set to a bracingly overdramatic score from Dickon Hinchcliffe, all of it impressively designed to fit inside Clark’s beat up cab -- the two start to test each other."

Kate Erbland, IndieWire

"It’s been some years since I’ve come across the kind of old-school, salt-of-the-eart’ Noo Yawk cabbie like the one Penn plays here. But the film isn’t meant to be realistic. Despite the enclosed space and the constant dialogue, Hall has made a movie-movie, and that counts for a lot. The lights of the city dance seductively across the car’s windows and the characters’ faces, while Dickon Hinchliffe’s quivering score maintains a tense, twilight mood. (The composer, some will remember, also did the music for Claire Denis’s masterful 2002 strangers-in-a-car picture, 'Friday Night.' Hall has wisely borrowed from the best.)"

Bilge Ebiri, New York

"Every aspect of 'Daddio' is designed to spark conversation. But it’s sweeter and more satisfying than you might expect, especially as Hall pays off ideas introduced early in her script: There’s talk of tips, half-remembered handshakes, being tied up in bathtubs and trying to distinguish between true and false, all of which Hall cleverly circles back around to as the taxi reaches its destination. Composer Dickon Hinchliffe’s piano score is more subdued than you might expect. Even the silences are telling, and Johnson’s acting, which seemed slightly exaggerated early on, evolves into something incredibly nuaced toward the end."

Peter Debruge, Variety

DANDELION - Aaron Dessner, Bryce Dessner

"The National brothers and bandmates and producers Bryce Dessner and Aaron Dessner provide the film’s music (Layne does all her own signing and is also a credited executive producer), ensuring the quality of music remains high throughout. And it does: just like Layne’s performance, which is as rich and rewarding as anything she’s done yet (including her lauded performance in 'If Beale Street Could Talk'). As Riegel builds to a conclusion that feels both predictable and satisfying, Dandelion must decide how far she’s willing to go to bet on herself. More people should bet on Riegel and Layne, and fast."

Kate Erbland, IndieWire

"Dandelion enters a kind of kindred-souls reverie with her new maybe-more-than-friend -- and so does 'Dandelion,' as it winds its way between clunky indie hardship drama, and something more lyrical that connects songwriting to the natural world. A third iteration of the movie also emerges: the kind of musical-process romance favored by writer-director John Carney. Dandelion and Casey actually head into the studio at one point, attempting to bottle their creative chemistry, and like a Carney project, the movie often lets songs play out in full, like a lo-fi musical. (Also like Carney, the music is almost aggressively tasteful in its soulfully rootsy accessibility.)"

Jesse Hassenger, Paste Magazine

"We’re further immersed in these musicians’ world through the sound design, which oscillates from softly reflective during vulnerable moments where the focus is solely between the singers and their music to caustic surround sound where the scope widens to include roaring applause or rude reactions. Riegel keeps us dialed into Dandelion’s psyche as we hear her open-hearted lyrics battle against the noise of rowdy crowds in her hometown bar and at the rally. The National’s Bryce and Aaron Dessner (a.k.a. Taylor Swift’s frequent songwriting collaborators) contribute to the soundtrack with a few originally-penned tunes, lending their hit-making hands to musically finesse these characters’ internalities through lyrics. Brady Stablein and Grace Kaiser (both cast in supporting roles as Casey’s bandmates) also do heavy lifting, gifting a few sequences with their motors, whether it be in songs they wrote or in expository dialogue they deliver that shades Casey’s character."

Courtney Howard, The Onion AV Club

"The story, alas, is colorless and flat: a terribly earnest picture of two sad people looking for somebody or something to jump-start their battery. Original songs by Aaron and Bryce Dessner of the National -- though convincingly performed by Layne and Doherty -- land without much impact (no earworms here), and the two leads rarely uncork the charisma they’ve shown in other, more purposeful projects."

