IN THEATERS TODAY
Alien: Romulus - Benjamin Wallfisch - Score LP upcoming from Mutant
Close to You - Dominic Savage, Oliver Coates
The Deliverance - Lucas Vidal
Good Bad Things - Matthew O'Connor
The Good Half - Ben Messelbeck, William Schwartzman
My Penguin Friend - Fernando Velazquez
Skincare - Fatima Al Qadiri
Sugarcane - Mali Obomsawin
The Union - Rupert Gregson-Williams
COMING SOON
August 30
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 16 - John Williams records the third season theme for Lost in Space (1967)
August 16 - Bruno Nicolai died (1991)
August 16 - Miles Goodman died (1996)
August 16 - Tadashi Hattori died (2008)
August 16 - Alan Silvestri wins Emmys for Cosmos: A Spacetime Odyssey’s main title theme and its premiere episode score; David Arnold and Michael Price win for Sherlock’s “His Last Vow” (2014)
August 17 - Lisa Coleman born (1960)
August 17 - Ernest Gold bgins recording his score for A Child Is Waiting (1962)
August 17 - Vivek Maddala born (1973)
August 17 - John Williams begins recording his score for Black Sunday (1976)
August 17 - Johnny Harris records his score for The New Adventures of Wonder Woman episode “The Deadly Sting” (1978)
August 18 - Igo Kantor born (1930)
August 18 - David Benoit born (1953)
August 18 - John Debney born (1956)
August 18 - Tan Dun born (1957)
August 18 - Stuart Matthewman born (1960)
August 18 - Stephen Endelman born (1962)
August 18 - Carlos Rafael Rivera born (1970)
August 18 - Artie Kane records his score for The New Adventures of Wonder Woman episode “The Return of Wonder Woman” (1977)
August 18 - Robert Russell Bennett died (1981)
August 18 - Jack Elliott died (2001)
August 18 - Elmer Bernstein died (2004)
August 19 - Fumio Hayasaka born (1914)
August 19 - Herman Stein born (1915)
August 19 - Luchi De Jesus born (1923)
August 19 - William Motzing born (1937)
August 19 - Ray Cooper born (1942)
August 19 - Gustavo Santaolalla born (1951)
August 19 - Elmer Bernstein begins recording his score for Desire Under the Elms (1957)
August 19 - Recording sessions begin for Bronislau Kaper's score for BUtterfield 8 (1960)
August 19 - Jerry Goldsmith begins recording his score for Take Her, She’s Mine (1963)
August 19 - Alexander Courage's score for the Star Trek episode "The Man Trap" is recorded (1966)
August 19 - Jerry Goldsmith begins recording his score to The Illustrated Man (1968)
August 19 - Jerry Fielding records his score for the Mission: Impossible episode “The Controllers” (1969)
August 19 - Ludovic Bource born (1970)
August 19 - John Williams begins recording the soundtrack LP of Earthquake (1974)
August 19 - Lalo Schifrin begins recording his score for Telefon (1977)
August 19 - Luchi De Jesus died (1984)
August 19 - Jay Chattaway records his score for the Star Trek: Voyager episode “Equinox, Part II” (1999)
August 19 - Geoff Zanelli wins the Emmy for Into the West; Sean Callery wins his second Emmy, for the 24 episode “Day 5: 6:00 a.m. – 7:00 a.m.”; Edward Shearmur wins for Masters of Horror’s main title theme (2006)
August 20 - Raoul Kraushaar born (1908)
August 20 - Edward Williams born (1921)
August 20 - Alain Goraguer born (1931)
August 20 - Stelvio Cipriani born (1937)
August 20 - Isaac Hayes born (1942)
August 20 - Irving Gertz records his score for the Land of the Giants episode “The Creed” (1968)
August 20 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Naked Now" (1987)
August 20 - Recording sessions begin for David Arnold’s score for Stargate (1994)
August 20 - Richard Peaslee died (2016)
August 21 - Basil Poledouris born (1945)
August 21 - Recording sessions begin for Hugo Friedhofer’s score for Two Flags West (1950)
August 21 - Constant Lambert died (1951)
August 21 - Joe Strummer born (1952)
August 21 - Walter Schumann died (1958)
August 21 - Gerald Fried records his score for the Mission: Impossible episode “The Widow” (1967)
August 21 - Angelo Francesco Lavagnino died (1987)
August 21 - Richard Band begins recording his score for Robo Warriors (1996)
August 21 - Alex Wurman wins the Emmy for his Temple Grandin score; Sean Callery wins his third Emmy, for the 24 episode score “Day 8: 3:00 p.m. – 4:00 p.m.; Wendy Melvoin and Lisa Coleman win for Nurse Jackie’s main title theme (2010)
August 22 - Stanislas Syrewicz born (1946)
August 22 - Bronislau Kaper begins recording his score for Ride, Vaquero! (1952)
August 22 - James Dooley born (1976)
August 22 - Bruce Broughton begins recording his score for This Girl for Hire (1983)
August 22 - John Williams begins recording his score for the Amazing Stories episode "The Mission" (1985)
DID THEY MENTION THE MUSIC?
