The latest release from Intrada is a five-disc set (!) featuring the scores for FEAR STREET TRILOGY, the three interconnected 2021 horror thrillers (released on Netflix) inspired by the book series by R.L. Stine. The scores were composed by two-time Oscar nominee Marco Beltrami with collaborators Anna Drubich, Brandon Roberts and Marcus Trumpp.
The latest release from La-La Land is volume 6 in their series STAR TREK - THE ORIGINAL SERIES: THE 1701 COLLECTION, featuring the cues from the original 1960s TV series previously released on the label's epic boxed set. This two-disc set features the scores for the episodes "And the Children Shall Lead" (George Duning), "I, Mudd" (Samuel Matlovsky), and "The Trouble with Tribbles" (Jerry Fielding), as well as alternate, outtakes, and recordings from the show's music library of episodes scored by Duning, Alexander Courage, Gerald Fried and Fred Steiner.
CDS AVAILABLE THIS WEEK
Fear Street Trilogy - Marco Beltrami, Anna Drubich, Brandon Roberts, Marcus Trumpp - Intrada Special Collection
A Fistful of Dollars - Ennio Morricone - Beat
The Golden Age of Science-Fiction Vol. 5 - Raoul Kraushaar, Elisabeth Lutyens - Dragon's Domain
La pistole non discutono (Bullets Don't Argue) - Ennio Morricone - Beat
Music from Classic Western Soundtracks - Chuck Cirino, Jim Cox, Lee Holdridge - Buysoundtrax
Nightmare Castle - Ennio Morricone - Beat
Papillon [reissue] - Jerry Goldsmith - Quartet
Star Trek - The Original Series - The 1701 Collection, Vol. 6 - Alexander Courage, George Duning, Jerry Fielding, Gerald Fried, Samuel Matlovsky, Fred Steiner - La-La Land
IN THEATERS TODAY
Borderlands - Steve Jablonsky
Cuckoo - Simon Waskow
Good One - Celia Hollander
It Ends With Us - Rob Simonsen, Duncan Blickenstaff
The Last Front - Frederik Van de Moortel
The Long Walk of Carlos Guerrero - Michael Montes
Modernism, Inc. - Steven Emerson
Sirocco and the Kingdom of the Winds - Pablo Pico
War Game - Pawel Mykietyn
COMING SOON
August 16
Exotic Themes for the Silver Screen: Vol. 1 - Michael Giacchino - Mutant
September 13
Industry: Season 2 - Nathan Micay - LuckyMe
October 4
White Bird - Thomas Newman - Lakeshore
Coming Soon
Doctor Who: The Daleks in Colour - Mark Ayres, Tristram Cary - Silva
Fallen Angels Vol. 1 - Peter Bernstein - Dragon's Domain
The Gerald Fried Collection Vol. 2 - Gerald Fried - Dragon's Domain
Safe House - Kevin Kiner - Dragon's Domain [CD-R]
THIS WEEK IN FILM MUSIC HISTORY
August 9 - Recording sessions begin for Hugo Friedhofer’s score for Seven Cities of Gold (1955)
August 9 - Jerry Goldsmith records his score for the Voyage to the Bottom of the Sea episode “Jonah and the Whale” (1965)
August 9 - Alexander Courage records his score for the Lost in Space episode "Wild Adventure" (1966)
August 9 - Leith Stevens records his score for the Lost in Space episode "Blast Off into Space" (1966)
August 9 - George Duning's score for the Star Trek episode "And the Children Shall Lead" is recorded (1968)
August 9 - Dmitri Shostakovich died (1975)
August 9 - Andre Hossein died (1983)
August 9 - Peter Matz died (2002)
August 9 - David Raksin died (2004)
August 9 - Tony Mottola died (2004)
August 9 - Duane Tatro died (2020)
August 10 - Brian Easdale born (1909)
August 10 - Douglas M. Lackey born (1932)
August 10 - Mischa Bakaleinikoff died (1960)
August 10 - Ennio Morricone begins recording his score for So Fine (1981)
August 10 - Isaac Hayes died (2008)
August 11 - Ron Grainer born (1922)
August 11 - Raymond Leppard born (1927)
August 11 - Miklos Rozsa begins recording his score for The Light Touch (1951)
August 11 - Joe Jackson born (1954)
August 11 - Richard Shores begins recording his score for The Wild Wild West episode “The Night of the Eccentrics” (1966)
August 11 - Ali Shaheed Muhammad born (1970)
August 11 - Patrick Williams records his score for The Streets of San Francisco episode “The Glass Dart Board” (1975)