Kimberley Jones, The Austin Chronicle

"Composed largely by twin brothers Aaron and Bryce Dessner of The National (the former has of late become one Taylor Swift’s closest collaborators) in tandem with Layne, the tracks Dandelion and Casey perform capture the spontaneity of their amorous liaison, one that burns bright and just as quickly fades. Yet, it seems unlikely that any of them could have the staying power of the Oscar-winning 'Once' song 'Falling Slowly,' or even Jessie Buckley’s 'Glasgow' from 'Wild Rose,' another film in the same thematic bracket. The lyrics reflect how each part perceives the other with the limited time they have spent together, and of Dandelion’s relationship to the hometown she ran away from."

Carlos Aguilar, Variety

"'Dandelion' is at its strongest when the helmer lets the movie’s visual language and its music cast their spell. Whether in soul-searching close-ups, nighttime views of the Ohio River or vistas of the South Dakota badlands, the dynamic camerawork of Lauren Guiteras speaks volumes. And the songs that the two main characters create and perform onscreen, written by The National’s Bryce and Aaron Dessner (whose scores also elevated movies like 'Jockey' and 'C’mon C’mon') with contributions from Riegel and Layne, give stretches of the drama an indie-operatic zing, the music conveying everything we need to know."

Sheri Linden, The Hollywood Reporter

FANCY DANCE - Samantha Crain

"The situation worsens when Jax, who has a criminal record, loses custody of Roki to her white grandfather, Frank (Shea Whigham), an inattentive figure in their lives now trying to make up for lost time. Affection isn’t the problem with Frank and his wife (Audrey Wasilewski), but they exhibit little interest in the culture Roki clearly cherishes. So under the guise of taking her niece to the powwow to meet her mom, Jax flouts her biggest law yet -- kidnapping -- to keep Roki close and hopefully find an answer to what happened to Tawi. In well-placed moments, Samantha Crain’s wonderfully evocative score of tribal voices and spare melodies even plays as a sort of spirit guide."

Robert Abele, Los Angeles Times

"But beyond just conveying their close bond, this tendency towards realism also cuts the other way. We see how financial pressures weigh on the two, leading to casual shoplifting and carjacking in scenes that weaponize this general closeness, making it feel like we’re in the room as things teeter on the edge of collapse. By capturing both these halves, the good times and the bad, Tremblay wrings nuance out of this setting and makes it clear this story comes from a place of authenticity and empathy instead of emotional exploitation. Although Jax and Roki are trapped in a fraught situation, the searching camera and gentle piano keys of Samantha Crain’s score render moments of delight that evoke the fullness of their experience."

Elijah Gonzalez, The Onion AV Club

KILL - Ketan Sodha

"Scored to the plucky tension of Ketan Sodha’s pulse-quickening score, that dynamic reflects how the film views its sprawling ensemble cast, whose every member we recognize and react to accordingly, even if character details are kept to a bare minimum. Amrit’s trajectory is the only one that really matters, and Bhat makes the most of his lead actor’s good looks, as Lakshya is perfect for the role of a fresh-faced matinee idol with features rendered almost unrecognizable beneath all the blood his character spills on the tracks -- a corruption of the soul that “Kill” treats with just the right amount of seriousness for a movie where someone says 'oh, they’ll get off the train all right, but only for their funerals.'"

David Ehrlich, IndieWire

"The action is kinetic and chaotic as bodies are sent bouncing off seats, windows, floors, and ceilings. Bhat manages to capture the action clearly enough that we always know what’s going on, while still immersing us in the packed-in panic of the moment. From one tumble to the next, we might lose track of which end of the train is which and what direction the characters are moving in, but we always know where a punch came from and who just got their jaw broken. And through it all, the inexhaustible energy of the action is matched by a thunderous soundtrack that hurls rock guitars, electronic beats, and guttural chanting into the mix."

Ross McIndoe, Slant Magazine

"Amrit comes along with his best friend and comrade-in-arms, Viresh (Abhishek Chauhan), to convince Tulika to break off an arranged engagement and elope with him. The romance is unabashedly soapy: When Amrit sneaks into a train bathroom with Tulika to propose (counter-propose?), he opens a ring box that glows like Marsellus Wallace’s briefcase while the score lays on the kind of sentimental acoustic guitar picking usually heard in flyover-state campaign ads and pharmaceutical commercials. Like the gory action that follows, it’s more than a little ludicrous and overdone; a more charitable viewer might conclude that Bhat is attempting the same level of gratuitousness in a different genre key."