DIDI - Giosue Greco
"That’s why 'Dìdi''s smaller barbs stick best. Bickering abounds, especially between Wang Wang and Vivian (who is more willing to fight fire with fire), until it’s time for the big emotional speeches attempting to make amends. Their mother offers a few chuckles thanks to Chen’s nuanced reactions and embrace of a mother’s superpowerful knack for embarrassing their kid. But nothing sweetens or stings deeply enough to hold up the tear-jerker moments, in which Giosue Greco’s score works overtime to remind us to feel melancholy. Though Chen can hold so much sadness in her face, and Izaac Wang is thoroughly convincing as an ungrateful little shit, the family’s moments together always seem like they’re treading water -- an anxious teenager too eager to zip out of his parent’s minivan when getting dropped off at school."
Jacob Oller, The Onion AV Club
FROM BLACK - Luigi Janssen
"Now, you’re probably thinking, 'Okay, this movie has jump scares and bone-vomit in it. So it’s probably at least entertaining, right?' Not exactly. From its opening moments, 'From Black' takes itself far too seriously, from its muddy gray color palette to its somber -- and nearly-inaudible -- line-reads, from its overwrought performances to the grating score that infiltrates any scene that so much as hints at suspense. And while the notion of a young mother wracked by guilt is compelling ground for a solid horror flick, the world of 'From Black' is far too dull to draw anyone in. And even when those cool gooey monsters do finally come knocking on the door, the film’s pacing remains lethargic, and it becomes difficult to even rouse emotion at the literal jump scares. 'From Black' falls short both as a tale of grief and as a campy creature feature."
Aurora Amidon, Paste Magazine
"Then again, Wyatt’s unconvincing for the same reasons that Cora and Abel are too obvious in their derangement. Portentous line readings are underscored, bolded, and italicized by bad direction, leaden symbolism, and a pushy score. You never have to wonder or try to understand what the characters are feeling because they never stop telling you how to feel. The answer, invariably, is sad and fearful, but 'From Black' is neither, really."
Simon Abrams, RogerEbert.com
INFLUENCER - Avery Kentis
"This all begins in appropriately disquieting fashion with an overhead shot of a seemingly deserted island that slowly pushes in closer and closer. As we come up to the edge of it, we begin to make out something on the beach. As the pulsating score continues to rise up, we see that this is a body laying face down and isn't moving. While some horror films can rely too heavily on the drama this type of opening creates as we wait to see how it ends up here, this is done with just enough of a light touch that it works."
Chase Hutchinson, Collider
MUSIC - Doug Tielli
"And so a Vivaldi aria erupts on the soundtrack, and before long Jon opens his mouth and begins to sing, in a lovely, quavering falsetto. (His favored repertoire is a set of songs written specifically for the movie, by the Ontario-based musician Doug Tielli.) Here, finally, you might think, is the music that 'Music' has promised us, though such a conclusion ignores Schanelec’s remarkable attentiveness to sound -- particularly in the unaccompanied early stretches, when the clanging of goat bells, the bursts of thunder, and the rippling waters of the Aegean Sea form their own wilderness symphony. A more severe interpretation of the title would set aside the matter of sound entirely and acknowledge the distinctly musical resonances and harmonies of the movie’s structure, which Schanelec underscores with a rich pattern of visual repetitions."