August 11 - Bill Conti begins recording his score for Five Days from Home (1977)
August 11 - Toby Chu born (1977)
August 11 - Emile Mosseri born (1985)
August 12 - David Lee born (1926)
August 12 - David Munrow born (1942)
August 12 - Victor Young begins recording his score for The Accused (1948)
August 12 - Mark Knopfler born (1949)
August 12 - Pat Metheny born (1954)
August 12 - Peter Peter born (1960)
August 12 - Hugo Montenegro records his only Mission: Impossible episode score, for “The Rebel” (1970)
August 12 - Marty Paich died (1995)
August 12 - Zacarias M. de la Riva born (1972)
August 13 - John Ireland born (1879)
August 13 - Dennis Farnon born (1923)
August 13 - John Cacavas born (1930)
August 13 - Richard Shores records his score for The Wild Wild West episode “The Night of the Big Blackmail” (1968)
August 13 - Gerald Fried writes his final Mission: Impossible score, for “The Code” (1969)
August 13 - Richard LaSalle records his score for the Land of the Giants episode “The Mechanical Man” (1969)
August 13 - Patrick Williams records his score for The Streets of San Francisco episode “Going Home” (1973)
August 13 - Zdenek Liska died (1983)
August 13 - Jerry Goldsmith begins recording his score for Warlock (1988)
August 13 - John Ottman begins recording his score to Gothika (2003)
August 13 - Roque Banos records his score for Oldboy (2013)
August 14 - Lee Zahler born (1893)
August 14 - Edmund Meisel born (1894)
August 14 - James Horner born (1953)
August 14 - Oscar Levant died (1972)
August 14 - Patrick Williams records his score for The Streets of San Francisco episode “The Thirty-Year Pin” (1972)
August 14 - Michael McCormack born (1973)
August 15 - Jacques Ibert born (1890)
August 15 - Ned Washington born (1901)
August 15 - Jimmy Webb born (1946)
August 15 - Lalo Schifrin records his score for the Mission: Impossible episode “Memory” (1966)
August 15 - Duane Tatro’s score for The Invaders episode “The Saucer” is recorded (1967)
August 15 - Henry Mancini begins recording his score for Harry and Son (1983)
August 15 - Bruce Broughton begins recording his score for George Washington II: The Forging of a Nation (1986)
August 15 - Ronald Stein died (1988)
August 15 - Ron Jones records his pilot score for the animated Superman series (1988)
August 15 - Cesk Zadeja died (1997)
DID THEY MENTION THE MUSIC?
CHILE '76 - Mariá Portugal
"While dealing with renovations to the family’s beach house, where her doctor husband and grandchildren will join her for the summer from Santiago, whispers of trouble reverberate inside its walls. The unnerving sharp edges of Mariá Portugal’s piercingly dissonant score herald impending trouble. Tending to a request from a trusted priest (Hugo Medina), Carmen puts to use her medical knowledge -- and influence -- to patch up an injured 'criminal' in secret. After getting to know him, she’ll do far more to aid his cause."
Carlos Aguilar, Los Angeles Times
"What Martelli and her co-conspirators have created with the radicalization of Carmen in 'Chile ‘76' -- and what, incidentally, eludes so many contemporary horror films – is the palpable sense of dread. The filmmakers have studied and utilized the methods of what is arguably the golden age of paranoid political thrillers: the Seventies (see: 'Marathon Man,' 'Klute,' 'The Conversation'). 'Chile ‘76' fits right in with that particular brand of uneasy cinema, and not just because it shares the time period (that doesn’t hurt, though). The eerie tracking shots and surveilling POV camerawork by Soledad Rodríguez and Mariá Portugal’s creepily dissonant soundscapes induce a sustained tension that makes Carmen’s every move a potentially fatal one, whether it's lying to a hospital nurse to get antibiotics, or realizing, possibly too late, that a rendezvous point has been compromised. Because all it takes is one misstep to bring it all down. 'Chile ‘76' never makes one."