Ignatiy Vishnevetsky, The Onion AV Club

"'Kill''’s high-concept scenario is mostly a fun idea in search of better execution. To their credit, the on-camera actors look good when they work each other over, and the filmmakers do a fine job of not only keeping pace with their performers but also cutting their fights in such a way that you never have to strain your neck to see whatever’s just out of frame. The sound design also keeps a certain ambient tension up, and the spare use of music on the soundtrack keeps you wondering about what might be coming up next. Better yet, the blood and gore that erupts from a range of good and bad characters is also effectively surprising, at least on a moment-to-moment basis."

Simon Abrams, RogerEbert.com

"Amrit is a manly man whose every shirtless pose, intense stare, and turned head is accompanied by an over-the-top musical cue. In the wake of his failed attempt to elope with Tulika, he boards the evening train that she and her family -- including teenage sister Aahna (Adrija Sinha) and dad Baldeo Singh Thakur (Harsh Chhaya), who’s a wealthy business magnate -- are taking to Delhi. Out of the watchful eyes of her clan, Amrit proposes to Tulika in a bathroom, and she accepts. This should, in theory, create some conflict considering that Tulika is now betrothed to two different beaus, but 'Kill' ignores those complications. The later revelation that Baldeo never knew about Amrit even though he’s been dating Tulika for four years (!) proves a similar bit of nonsensicality that’s never adequately explained."

Nick Schager, The Daily Beast

A QUIET PLACE: DAY ONE - Alexis Grapsas

"In 2024, IP is king. 'A Quiet Place: Day One,' the prequel to John Krasinski’s 'A Quiet Place,' is just another dismal example of this. The first 'Quiet Place' was decently effective in its sensory novelty -- evocative in spite of (and perhaps because) of its TradCath ideology. The premise of Michael Sarnoski’s 'Day One' hints at a more filled-in world, but plays more like a maudlin, shallow commercial for the franchise, aided by an overused, cloying score and simplistic, navel-gazing character arcs."

Hafsah Abbasi, Paste Magazine

"Sarnoski and a crack visual effects team position these scenes in the best tradition of alien apocalypse movies. But they acquire added dimension from the unsettling spectacle of brash, noisy Manhattan shocked into nerve-shredding silence. Every sound seems heightened, and every sudden noise sends a jolt right through you, along with a shiver of dread, an effect given amplitude by the discreet use of Alexis Grapsas’ relatively minimalist score."

David Rooney, The Hollywood Reporter

STILL THE WATER - Hasiken

"The trouble is that the film takes its time getting to the breathtaking stuff, which might be the only thing standing in the way of Kawase and her first Palme d’Or. The story of the floating dead man, and what exactly happened to him, is swept away rather briskly and the (slightly suspect) revelation of who he really was comes a little too late to connect. The score in the first half of the film is a melodramatic piano, and supporting contrived dialogue of broken hearts and scary seas, only serves to slow our investment down. But once Kyoko’s mother comes back home, and the spiritual angle is tackled by Matsuda’s powerful performance, the film takes a magnificent turn upwards. Even the music changes from the soap-operatic piano to a much more effective wind instrument pieces. Suddenly, the children’s personalities take form and the performances by Murakami and Yushinaga take center stage and submerge into that comforting feeling. We suddenly find ourselves caring very much for Kaito’s disenchantment with his mother, the visit to his father in Tokyo and their conversation becomes thick with meaning on the importance of environment in relation to individual satisfaction, and Kyoko’s father and grandfather become the film’s anchors of wisdom. The speech Kyoko’s father gives at the end is like a mini tsunami of emotional power."