Justin Chang, The New Yorker
"The phenomenological world is all we are presented here, even though the film's concerns aspire to the metaphysical. As Jon’s music career yields unusual fruit, his eyesight worsens (here we are to recall the self-blinding of Oedipus) 'Why have an eye if not to see?' a character asks. As for the music itself, the first original song (the material is composed by Doug Tielli, a Canadian singer/songwriter) sounds like a cheerier, bluesier Nick Drake tune; the second song is something wholly other, but all the songs fit under the rubric of dreamy art pop. This is somewhat at odds with the movie’s otherwise austere aesthetic, which adds more intrigue to the inquiry."
Glenn Kenny, RogerEbert.com
"This introduction of melody -- much of it written by Canadian songsmith Doug Tielli and later performed by Schneider onscreen -- marks Schanelec’s most lasting departure from her source myth, swapping the fatalism of Greek tragedy for a sentiment more common to American pop radio: That music might save your mortal soul. Still, don’t expect the deliberately abstruse film to build on the theme beyond the fact of pointing it out."
Ben Croll, IndieWire
"In 'Music,' song might be seen as the one exception to this submission to the gods, a human protest against fate. Schanelec periodically fills the soundtrack with lachrymose opera pieces, some sung by Jon himself in a syrupy falsetto. Honing the open emotion down to the intense feeling of this music -- and otherwise mostly directing actors to react to things in a kind of deadpan -- proves to be oddly moving, and in a way that seems only Schanelec can achieve."
Pat Brown, Slant Magazine
"Of course, Iro eventually discovers the twisted truth about her husband’s ancestry -- including his previously unknown relationship to the man he accidentally killed -- and she cannot cope. Yet 'Music' is by no means a beat-for-beat retelling of Sophoclese’s drama, even giving Jon an oddly optimistic ending. As the film’s title suggests, he navigates personal strife through music, namely classical baroque composers and then, during the film’s last act, soft rock. Jon’s proclivity for either genre is never really explained (though the former was certainly inspired by Iro’s recommendation while Jon was still incarcerated), though Schanelec has stated that discovering fringe Canadian singer-songwriter Doug Tielli is what led to the musical motif in the film’s final third, which finds Jon and his daughter living in Berlin as he composes music. Frankly, Schneider’s saccharine falsetto lends itself to opera far more than contemporary English-language indie sensibilities, making the film’s sonic intrigue end on a somewhat uneven note. Yet for a film seemingly predicated on song, the audience doesn’t hear any actual music until 30 minutes in. The resulting sequence is incredibly compelling, with Vivaldi’s 'Filiae Maestae Jerusalem' playing for five entire minutes while inmates shower, guards play table tennis and we flash-forward once again to see Jon and Iro teaching a class of children with their own baby resting in a carriage nearby. Immediately after, Schanelec provides a scene where Jon finally sings another Vivaldi, this time 'Vedrò Con Mio Diletto.' It’s another half hour until we hear another song, when Jon and Iro’s now 14-year-old daughter croons the French love song 'Plaisir d’amour.' Three more songs pad out the last 20-or-so minutes, making the German-set back half the most lyrically engaging of the entire film, even if these performances aren’t as stirring as those set in Greece. But one lyric sung by Jon in a Tielli-penned song effectively calls back to the Oedipal nature of the story: 'Why open my eye if not to see?'"
Natalia Keogan, Paste Magazine
"Of course the film lives much more in the mind than the heart. But inside its sharp edges there is a vivid tenderness too. The performance style is removed to the point of dissociation, yet full of peculiar light and grace. Simple gestures like smoking a cigarette or handing money across a pharmacist’s counter are done with soft, dextrous hands. Jon helps Elias up after he stumbles in grief. Animals and human onlookers provide mute, sympathetic witness from the edges of so many frames. And there are the songs: There is precious little music in 'Music,' but when it comes, in the form of classical madrigals and Doug Tielli’s otherworldly original compositions that Jon sings in a voice pure and rising, it briefly makes the film into a church."
