The latest CD from Quartet features the first release of the original score tracks for John Barry's music for Richard Lester's 1965 sex comedy THE KNACK (remastered from music-and-effects tracks), plus the cues from the original LP recording and a couple bonus versions of the main theme. (Barry went on to score Petulia and Robin and Marian for Lester; for the latter film, he replaced a more somber and classical score by Michel Legrand).
The latest CD from Caldera features David Shire's score for the 1991 TV movie SARAH, PLAIN AND TALL, a frontier romance starring Glenn Close and Christopher Walken, paired with Shire's music for its first sequel, SKYLARK (Shire's music tracks for the third in the series, Winter's End, are apparently lost).
CDS AVAILABLE THIS WEEK
Histoires extraordinaires/Les Cousins de la Constance/La-haut, les quartre saisons - Georges Delerue - Music Box
One Deadly Summer/The White Queen - Georges Delerue - Music Box
IN THEATERS TODAY
Audrey's Children - Genevieve Vincent
The Ballad of Wallis Island - Adem Ilhan
Being Maria - Benjamin Biolay
Day of Reckoning - Jay Christopherson
Death of a Unicorn - Dan Romer, Giosue Greco
The Penguin Lessons - Federico Jusid
The Woman in the Yard - Lorne Balfe
A Working Man - Jared Michael Fry
COMING SOON
April 18
La morte non conta i dollari - Nora Orlandi, Robby Poitevin - Beat
L'anticristo/Sepolta viva - Ennio Morricone - Beat
May 2
Once Within a Time - Philip Glass, Susan Deyhim - Orange Mountain
May 9
The Ministry of Ungentlemanly Warfare - Chris Benstead - Filmtrax
May 23
Speak No Evil - Sune "Koter" Kolster - Svart
May 30
The Brutalist - Daniel Blumberg - Milan
Coming Soon
Delitto a posillipo - Angelo Francesco Lavagnino - Alhambra
Do You Like Hitchcock? [remastered re-issue] - Pino Donaggio - Quartet
The Knack - John Barry - Quartet
Sarah, Plain and Tall/Skylark - David Shire - Caldera
Slipstream - Elmer Bernstein - Dragon's Domain
Stand By for Action! 2: Tunes of Danger - various - Silva
Star Trek: A Symphonic Celebration - George Duning, Jerry Fielding, Gerald Fried, Sol Kaplan, Samuel Matlovsky and Joseph Mullendore - Dragon's Domain
Starship Invasions - Gil Melle - Dragon's Domain
THIS WEEK IN FILM MUSIC HISTORY
March 28 - Jay Livingston born (1915)
March 28 - Alf Clausen born (1941)
March 28 - Gerald Fried records his score for The Baby (1972)
March 28 - Arthur Bliss died (1975)
March 28 - Waldo de los Rios died (1977)
March 28 - Carmen Dragon died (1984)
March 28 - Maury Laws died (2019)
March 29 - William Walton born (1902)
March 29 - Tito Arevalo born (1911)
March 29 - Sam Spence born (1927)
March 29 - Richard Rodney Bennett born (1936)
March 29 - Vangelis born (1943)
March 29 - Franz Waxman wins his first of two consecutive score Oscars, for Sunset Blvd. (1951)
March 29 - John Williams wins his second Oscar and his first for Original Score, for Jaws (1976)
March 29 - Jerry Goldsmith wins his only Oscar, for The Omen score; the film music community presumably exclaims “Finally!” (1977)
March 29 - John Williams wins his third Oscar, for the Star Wars score (1978)
March 29 - Vangelis wins his first Oscar, for the Chariots of Fire score (1981)
March 29 - Dave Grusin wins his first Oscar, for The Milagro Beanfield War score (1989)
March 29 - James Horner begins recording his score for In Country (1989)
March 29 - Alan Silvestri begins recording his score for Back to the Future Part III (1990)
March 29 - Alan Menken wins his fifth and sixth Oscars, for the Aladdin score and its song "A Whole New World" (1993)
March 29 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “Strange Bedfellows” (1999)
March 29 - Ulpio Minucci died (2007)
March 29 - Maurice Jarre died (2009)
March 29 - Krzysztof Penderecki died (2020)
March 30 - Kan Ishii born (1921)
March 30 - Eric Clapton born (1945)
March 30 - Dimitri Tiomkin wins his third Oscar, for The High and the Mighty score (1955)
March 30 - Georges Delerue begins recording his score for Rapture (1965)
March 30 - Ennio Morricone, inexplicably, doesn't win the Best Score Oscar for The Mission, which was pretty much the only score album anyone in Hollywood listened to during the late '80s; Herbie Hancock wins Oscar for Round Midnight score instead (1987)
March 30 - Alan Menken wins his third and fourth Oscars, for Beauty and the Beast's score and title song (1992)
March 30 - John Williams begins recording his score for Jurassic Park (1993)
March 30 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Battle Lines” (1993)
March 30 - David Bell records his score for the Star Trek: Deep Space Nine episode “In the Pale Moonlight” (1998)
March 30 - Dennis McCarthy and Kevin Kiner record their score for the two-part Star Trek: Enterprise episode “In a Mirror, Darkly” (2005)
March 31 - Arthur B. Rubinstein born (1938)
March 31 - Alejandro Amenabar born (1972)
March 31 - Michael Gore wins his first two Oscars for Fame's score and title song (1981)
March 31 - Cliff Eidelman begins recording his score for The Meteor Man (1993)
March 31 - Terry Plumeri died (2016)
April 1 - Winfried Zillig born (1905)