Nikola Grozdanovic, IndieWire

TOUCH - Högni Egilsson

"The principal actors favor understatement, which is complemented by the gentle strains of Högni Egilsson’s score. Ólafsson’s Kristofer is the movie’s soulful center, his stoic demeanor hiding a deep well of yearning, while the younger Kormákur and Japanese model-turned-actor Koki make moving impressions as the twentysomething lovers."

David Rooney, The Hollywood Reporter

TRIGGER WARNING - Enis Rotthoff

"That said, there are a few blessings. Intentional or not, there’s a sense of textured levity amidst the overly-serious shenanigans. An iguana named Andy, looking as bored by the dramatics as we are, might inspire a drinking game. Bar owner Mo’s (Hari Dhillon) armory is stocked to our campy delight. Enis Rotthoff’s sorrowful score drops obvious hints as to the future sour notes of Parker and Jesse’s rekindling affair. It’s a wacky creative choice to insert a mini-scene of a jailed drunk bemoaning that her husband will enroll her in AA within a larger scene featuring Parker breaking into the police station, but Surya pulls it off with aplomb. Even the forgettable action set pieces (with the exception of the sunset silhouette scene where Parker tries out a machete) have their bright spots: Alba’s repetitive fight choreography doubles as a solid self-defense tutorial."

Courtney Howard, The Onion AV Club

"That leaves the action scenes -- the lifeblood of any film in this genre -- and I'm sorry to report those aren't any more impressive than the rest of 'Trigger Warning.' Alba looks like she might have gone through knife training for a week or two, but the fights aren't staged with any real creativity and don't feel the least bit tactile. In fact, most of the heavy lifting in them is done by the generic 'knife slashing' noises that the sound-editing team had to layer in to an almost obnoxious degree. There are a few brief glimpses of what could have been, including a sequence where Parker momentarily wields a broom and some hedge trimmers as weapons and another in a burning bar where Parker battles a thug on a balcony overtop of a flame-engulfed first floor. The cool bits of both of these sequences could be counted in seconds as opposed to minutes. Nothing else seems capable of raising the viewer's pulse much, despite the bombastic music on the soundtrack continually insisting that some truly epic stuff is going down."

Robert Brian Taylor, Collider

"Nonetheless, 'Trigger Warning' is slick and eventful enough to maintain viewer engagement. Surya doesn’t exhibit any great flair for building suspense or staging violent set-pieces. Still, the film carries us along on sufficient narrative momentum, abetted by the visual polish contributed by cinematographer Zoe White and production designer Natasha Gerasimova. Less effective is Enis Rotthoff’s original score, which feels cut from a well-worn sonic cloth of standard action bombast."

Dennis Harvey, Variety

WIDOW CLICQUOT - Bryce Dessner

"There are other crucial elements that help the film move past its inherent Extra Brut dryness. The score by Bryce Dessner from the National is critical here, and any of those members seemingly could not write a band tune if they tried. Dessner’s score elevates 'Widow Clicquot,' making it move with shimmering intention, a gleaming pace, and, when needed, a swelling demi-sec dosage of inspirational notes."

Rodrigo Perez, The Playlist

"Placing François at the emotional center of Barbe-Nicole’s mission, however, feels awkward and disingenuous, and the back-and-forth nature of the film kills the momentum. The brooding score, by Bryce Dessner, tells us that we’re in the realm of big drama, though I wish the film itself generated enough feelings to match."

Beatrice Loayza, The New York Times

"Cinematographer Caroline Champetier has both the right name and the right touch for the beauty and drama of the story, while composer Bryce Dessner -- who also scored and wrote songs for 'Cyrano' -- moves from stately to insistent to rhapsodic along with the film’s own shifts."