Jessica Kiang, Variety
"It’s hard to spoil a story whose plot will be impenetrable to many viewers, though it’s important to mention that the film’s last section takes place in Berlin, where Jon, who does seem to be losing his sight like Oedipus, has become a successful musician. The closing reels feature a couple of beautifully rendered studio performances in which Schneider interprets songs by Canadian artist Doug Teilli, delivering the music promised by the title, and much more of an upbeat ending than the classic tragedy."
Jordan Mintzer, The Hollywood Reporter
THE NATURE OF LOVE - Émile Sornin
"The film’s score by Émile Sornin feels plucked out of the golden age, as do Chokri’s framing choices. Yet, coupled with these foundational elements is an eccentric modernity and edge that presents itself via Pauline Gaillard’s witty editing: quick montages cut between charged eye contact and single scenes are shot from numerous unconventional perspectives and spliced together side by side. There is a charm to the fabrication of 'The Nature of Love,' a pleasing hyper awareness of the artists’ hands."
Peyton Robinson, RogerEbert.com
QUICKSAND - Manuel José Gordillo
"Beltrán’s instincts about what makes 'Quicksand' interesting are almost always incorrect. There are aspects that should excite me as a horror fan -- surprise corpse, loaded shotgun, aggressive wildlife -- yet both Beltrán’s execution and Pitt’s foundation are unexceptional. Manuel José Gordillo’s score fits the almost Hallmarky, Lifetime-with-and-edge appropriation of romantic hardships forming a diamond under immense pressure, except it’s also a mood-killer, even when transitioning back into a more generic chills-and-peril rhythm. There’s a collision of tones that’s more like a car wreck than harmonious chaos, as Beltrán drains the tension out of this waterlogged misfire about love, hate and all the venomous obstacles in between."
Matt Donato, Paste Magazine
"But before we see the couple, we are treated to a prologue of hunters in the rainforest meant to assure us this is a thriller and not a somber chamber piece, but it also spells out the problems with the film. The opening scene with the hunters relies on fast cutting to create a sense of terror that really feels disorienting. The score also tells us how to feel and doesn’t relent for the film’s 85-minute runtime. The hunter’s wailing fear fails to make an impact because we don’t know what he’s afraid of."
Brandon David Wilson, RogerEbert.com
TRAP - Herdis Stefansdottir
"Shyamalan can probably relate to the latter desire of Cooper’s. The first half of 'Trap' betrays the director’s greater interest. Shyamalan’s daughter Saleka wrote, produced and recorded an entire album for the film, which adds a haunting layer to composer Herdis Stefansdottir’s score. Many of Saleka’s songs are featured in their entirety, and much of the beginning of the film is dedicated to seeing her strut across the stage in elaborate outfits or mimic the moves of her cadre of backup dancers. These moments also double as a study of star power in the social media age. The glow of phones raised in the air to record moments, the viral choreography and the community of dangerously committed fans are all explored at some point."
Lovia Gyarkye, The Hollywood Reporter
TWISTERS - Benjamin Wallfisch
"There are some truly incredible set pieces over the two-hour runtime, particularly a heart-pounding sequence teased in the trailer when a sudden storm hits the rodeo and county fair. Throughout the film, there are daring escapes, close calls, and enough risks to make the stakes feel high and real. There’s a constant, visceral sense of danger and excitement, and when Benjamin Wallfisch’s score tilts into full Western territory, it’s hard not to start yelling or cheering right alongside the characters onscreen."
Mary Siroky, Consequence
"The problem is that there is no urgent narrative reason for the characters to put themselves in harm's way, so there is no reason for the audience to cheer them on. The adrenaline-pumping music and the shouted dialogue is meant to fool us into thinking that we're watching noble heroes going into battle against evil alien invaders. One character even says that tornadoes are 'coming after the people we love', and that 'now we have the chance to fight back'. But the fact is that the storm-chasers aren't fighting back -- they're researching the weather. And while that's a perfectly laudable occupation, we've come to expect a little more from our blockbuster heroes."