Josh Kupecki, The Austin Chronicle
"Resonating as a memory piece conjured from its maker’s own history, and crafted with a meticulousness that’s as central to its suspense as is Mariá Portugal’s ominously sparse, disorienting electronic score, Martelli’s maiden feature is a redolent snapshot of a time, place, and people brutalized, overtly and subtly, by dictatorship. It’s a drama whose formal concision and elegance amplifies its desolation."
Nick Schager, The Daily Beast
"A long-retired Red Cross nurse whose only real plans for the winter of 1976 involve redesigning the inside of her family’s beach house and planning her granddaughter’s seven birthday party, Carmen -- played by the elegantly unraveling Aline Kuppenheim -- spends her days fussing around with the furniture and waiting for her doctor husband to return from Santiago on the weekend, oblivious to the discordant electric daggers of the Mariá Portugal score that cuts a hole into the soundscape around her. She dreams of a living room that’s soaked in the kiss-pink shade of a Venetian sunset, and at one point is so entranced by a vat of swirling paint that she hardly seems to hear the screams of a young leftist as they’re disappeared off a nearby street in broad daylight."
David Ehrlich, IndieWire
"That’s 'Chile ’76''s soul, the plea Martelli makes to those of us watching: Complacency is a choice we make for ourselves, whose repercussions wind up impacting others. Sitting idly by in our social bubbles as inhumanity rampages around us has a moral cost. The film doesn’t condemn Carmen, or the viewer, because that, too, would constitute some kind of inhumane thought; if anything Martelli is an optimist, her belief being that when faced with incontrovertible proof of genuine government tyranny, the average citizen will do their part to buck the system even if it might mean getting disappeared by the bully president’s goon squad. The sensation of the film, on the other hand, is suspicion, the relentless and sickening notion that nobody can be trusted. Whether the thrumming electronic soundtrack or Rodríguez’s photography, composed to the point of feeling suffocating, 'Chile ’76' drives that anxiety like a knife in the heart.
Andy Crump, Paste Magazine
"Yet Martelli’s detailed, beautiful frames aren’t signs of empty aestheticism. Her eye for composition mirrors that of her protagonist, a person of elegant tastes who is drawn into a political plot that intrudes upon her capacity to redesign. The film’s original score blends electronic and orchestral music, and acts as an indicator of Carmen’s justified paranoia, entering in moments when her routines are most disturbed. As an entrant into the growing canon of Chilean films responding to the Pinochet dictatorship, 'Chile ’76' is a sly genre exercise, an example of how political repression can squeeze a domestic melodrama until it takes the shape of a spy thriller."
Teo Bugbee, The New York Times
"Martelli hews so closely to this woman’s conservative, carefully curated world of lavish kid’s birthday parties and vanity-driven renovations that the repercussions of Pinochet’s hardened policies -- whispers of disappeared men and women, hushed calls for antidemocratic power -- can only ever be felt on the edges of upper-middle-class life. Yet once you see it, as Carmen does, nothing is the same. Camila Mercadal’s razor-sharp editing and María Portugal’s minimalist synth score further establish an unsettling atmosphere that starts to infect the everyday."
Manuel Betancourt, Variety
THE DEVIL'S BATH - Anja Plaschg
"There’s undeniable credit to be extended to all involved, but Plaschg deserves the lion’s share, not only in the ethereal hymns and orchestral spikes of the score but in an onscreen effort that recalls a filmmaking veteran, made more impressive by the fact that this is her first foray as an actress."
Brian Farvour, The Playlist
"Franz and Fiala generate atmosphere and tone with soul-crushing moodiness to spare. Lower Austrian forests and Neuenburg castle ruins compose a mossy, boggy landscape that’s so hopelessly isolating outside the few farmhouses where villagers reside, creating open terrain where Agnes can wander. Plaschg doesn’t waste her surroundings as she spirals deeper into mania, finding hollowed-out hideaways in the terrain where she can curl in the fetal position, nestling close to Mother Nature, away from people. The musician-turned-actress allows her psyche to slip into an almost comatose delirium, detaching from existence like Agnes’ spirit has been sucked out with a vacuum. Plaschg keeps us watching as she explores the surrounding woodlands, seeking refuge from her demons, aided by an original score -- from Plaschg -- that unsettlingly rubs strings and plucks notes."