Steve Pond, The Wrap

"Bennett is better than decent in the title role; her characterization grows deeper as she seeks out love in the midst of her work struggle. Her business gets a boost due to the Champagne mania that seizes Russia during the Napoleonic Wars. But she’s also chained to the past, and one of the more interesting features of the picture is how François is depicted as the film’s flashbacks continue: at first he’s erudite, charming, idiosyncratic; increasingly, he’s temperamental and maybe a little nuts. Barbe tries to honor his ambition while coming to terms with having been pinned under her husband’s irrational thumb. The movie itself doesn’t capitalize on this intriguing dynamic as much as it might have, and despite various unusual touches, including a music score by The National’s Bryce Dessner, not necessarily the first guy you’d tap to do a period picture, 'Widow Clicquot' ultimately resolves as a conventional portrayal of a woman’s determination. It would be reductive to call it a 'girlboss' story, but it wouldn’t be entirely inaccurate to, either."

Glenn Kenny, RogerEbert.com

"But as Barbe-Nicole presses on with François’ dream business, the memories that cut in become heavier, sadder, pricklier. We see how François’ quirks gave way to more erratic, volatile and even violent impulses in the grip of untreated mental illness. Bennett’s sensitive performance pulls us into her growing anguish and fear, both for him and of him. Meanwhile, Bryce Dessner’s bold score blurs together past and present through the incorporation of diegetic noises, so that the clang of broken glass becomes an unbearable cacophony reverberating between Barbe-Nicole’s stress now and François’ mania then."

Angie Han, The Hollywood Reporter

THE NEXT TEN DAYS IN L.A.

Screenings of older films in Los Angeles-area theaters.

July 26
AFTER HOURS (Howard Shore) [BrainDead Studios]
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [New Beverly]
DIRTY DANCING (John Morris) [Vidiots]
DJANGO UNCHAINED [New Beverly]
DONNIE DARKO (Michael Andrews) [BrainDead Studios]
EARTH GIRLS ARE EASY (Nile Rodgers) [Vidiots]
THE HAPPINESS OF THE KATAKURIS (Koji Endo, Koji Makaino) [Nuart]
HOT FUZZ (David Arnold) [Vista]
ONE CUT OF THE DEAD [Alamo Drafthouse]
PATTON (Jerry Goldsmith) [Egyptian]
THE ROCK (Nick Glennie-Smith, Hans Zimmer) [New Beverly]
SUMMERTIME (Alessandro Cicognini) [Los Feliz 3]
VERTIGO (Bernard Herrmann) [Aero]

July 27
BLOOD SIMPLE (Carter Burwell) [Alamo Drafthouse]
CLIMAX [BrainDead Studios]
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [New Beverly]
DON'T LOOK NOW (Pino Donaggio) [Los Feliz 3]
FAT GIRL [Los Feliz 3]
FIGHT CLUB (Dust Brothers) [New Beverly]
A GIRL WALKS HOME ALONE AT NIGHT [BrainDead Studios]
THE GOONIES (Dave Grusin) [Vidiots]
HOT FUZZ (David Arnold) [Vista]
I KNOW WHERE I'M GOING (Allan Gray) [Academy Museum]
IKIRU (Fumio Hayasaka) [Vidiots]
LAWRENCE OF ARABIA (Maurice Jarre) [Aero]
MATILDA (David Newman) [Culver]
RALPH BREAKS THE INTERNET (Henry Jackman) [Academy Museum]
REBEL WITHOUT A CAUSE (Leonard Rosenman) [Academy Museum]
ROAD TO ZANZIBAR [Vista]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
2001: A SPACE ODYSSEY [Egyptian]
UP (Michael Giacchino) [Vidiots]
VERTIGO (Bernard Herrmann) [Aero]
WILLY WONKA AND THE CHOCOLATE FACTORY (Leslie Bricusse, Anthony Newley, Walter Scharf) [New Beverly]

July 28
BABY DOLL (Kenyon Hopkins) [UCLA/Hammer]
BUS STOP (Alfred Newman, Cyril J. Mockridge) [Los Feliz 3]
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [New Beverly]
DON'T LOOK NOW (Pino Donaggio) [Los Feliz 3]
FIGHT CLUB (Dust Brothers) [New Beverly]
GANDHI (Ravi Shankar, George Fenton) [Academy Museum]
THE JOY LUCK CLUB (Rachel Portman) [Vidiots]
LAWRENCE OF ARABIA (Maurice Jarre) [Aero]
MANPANTSULA (The Ouens) [Los Feliz 3]
METROPOLIS (Toshiyuki Honda) [BrainDead Studios]
THE RED SHOES (Brian Easdale) [Vidiots]
ROAD TO ZANZIBAR [Vista]
SPARTACUS (Alex North) [Aero]
TO HAVE AND HAVE NOT (Franz Waxman) [Los Feliz 3]
WILLY WONKA AND THE CHOCOLATE FACTORY (Leslie Bricusse, Anthony Newley, Walter Scharf) [New Beverly]