Nicolas Barber, BBC.com
"Modern audiences are in the know about the trickery that simulates great dangers. Films must find creative ways to arouse thrills. 'Twisters,' like its 1996 predecessor, 'Twister,' features little onscreen that’s likely to terrify viewers; the tornadoes in question look like what they are -- elaborately artful illusions. Instead, both films pound the audience into nerve-jangled exhaustion with their sheer quantity of storms, featuring a roaring soundtrack and percussive musical scores so relentless that one imagines timpanists in the fields beating madly alongside the whirlwinds, like the Count Basie Orchestra playing in the desert as the sheriff rides by in 'Blazing Saddles.' 'Twisters,' directed by Lee Isaac Chung, tweaks the original premise and introduces new characters yet remains conspicuously derivative. The movies’ family resemblance includes a basis in survivor’s guilt and an element of romantic comedy. But, more than its predecessor, the new film moves the fear factor out of the sensory realm and into the emotional one."
Richard Brody, The New Yorker
"Chung and DP Dan Mindel take full advantage of the rural Oklahoma locations’ wide-open spaces to give 'Twisters' a vivid sense of place with roots in another time, grounded as much in the architecture as the landscapes. That aspect is enhanced also by a soundtrack of original country songs by contemporary artists (plus a cover or two, including Charley Crockett doing 'Ghost Riders in the Sky'), threaded in with Benjamin Wallfisch’s score."
David Rooney, The Hollywood Reporter
UNIDENTIFIED OBJECTS - Sebastian Zuleta
"The redeeming qualities, which this debut definitely has, come from the prickly banter between the co-stars and some of the sci-fi-inspired dreamscapes interspersed throughout. The director finds another asset in Sebastian Zuleta’s score that lends 'Unidentified Objects' an atmosphere ripe for discovery and curiosity. Electronic sounds immediately evoke an intergalactic voyage, alluding to Winona’s wish to ascend."
Carlos Aguilar, RogerEbert.com
THE YEAR BETWEEN - Kotomi
"Stylistically, too, Heller’s debut is full of ideas that are quirky without being too showy, lest they overshadow subject matter that’s taken seriously despite the surface snark. That extends from the diverse visual strategies in Jason Chiu’s cinematography to the breezy narrative shorthand provided by editor Harrison Atkins’ several montage sequences. There’s savvy input from production designers Carrie Allen and Chris Garcia, while the soundtrack furthers an air of off-kilter humor via both Kotomi’s original score and music supervisor Linda Perry’s survey of mostly female artists from Olivia Newton-John to viral YouTube diva Poppy (plus her own late rock outfit 4 Non Blondes)."
Dennis Harvey, Variety
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
August 16
DAYS [Los Feliz 3]
GIRL FROM STARSHIP VENUS (John Shakespeare, Denis Warne) [Vista]
HOT FUZZ (David Arnold) [Alamo Drafthouse]
LOLITA (Nelson Riddle) [New Beverly]
POPEYE (Harry Nilsson, Tom Pierson), TIME BANDITS (Mike Moran) [Aero]
ROCK 'N' ROLL HIGH SCHOOL [Nuart]
ROXANNE (Bruce Smeaton), ICEMAN (Bruce Smeaton) [Egyptian]
SEARCHING FOR BOBBY FISCHER (James Horner) [Los Feliz 3]
TERMINATOR 2: JUDGMENT DAY (Brad Fiedel) [New Beverly]