Matt Donato, The Onion AV Club
"An artist in her own right -- who creates music under the name Soap&Skin -- Plaschg initially got involved with the project as a composer. When the actress who was set to be the lead could no longer play the role due to scheduling reasons, Franz and Fiala asked Plaschg to audition. The film does not suffer for it. Plaschg is magnetic. She plays Agnes matter-of-factly, never leaving us guessing about the character’s evolving emotions. At the same time, that directness, that rawness, is married with a sense of familiarity. She’s someone you grow to care about. She’s someone you want to root for. That’s what makes her character’s mental deterioration difficult to watch. Unlike the filmmakers’ previous features, 'The Devil’s Bath''s horror does not come from gorey reveals or jumpscares, but rather from the hellscape created by Agnes’ crushing depression. Despite what its trailer might suggest, 'The Devil’s Bath' is incredibly quiet and unhurried, opting for the natural sounds of the forest or silence more than it does Plaschg’s stringy score. Franz and Fiala are, of course, no stranger to the slow burn."
Kathy Michelle Chacon, Paste Magazine
"Fiala and Franz train our eyes on their heroine’s invisibility, as the first hour of their film -- paced at the speed of 18th century farm life -- threatens to lose her against the dull light of her daily life. The toil is everything. Fishing in the muddy river. Washing clothes along the rocks with her mother-in-law. Cooking for Wolf by the dark of the fire. Agnes sings to herself in an effort to steal a melody from the joyless torpor of this existence, which has no room for art or personal expression of any other sort (dancing is strictly for weddings, where it might serve a purpose by setting the mood), but her a capella warblings are drowned out by the sawing queasiness of the movie’s score, which — on a fittingly self-confined note -- was written and performed by Plaschg, herself."
David Ehrlich, IndieWire
LINOLEUM - Mark Hadley
"With this, we hit upon the central problem of 'Linoleum.' Without delving into spoilers, the film concludes in a phantasmagorical display of transcendent light and sound that reveals the deepest, truest fear and pain our protagonist has buried. West has a confident and assured visual style aided by Ed Wu’s crisp cinematography; combined with Mark Hadley’s score, it’s possible to get swept up in the swelling feeling that courses through Cameron’s final moments of self-actualization. But 'Linoleum''s central metaphors suffer as a result."
Rory Doherty, Paste Magazine
"A lot of mirrors, reflections, and screens are deployed in this movie. But they're placed by West and cinematographer Ed Wu (channeling past masters like Harris Savides, who once warned, 'Don't make things too beautiful') in such a way as to make you pay closer attention to what's happening in the frame at that moment, but without indicating precisely what you're supposed to think about. West's writing and direction, Wu's photography, Marc Hadley's circa-early-'80s synth score, Keara Burton's editing, and the rest of the production team's efforts are in sync. In the more lyrical sections (such as a slow-motion music montage that builds out the main characters' worlds), the filmmaking itself takes center stage, not in a showy or domineering way, but as if the actors and filmmakers are just having fun, like kids trying to see how long they can bat a balloon around without letting it hit the floor."
Matt Zoller Seitz, RogerEbert.com
"And mind you, these are only the problems that can be classified as normal in what is fuzzily defined as a mid-1990s universe with a dreamy/melancholy tech soundtrack (courtesy of Mark Hadley). Cameron’s hopes are briefly raised when PBS makes a deal for rights to his science show, but quickly dashed when he learns he’ll be replaced by Kent Armstrong (also Gaffigan), an aggressive careerist with a military air who Cameron can’t help noticing looks 'like a younger, better-looking version of me.' More discombobulatingly, he also looks like the more-dead-than-alive passenger of a red sportscar that falls out of the sky before landing near Cameron while the latter bicycles home to his suburban neighborhood one afternoon. No, really."
Joe Leydon, Variety
MOTHER, COUCH - Christopher Bear
"Matching the eccentricity of the film’s setting, cinematographer Chayse Irvin’s images are steeped in warm, melancholic sepia tones, rendering the absurdism-lite of the premise as comfy, as vintage as the couch at hand. There are moments of rupture, though, when scenes cut off mid-sentence or even mid-word, or the humor blackens (as when David’s mother tells him that she never wanted children, or how many abortions she’s had), or when the jazz score goes all jittery to echo David’s anxiety, as he tussles with the contradiction that trying to be a good son makes him a bad father. The center of the 'family man' he strives to be cannot hold."