July 29
A.I. ARTIFICIAL INTELLIGENCE (John Williams) [Culver]
BEVERLY HILLS COP (Harold Faltermeyer) [Alamo Drafthouse]
BLOOD SIMPLE (Carter Burwell) [Alamo Drafthouse]
BRAIN DEAD (Peter Francis Rotter), THE UNBORN (Gary Numan, Michael R. Smith) [New Beverly]
THE HOWLING (Pino Donaggio) [Los Feliz 3]
THE LAND BEFORE TIME (James Horner) [Alamo Drafthouse]
NATIONAL LAMPOON'S ANIMAL HOUSE (Elmer Bernstein) [Los Feliz 3]
300 (Tyler Bates) [Egyptian]
TIME BANDITS (Mike Moran) [Vidiots]

July 30
ABBA - THE MOVIE [Landmark Pasadena]
ALL THE PRESIDENT'S MEN (David Shire), DICK (John Debney) [New Beverly]
BEVERLY HILLS COP (Harold Faltermeyer) [Alamo Drafthouse]
MANPANTSULA (The Ouens) [Los Feliz 3]
ROCKY (Bill Conti) [Vidiots]
SEX IS COMEDY [Los Feliz 3]
WATCHMEN (Tyler Bates) [Egyptian]

July 31
ABUSE OF WEAKNESS (Didier Lockwood) [Los Feliz 3]
ARMY OF THE DEAD (Tom Holkenborg) [Egyptian]
ALL THE PRESIDENT'S MEN (David Shire), DICK (John Debney) [New Beverly]
BEVERLY HILLS COP (Harold Faltermeyer) [Alamo Drafthouse]
BLOOD SIMPLE (Carter Burwell) [Alamo Drafthouse]
DAWN OF THE DEAD (Tyler Bates) [Egyptian]
DECISION TO LEAVE (Cho Young-wuk) [BrainDead Studios]
IN COLD BLOOD (Quincy Jones) [Academy Museum]
THE LAND BEFORE TIME (James Horner) [Alamo Drafthouse]
ORDINARY PEOPLE (Marvin Hamlisch) [Los Feliz 3]
PARIS IS BURNING [Vidiots]
VIVE L'AMOUR, I DON'T WANT TO SLEEP ALONE [Aero]

August 1
ALL THE PRESIDENT'S MEN (David Shire), DICK (John Debney) [New Beverly]
CALL ME BY YOUR NAME [Los Feliz 3]
THE IRON GIANT (Michael Kamen) [Culver]
A MATTER OF LIFE AND DEATH (Allan Gray) [Academy Museum]
ORLANDO (David Motion, Sally Potter) [Vidiots]
ROMANCE (Raphael Tidas, DJ Valentin), PERFECT LOVE [Aero]
ZACK SNYDER'S JUSTICE LEAGUE (Tom Holkenborg) [Egyptian]

August 2
BROTHER (Joe Hisaishi) [Academy Museum]
CADDYSHACK (Johnny Mandel) [Vista]
DUNE (Toto) [Alamo Drafthouse]
EAT DRINK MAN WOMAN (Mader) [UCLA/Hammer]
GOODBYE, DRAGON INN [Egyptian]
JENNIFER'S BODY (Theodore Shapiro, Stephen Barton), DRAG ME TO HELL (Christopher Young) [New Beverly]
M*A*S*H (Johnny Mandel) [Aero]
ROBOCOP (Basil Poledouris) [Vidiots]
SCREAM 2 (Marco Beltrami) [New Beverly]
TROLL 2 (Carlo Maria Cordio) [Vidiots]
TRUE ROMANCE (Hans Zimmer) [New Beverly]