TIMECRIMES (Eugenio Mira), PRIMER (Shane Carruth) [UCLA/Hammer]
TOMB RAIDER (Tom Holkenborg) [Los Feliz 3]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
VALLEY GIRL (Scott Wilk, Mark Levinthal) [Academy Museum]
August 17
ARTISTS AND MODELS [Vista]
BEAUTY AND THE BEAST (Alan Menken) [New Beverly]
BROADCAST NEWS (Bill Conti) [Vidiots]
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]
EVENT HORIZON (Michael Kamen) [Vidiots]
HOT FUZZ (David Arnold) [Alamo Drafthouse]
THE HUSTLER (Kenyon Hopkins) [Vista]
JFK (John Williams) [Egyptian]
LA BAMBA (Carlos Santana, Miles Goodman) [Academy Museum]
LOLITA (Nelson Riddle) [New Beverly]
NASHVILLE [Egyptian]
PRINCESS MONONOKE (Joe Hisaishi) [Vidiots]
ROCK 'N' ROLL HIGH SCHOOL [New Beverly]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SAILOR SUIT AND MACHINE GUN (Katsu Hoshi) [Los Feliz 3]
SOLARIS (Edward Atemyev) [Aero]
YOUR FACE (Ryuichi Sakamoto) [Los Feliz 3]
August 18
ARTISTS AND MODELS [Vista]
BEAUTY AND THE BEAST (Alan Menken) [New Beverly]
THE GLASS CASTLE (Joel P. West) [Los Feliz 3]
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]
THE INCREDIBLES (Michael Giacchino) [Vidiots]
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]
REBEL WITHOUT A CAUSE (Leonard Rosenman) [Vidiots]
RUSHMORE (Mark Mothersbaugh) [Aero]
SOMETHING IN THE DIRT (Jimmy LaVille), ANIMALIA (Amin Bouhafa) [UCLA/Hammer]
3 WOMEN (Gerald Busby) [Egyptian]
August 19
THE BIG BOSS (Fu-Ling Wang), FIST OF FURY (Joseph Koo) [New Beverly]
FOOTLOOSE (Miles Goodman) [Alamo Drafthouse]
FOR A FEW DOLLARS MORE (Ennio Morricone) [Los Feliz 3]
THE NEVERENDING STORY (Klaus Doldinger, Giorgio Moroder) [Alamo Drafthouse]
PEEPING TOM (Brian Easdale) [Academy Museum]
SHORT TERM 12 (Joel P. West) [Los Feliz 3]
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (Miles Davis) [Vidiots]
August 20
THE ANNIVERSARY PARTY (Michael Penn) [Los Feliz 3]
THE BIG BOSS (Fu-Ling Wang), FIST OF FURY (Joseph Koo) [New Beverly]
CLAUDINE (Curtis Mayfield) [Los Feliz 3]
HOT FUZZ (David Arnold) [Alamo Drafthouse]
ROOM (Stephen Rennicks) [Aero]
August 21
BREWSTER McCLOUD (Gene Page) [Los Feliz 3]
CHINATOWN (Jerry Goldsmith) [Academy Museum]
THE NEVERENDING STORY (Klaus Doldinger, Giorgio Moroder) [Alamo Drafthouse]
UNIVERSAL SOLDIER: DAY OF RECKONING [Los Feliz 3]
WATERMELON MAN (Melvin Van Peebles), PUTNEY SWOPE (Charles Cuva) [New Beverly]
August 22
THE APOSTLE (David Mansfield) [Los Feliz 3]
THE BIG LEBOWSKI (Carter Burwell) [Academy Museum]
BREWSTER McCLOUD (Gene Page) [Los Feliz 3]
DUMB AND DUMBER (Todd Rundgren) [Egyptian]
LEGENDS OF THE FALL (James Horner) [Egyptian]
TO BE OR NOT TO BE (Werner R. Heymann) [Aero]
WATERMELON MAN (Melvin Van Peebles), PUTNEY SWOPE (Charles Cuva) [New Beverly]
August 23
BACK TO THE FUTURE PART II (Alan Silvestri) [New Beverly]
BIG WEDNESDAY (Basil Poledouris) [Vista]
BOTTLE ROCKET (Mark Mothersbaugh) [Vidiots]
BRIDGET JONES'S DIARY (Patrick Doyle) [Los Feliz 3]
FANTASTIC MR. FOX (Alexandre Desplat), BOTTLE ROCKET (Mark Mothersbaugh) [New Beverly]
GONE GIRL (Trent Reznor, Atticus Ross) [Aero]
PRINCESS MONONOKE (Joe Hisaishi) [Vidiots]
ROMY AND MICHELE'S HIGH SCHOOL REUNION (Steve Bartek) [Los Feliz 3]
SHOWGIRLS (David A. Stewart) [Vidiots]
SID AND NANCY (Pray for Rain) [Nuart]
THE TOXIC AVENGER [Alamo Drafthouse]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