William Repass, Slant Magazine
"On-the-nose monologues by Burstyn, an underwritten Russell -- who seems to be there solely to ogle McGregor --and an overactive score by Christopher Bear that also so desperately wants to emulate 'Punch-Drunk Love' but can’t are the other elements that lack substance. And McGregor, who sure is making every drastic actorly choice possible, no matter how saccharine or strained, doesn’t offer much else. The oddness this world teases does come to fruition, turning into a hellish seascape that somehow transitions into McGregor arriving at a pond where surely some form of absolution or closing of a wound will begin. However, that full turn toward the strange comes too little, too late."
Robert Daniels, RogerEbert.com
"While the film’s premise may suggest black comedy (and the sometimes fake-jaunty, fake-portentous score by Christopher Bear underscores that idea), Burstyn’s character, which the actor plays with her customary expertise, is so utterly disagreeable that viewing the picture is a mostly anxious experience with not much of a reward at the end, which shifts to magic realist mode for lack of anywhere better to go."
Glenn Kenny, The New York Times
MOTHERS' INSTINCT - Anne Nikitin
"Though 'Mothers’ Instinct' is painted on a much smaller canvas than either of those films, its attention to the ombre shadows of Céline’s living room -- and to the fluorescent sterility of the scenes where Alice’s suspicion takes hold -- allows this lower-budget lark to look similarly larger than life, to the point that Anne Nikitin’s Herrmann-esque score often feels like a hat on a hat. By this point, however, it’s no secret that white bread suburbia can disguise all sorts of sociopathic derangement, and neither Delhomme nor the script he’s been handed display any meaningful interest in the underlying conditions that find Alice and Céline at each others’ throats."
David Erhlich, IndieWire
"The film that Hathaway is acting in seems like a lot more fun, and there are numerous details that suggest 'Mothers’ Instinct' aspires to this sort of theatricality. Anne Nikitin’s score is filled with the shrieking musical stings one associates with a vintage Alfred Hitchcock thriller scored by Bernard Herrmann. The build-up to Max’s accident sees Alice -- in one of the many elegant ensembles that costume designer Mitchell Travers has crafted -- pushing her way through the opening in the hedge between the two homes, an absurd image dripping with psychosexual undertones. Further plot twists involve missing heart medication and the vindictive use of peanut-butter cookies as the story becomes steadily more unhinged."
Ross McIndoe, Slant Magazine
"In fact, while Alice is restless over having given up her job as a journalist to take care of her son Theo (Eamon O’Connell), and Céline gets ostracized by the community after the death of her son, Max (Baylen D. Bielitz), 'Mothers’ Instinct' isn’t actually all that interested in the pressures of living under a repressive 1960s patriarchy. Instead, it’s about another time-tested theme, one that’s best summed up as: Bitches be crazy. The perfect sheen of its surfaces -- Delhomme, who’s making his directorial debut, is a cinematographer who started his career with 'The Scent of Green Papaya' and has since worked with everyone from Tsai Ming-liang to Anton Corbijn -- is paired with a score that shrieks unease from the opening scene, in which Céline is thrown a surprise birthday party."
Allison Willmore, New York
RIDE ON - Lao Zai
"As the two slowly reconcile their strained relationship, seemingly every other scene is populated by a new tear-jerker back story or moment of triumph, signaled by a maudlin score that relentlessly hammers away at the viewer. The film is so graceless and bizarre in its attempts at tugging at the viewer’s emotions that it often feels like a work of parody."
Brandon Yu, The New York Times
"In truth, the emotional landscape of 'Ride On' is painted with a brush so broad it’s basically a roller, with Chan’s charm and Liu’s radiant Neutrogena wholesomeness just about compensating for Yang’s screenplay, which keeps having to manufacture new rifts to be magically healed with a change of heart, a hug and couple of close-ups. Lao Zai’s inescapable, saccharine scoring is so thickly slathered on that it makes the actually moving moments feel unnecessarily manipulative, and there really is no earthly reason why Yang and editor Super Zhang couldn’t have reined this thing in at less than 126 minutes long."