August 3
CADDYSHACK (Johnny Mandel) [Vista]
IL SORPASSO (Riz Ortolani) [Los Feliz 3]
JAY AND SILENT BOB STRIKE BACK (James L. Venable) [New Beverly]
JENNIFER'S BODY (Theodore Shapiro, Stephen Barton), DRAG ME TO HELL (Christopher Young) [New Beverly]
KELLY'S HEROES (Lalo Schifrin) [Los Feliz 3]
LOVE & BASKETBALL (Terence Blanchard) [Academy Museum]
MALCOLM X (Terence Blanchard) [Aero]
MY GIRL 2 (Cliff Eidelman) [Academy Museum]
NEVER SAY DIE [Vista]
PI (Clint Mansell), TETSUO: THE IRON MAN (Chu Ishikawa) [UCLA/Hammer]
REBELS OF THE NEON GOD (Shu-Jun Huang), THE RIVER [Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SEVEN SAMURAI (Fumio Hayasaka) [Vidiots]
SPACEBALLS (John Morris) [Vidiots]
STRANGER THAN PARADISE (John Lurie) [Alamo Drafthouse]
WHO FRAMED ROGER RABBIT (Alan Silvestri) [New Beverly]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Alamo Drafthouse]

August 4
AFTER YANG (Aska Matsumiya), MOON (Clint Mansell) [UCLA/Hammer]
BOOGIE NIGHTS (Michael Penn) [Egyptian]
FANTASTIC MR. FOX (Alexandre Desplat) [UCLA/Hammer]
HOLLYWOOD STORY [Academy Museum]
THE HOLE (Grace Chang) [Los Feliz 3]
INHERENT VICE (Jonny Greenwood) [Egyptian]
JENNIFER'S BODY (Theodore Shapiro, Stephen Barton), DRAG ME TO HELL (Christopher Young) [New Beverly]
LICORICE PIZZA (Jonny Greenwood) [Egyptian]
THE MASTER (Jonny Greenwood) [Egyptian]
NEVER SAY DIE [Vista]
A REAL YOUNG GIRL (Mort Schuman), 36 FILLETTE (Maxime Schmitt) [Aero]
RECORD OF A TENEMENT GENTLEMAN (Ichiro Saito) [Los Feliz 3]
SEVEN SAMURAI (Fumio Hayasaka) [Aero]
THE SOCIAL NETWORK (Trent Reznor, Atticus Ross) [Academy Museum]
THE WAYWARD CLOUD [Los Feliz 3]
WHO FRAMED ROGER RABBIT (Alan Silvestri) [New Beverly]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Alamo Drafthouse]

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

Heard: The Naked Spur/The Wild North (Kaper); How Long Has This Been Going On? (Vaughn); Back to the Blues (Washington); Broken Lance (Harline); What a Difference a Day Makes (Washington); Bad Day at Black Rock/Tension/Scene of the Crime/Cause for Alarm (Previn); Sabrina/We're No Angels/The Bride Wore Boots/The Affairs of Susan/The Great McGinty/Remember the Night/Disputed Passage (Hollander); Giant (Tiomkin); Mala (Barnhart); The Rainmaker (North); Private Energy (Hidalgo Negro)

Read: Play-Making: A Manual of Craftsmanship, by William Archer; A Taste for Honey, by H.F. Heard; The 9th Directive, by Adam Hall, aka Elleston Trevor, aka Trevor Dudley-Smith

Seen: Black Narcissus; Elvira: Mistress of the Dark; Sing Sing; Despicable Me 4; Hackers; Twisters; The Crimson Kimono; Apocalypse Now; Wheels of Fire; Equalizer 2000

Watched: Have Gun, Will Travel ("The High Graders"); Jack the Giant Killer; Kolchak: The Night Stalker ("Mr. R.I.N.G."); Inside Amy Schumer ("Raise a Glass")