August 24
AKEELAH AND THE BEE (Aaron Zigman) [Academy Museum]
ALMA'S RAINBOW (Jean-Paul Bourelli) [Los Feliz 3]
ANNIE (Charles Strouse, Ralph Burns) [Vidiots]
THE BAT WOMAN [Vidiots]
BIG WEDNESDAY (Basil Poledouris) [Vista]
THE BRIDGE ON THE RIVER KWAI (Malcolm Arnold) [Egyptian]
THE DEPARTED (Howard Shore) [Landmark Westwood]
DEVIL IN A BLUE DRESS (Elmer Bernstein) [Academy Museum]
DOCTOR DETROIT (Lalo Schifrin) [Vista]
FANTASTIC MR. FOX (Alexandre Desplat), BOTTLE ROCKET (Mark Mothersbaugh) [New Beverly]
GREASE [Alamo Drafthouse]
A KNIGHT'S TALE (Carter Burwell) [Egyptian]
MIAMI VICE (John Murphy) [Egyptian]
MODERN TIMES (Charles Chaplin) [Aero]
MONTY PYTHON'S THE MEANING OF LIFE (John Du Prez) [Vidiots]
NIGHT TIDE (David Raksin) [Academy Museum]
THE ONION FIELD (Eumir Deodato) [Aero]
ONLY LOVERS LEFT ALIVE (Josef van Wissem, Squrl) [New Beverly]
PONYO (Joe Hisaishi) [New Beverly]
THE PRESIDEN'T ANALYST (Lalo Schifrin) [Los Feliz 3]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
STREETWISE [Alamo Drafthouse]
TANK GIRL (Graeme Revell) [Los Feliz 3]
VAMPIRE'S KISS (Colin Towns) [Vidiots]
YOU'VE GOT MAIL (George Fenton) [Los Feliz 3]
August 25
ALL THE PRESIDENT'S MEN (David Shire) [Vidiots]
THE BIRDS (Remi Gassman, Oskar Sala, Bernard Herrmann) [Egyptian]
CASABLANCA (Max Steiner) [Vidiots]
CRIMES AND MISDEMEANORS [Aero]
DOCTOR DETROIT (Lalo Schifrin) [Vista]
FANTASTIC MR. FOX (Alexandre Desplat), BOTTLE ROCKET (Mark Mothersbaugh) [New Beverly]
HARRY POTTER AND THE CHAMBER OF SECRETS (John Williams, William Ross) [Alamo Drafthouse]
THE LAST STARFIGHTER (Craig Safan) [Alamo Drafthouse]
MODEL SHOP [Academy Museum]
PONYO (Joe Hisaishi) [New Beverly]
SHAUN THE SHEEP MOVIE (Ilan Eshkeri) [Vidiots]
SHOESHINE (Alessandro Cicognini) [Egyptian]
SPIDER-MAN: INTO THE SPIDER-VERSE (Daniel Pemberton) [Academy Museum]
THE THIN MAN (William Axt) [Los Feliz 3]
TO LIVE AND DIE IN L.A. (Wang Chung) [Egyptian]
UNBREAKABLE (James Newton Howard) [Los Feliz 3]
UNDER FIRE (Jerry Goldsmith) [Los Feliz 3]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: All This and Heaven Too/A Stolen Life (Steiner); Cheyenne Autumn (North); Return of the Seven (Bernstein); The Life and Times of Judge Roy Bean (Jarre); Alessandro Cigognini Per Vittorio De Sica (Cicognini); Boy on a Dolphin (Friedhofer); Butch Cassidy and the Sundance Kid (Bacharach); True Grit (Bernstein); Bite the Bullet (North); The Shootist/The Sons of Katie Elder (Bernstein); The Pride and the Passion/Kings Go Forth (Antheil/Bernstein); Comes a Horsemen (Small); Butch and Sundance: The Early Days (Williams); The Electric Horseman (Grusin); Legend of the Lost (Lavagnino); Silverado (Broughton); Desire Under the Elms (Bernstein); The Fuzzy Pink Nightgown/A Breath of Scandal (May/Cicognini); It Started in Naples (Cicognini/Savina); Two Women/Yesterday, Today and Tomorrow (Trovajoli)
Read: Coyote Waits, by Tony Hillerman
Seen: Trap; Borderlands; Beyond the Valley of the Dolls; The Savage Eye; Harold and the Purple Crayon; Miracle Mile; Company [live theater]; Moneyball; How I Got Into College; Big Man on Campus; Cuckoo
Watched: Link; Danger Man ("The Honeymooners"); The Newsroom ("First Thing We Do, Let's Kill All the Lawyers"); The Maze
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