Jessica Kiang, Variety
RUN RABBIT RUN - Mark Bradshaw, Marcus Whale
"Bolstered by Mark Bradshaw and Marcus Whale’s electronic drone soundtrack and Bonnie Elliott’s atmospheric cinematography, 'Run Rabbit Run' could’ve used some more forward momentum. It lacks outright scares and novelty but makes up for it in some psychological depth. Reid’s film may not reach the profundity it strives for, but how many horror titles even strive for anything these days?"
Alex Saveliev, Film Threat
"Close your eyes. Imagine, if you will, a horror film about childhood trauma manifesting itself in adulthood. What do you see? Do you see the adult sufferer struggling to reckon her past with her relationship to her own child? Maybe you see the child behaving strangely, but the father (the parents are divorced, naturally) dismisses the behavior. There are lingering shots of dark spaces with violins slowly swelling in the background -- 'ominous music,' as the subtitles might label it. There’s a dementia diagnosis, since everyone’s afraid of getting old and losing their minds; there are disturbing drawings that the child has been making in class, prompting the teacher to suggest therapy; and there’s an as yet unexplained traumatic event that is obvious from the very beginning, so that the bread crumb trail laid out for the audience is less vaguely illuminating and more obvious as the red herring it is. And there are no real scenes of terror beyond the most predictable jump scares, leading one to wonder in what way the film constitutes horror beyond the most boilerplate trappings. Maybe this film in your head feels like a drama with Halloween decorations. Open your eyes -- it’s possible that you had managed to describe the [sic] 'Run Rabbit Run.'"
Brianna Zigler, Paste Magazine
"Many of these elements, along with the 'Alice in Wonderland' allusions of the sister’s name and that pesky white rabbit, signify more than they actually deliver. But Bonnie Elliott’s sepulchral cinematography, especially in the “Top of the Lake”-style Australian Gothic landscapes of later on, makes each one a carefully designed exercise in camera placement, while Mark Bradshaw and Marcus Whale’s shreddingly uneasy, bass-laden score preys on your nerves even when you know you’re being hoodwinked."
Jessica Kiang, Variety
A SACRIFICE - Volker Bertelmann
"The director has termed this a 'magical realist thriller.' A more fable-like approach might indeed have let viewers accept the logic gaps and underdeveloped themes as more allusive than lacking, yet what’s on screen comes off as too literal-minded for such allowances. So 'A Sacrifice' just feels like a pulpy genre setup that increasingly drifts into conceptual ether, something it does not have the mysterioso intensity to render a plus. Not that Scott’s collaborators couldn’t have managed that if given a chance -- in particular, Julie Kirkwood’s cinematography and Volker Bertelmann’s original score have moments of enigmatic ambiguity that the film as a whole only aspires to."
Dennis Harvey, Variety
SHELBY OAKS - The Newton Brothers
"Your patience for this tonal shift may vary, and it may come down to how much you enjoy people choosing to go to darkened, spooky places at night rather than, say, waiting until daylight or calling a friend to help, only to walk slowly and portentously while carrying ungainly flashlights that (shockingly!) are soon to fail at an inopportune moment. Or perhaps you adore when the image on screen zooms into a darkened space, while the audience holds their breath until the score provides a klaxon blast, the sonic equivalent of 'Please experience a jump scare here.' Perhaps you are not dulled at experiencing the same thing repeated several times with diminishing returns."
Jason Gorber, The Onion AV Club
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
August 9
ADAPTATION (Carter Burwell) [BrainDead Studios]
BEYOND THE VALLEY OF THE DOLLS (Stu Phillips) [Academy Museum]
COONSKIN (Chico Hamilton) [Vista]
THE COTTON CLUB (John Barry) [Alamo Drafthouse]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [New Beverly]
GODZILLA (Akira Ifukube) [Egyptian]
INDIANA JONES AND THE TEMPLE OF DOOM (John Williams) [Alamo Drafthouse]
INVASION OF THE BODY SNATCHERS (Denny Zietlin) [Egyptian]
L.A. STORY (Peter Rodgers Melnick) [Vidiots]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
THE RELIC (John Debney) [Vidiots]
SORRY TO BOTHER YOU (Tune-Yards) [UCLA/Hammer]
TOUCH OF EVIL (Henry Mancini) [Aero]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
THE WICKER MAN (Paul Giovanni) [BrainDead Studios]
THE ZODIAC KILLER [Alamo Drafthouse]
August 10
COONSKIN (Chico Hamilton) [Vista]
THE COTTON CLUB (John Barry) [Alamo Drafthouse]
A DRY WHITE SEASON (Dave Grusin) [Los Feliz 3]
INDIANA JONES AND THE TEMPLE OF DOOM (John Williams) [Alamo Drafthouse]
INDIANA JONES AND THE TEMPLE OF DOOM (John Williams) [New Beverly]
INNERSPACE (Jerry Goldsmith) [Vidiots]
INTERVIEW WITH THE VAMPIRE (Elliot Goldenthal) [Landmark Westwood]
JOURNEY TO ITALY (Renzo Rossellini), STROMBOLI (Renzo Rossellini) [Aero]
MIRACLE MILE (Tangerine Dream - Paul Haslinger in person) [Academy Museum]
THE MUSIC MAN (Meredith Willson, Ray Heindorf) [Los Feliz 3]
NEIGHBORS (Bill Conti) [Vista]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
THE RAID: REDEMPTION (Mike Shinoda, Joseph Trapanese) [Vidiots]
RIVER'S EDGE (Jurgen Knieper) [BrainDead Studios]
ROMY AND MICHELE'S HIGH SCHOOL REUNION (Steve Bartek) [New Beverly]
THE SANDLOT (David Newman) [Academy Museum]
THE SAVAGE EYE (Leonard Rosenman) [Academy Museum]
SERPICO (Mikis Theodorakis) [BrainDead Studios]
SLEEPING BEAUTY (George Bruns) [Vidiots]
SPACE TRUCKERS (Colin Towns), VEGAS IN SPACE (Bob Davis) [UCLA/Hammer]
A STAR IS BORN (Ray Heindorf) [Vidiots]
STRAY DOGS [Los Feliz 3]
UNDER THE TUSCAN SUN (Christophe Beck) [Los Feliz 3]
August 11
BANK HOLIDAY [UCLA/Hammer]
BLUEBEARD (Stephane Brunclair) [Los Feliz 3]
DRACULA'S DAUGHTER [Los Feliz e]
ERNEST & CELESTINE (Vincent Courtois) [Vidiots]
THE GENERAL [Egyptian]
IN BRUGES (Carter Burwell) [BrainDead Studios]
INCEPTION (Hans Zimmer) [Fine Arts]
INDIANA JONES AND THE TEMPLE OF DOOM (John Williams) [Alamo Drafthouse]
INDIANA JONES AND THE TEMPLE OF DOOM (John Williams) [New Beverly]
KLUTE (Michael Small) [Egyptian]
MONEYBALL (Mychael Danna) [Academy Museum]
MOVING [Los Feliz 3]
NEIGHBORS (Bill Conti) [Vista]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
THE SMALL BACK ROOM (Brian Easdale) [Academy Museum]
THE TALENTED MR. RIPLEY (Gabriel Yared) [Los Feliz 3]
TITUS (Elliot Goldenthal) [Egyptian]
August 12
AMERICAN GANGSTER (Marc Streitenfeld) [Los Feliz 3]
THE COTTON CLUB (John Barry) [Alamo Drafthouse]
DEADLOCK (The Can) [Los Feliz 3]
FIRESTARTER (Tangerine Dream) [Alamo Drafthouse]
HOW I GOT INTO COLLEGE (Joseph Vitarelli), BIG MAN ON CAMPUS (Joseph Vitarelli) [New Beverly]
MATILDA (David Newman) [Alamo Drafthouse]
MS. PURPLE (Roger Suen) [Academy Museum]
STREETS OF FIRE (Ry Cooder) [Alamo Drafthouse]
THE THING (Ennio Morricone) [Aero]
August 13
ALIEN (Jerry Goldsmith) [Egyptian]
CITY OF GOD (Antonio Pinto, Ed Cortes), FRESH (Stewart Copeland) [New Beverly]
FACE (Jean-Claude Petit) [Los Feliz 3]
THE COTTON CLUB (John Barry) [Alamo Drafthouse]
INDIANA JONES AND THE TEMPLE OF DOOM (John Williams) [Alamo Drafthouse]
MATILDA (David Newman) [Alamo Drafthouse]
P.P. RIDER (Katsu Hoshi) [Los Feliz 3]
August 14
CITY OF GOD (Antonio Pinto, Ed Cortes), FRESH (Stewart Copeland) [New Beverly]
DIRTY LIKE AN ANGEL (Stephane Magnard, Olivier Manoury) [Los Feliz 3]
INDIANA JONES AND THE TEMPLE OF DOOM (John Williams) [Alamo Drafthouse]
PHILADELPHIA (Howard Shore) [Aero]
SILVERADO (Bruce Broughton) [Academy Museum]
STREETS OF FIRE (Ry Cooder) [Alamo Drafthouse]
THE ZODIAC KILLER [Alamo Drafthouse]
August 15
CITY OF GOD (Antonio Pinto, Ed Cortes), FRESH (Stewart Copeland) [New Beverly]
GONE TO EARTH (Brian Easdale) [Academy Museum]
THE LAST MISTRESS [Los Feliz 3]
THIEVES LIKE US [Los Feliz 3]
TYPHOON CLUB (Shigeaki Saegusa) [Los Feliz 3]
August 16
DAYS [Los Feliz 3]
HOT FUZZ (David Arnold) [Alamo Drafthouse]
LOLITA (Nelson Riddle) [New Beverly]
POPEYE (Harry Nilsson, Tom Pierson), TIME BANDITS (Mike Moran) [Aero]
ROXANNE (Bruce Smeaton), ICEMAN (Bruce Smeaton) [Egyptian]
SEARCHING FOR BOBBY FISCHER (James Horner) [Los Feliz 3]
TERMINATOR 2: JUDGMENT DAY (Brad Fiedel) [New Beverly]
TOMB RAIDER (Tom Holkenborg) [Los Feliz 3]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
VALLEY GIRL (Scott Wilk, Mark Levinthal) [Academy Museum]
August 17
BEAUTY AND THE BEAST (Alan Menken) [New Beverly]
THE CHASE (John Barry) [Los Feliz 3]
A CINDERELLA STORY (Christophe Beck) [Academy Museum]
DREAMIN' WILD (Leopold Ross) [Los Feliz 3]
THE ELUSIVE PIMPERNEL (Brian Easdale) [Academy Museum]
HOT FUZZ (David Arnold) [Alamo Drafthouse]
JFK (John Williams) [Egyptian]
LA BAMBA (Carlos Santana, Miles Goodman) [Academy Museum]
LOLITA (Nelson Riddle) [New Beverly]
NASHVILLE [Egyptian]
ROCK 'N' ROLL HIGH SCHOOL [New Beverly]
SAILOR SUIT AND MACHINE GUN (Katsu Hoshi) [Los Feliz 3]
YOUR FACE (Ryuichi Sakamoto) [Los Feliz 3]
August 18
BEAUTY AND THE BEAST (Alan Menken) [New Beverly]
HARRY POTTER AND THE SORCERER'S STONE (John Williams) [Alamo Drafthouse]
THE HATEFUL EIGHT (Ennio Morricone) [Los Feliz 3]
HOT FUZZ (David Arnold) [Alamo Drafthouse]
IN A LONELY PLACE (George Antheil) [Academy Museum]
LITTLE WOMEN (Alexandre Desplat) [Academy Museum]
LOLITA (Nelson Riddle) [New Beverly]
LORDS OF DOGTOWN (Mark Mothersbaugh) [Egyptian]
NO TIME FOR LOVE (Victor Young) [Los Feliz 3]
PRIDE & PREJUDICE (Dario Marianelli) [Los Feliz 3]
3 WOMEN (Gerald Busby) [Egyptian]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Ocean's Eleven (Holmes); The Mummy (Goldsmith); Madron (Ortolani); Cimarron (Waxman); The Mummy Returns (Silvestri); The Magnificent Seven (Bernstein); The Scorpion King (Debney); The Man Who Shot Liberty Valance/Donovan's Reef (Mockridge); The Mummy: Tomb of the Dragon Emperor (Edelman); The Mummy (Tyler); How the West Was Won (Newman)
Read: Strangers on a Train, by Patricia Highsmith
Seen: Brother [2001]; Never Say Die [1939]; The Instigators; Hollywood Story; The Social Network; Pardon My Sarong; In the Navy; Her
Watched: Killdozer; The Mandalorian ("The Sin"); The Office ("Charity"); The Laughing Policeman; Masters of Sex ("Undue Influence"); Sealab 2021 ("Brainswitch")
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