April 1 - Pete Carpenter born (1914)
April 1 - George Garvarentz born (1932)
April 1 - Matthew McCauley born (1954)
April 1 - David Raksin begins recording his score for Until They Sail (1957)
April 1 - Philip Lambro begins recording his unused score for Chinatown (1974)
April 1 - Marvin Gaye died (1984)
April 1 - David Bell records his score for the Star Trek: Deep Space Nine episode “Til Death Do Us Part” (1999)
April 1 - Adam Schlesinger died (2020)
April 2 - Serge Gainsbourg born (1928)
April 2 - Marvin Gaye born (1939)
April 2 - Marvin Hamlisch wins Oscars in all three music categories, for adapting The Sting and for The Way We Were's score and title song, the first and only time this has happened in 97 years of Academy Awards (1974)
April 2 - Jean-Baptiste de Lauber (aka Para One) born (1979)
April 2 - Bill Conti begins recording his score for The Karate Kid (1984)
April 2 - Bill Conti begins recording his score for Gotcha! (1985)
April 2 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Chase” (1993)
April 2 - Mark McKenzie records his score for the Enterprise episode “Horizon” (2003)
April 2 - Clifford "Bud" Shank died (2009)
April 2 - Gato Barbieri died (2016)
April 3 - Mario Castelnuovo-Tedesco born (1895)
April 3 - Edward Ward born (1900)
April 3 - Marvin Hatley born (1905)
April 3 - Francois de Roubaix born (1939)
April 3 - Jungle Book released in U.S. theaters (1942)
April 3 - Richard Bellis born (1946)
April 3 - Philippe Rombi born (1968)
April 3 - Ferde Grofe died (1972)
April 3 - Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “Testimony of a Traitor” (1981)
April 3 - Lionel Bart died (1999)
April 3 - Paul Baillargeon records his score for the Star Trek: Voyager episode “Live Fast and Prosper” (2000)
April 3 - Dusan Radic died (2010)
DID THEY MENTION THE MUSIC?
THE ELECTRIC STATE - Alan Silvestri
"Unfortunately, one of 'The Electric State''s greatest pitfalls is that its emotional moments don't hit as hard as they should. For example, we don’t have enough time to get invested in Michelle’s relationship with her brother (undoubtedly due to the Russo Brothers letting Chris Pratt ad-lib with a robot for a good chunk of the run time) and thus, when that relationship is lost, we don’t share in her sadness. However, the movie's score and soundtrack help greatly to emphasize moments of both grief and hope. Alan Silvestri's score is unsurprisingly powerful, particularly during the climactic action sequence, and songs by the likes of Tom Petty and The Clash add to the film's defiant tone. Marky Mark and the Funky Bunch help our characters defeat wicked scavenger robots, and oddly enough, the most stirring moment of the entire movie is when a mechanical taco plays a soulful piano rendition of 'Don't Stop Believin'.' Overall, 'The Electric State' doesn’t hold a candle to any of its esteemed cast’s other films, but impressive visual effects and great music help it from being a totally pointless foray into the wasteland."
Shaina Weatherhead, Collider
"If there’s anything else worth mentioning, it’s that the great composer Alan Silvestri is utilized. Still, his score, especially the last act, sounds like a bunch of discarded cues from the 'Avengers' films that are resurrected and recycled here -- terribly recognizable in how musically similarly secondhand they are."
Rodrigo Perez, The Playlist
"That final act also sets the scene for an emotional catharsis of sorts that attempts to wring tears out of the audience, with an aggressive assist from Alan Silvestri’s hard-working score. But that would require some kind of emotional investment in characters that seldom get as far as two-dimensional. The actors are all game for anything, but this is thankless work, in which the mix of live action and animatronics has no magic. The same goes for the talented voice cast, which also includes Colman Domingo and Hank Azaria in small roles."
David Rooney, The Hollywood Reporter
HERE - Brecht Ameel
"Stefan’s quest is interwoven with Shuxiu’s day and is liable to be subordinated to his excursions through areas of Brussels where human construction surprisingly resides alongside pockets of nature. Both natural and constructed elements are lent an elegant beauty by the rich but subtle tones of the cinematography and the sparse score, mainly consisting of gently plucked guitar strings, underscores some of those quieter moments. Devos’s use of music intervenes just enough to set a tone but stops short of seizing the reins of meaning from the image itself."
Pat Brown, Slant Magazine
"In the microscopic patterns ShuXiu offers Stefan, and in the way these two almost-strangers are enveloped by a parkland’s rich green understory, Vandekerckhove’s camerawork is keenly attuned to the story’s synchronous planes, all of them in full, unannounced blossom throughout the film. Nature and science. Spirit and emotion. Mechanics and magic. The delicate tones of Brecht Ameel’s music and Boris Debackere’s sound design complete the quotidian-cosmic universe."
Sheri Linden, The Hollywood Reporter
IN THE LOST LANDS - Paul Haslinger
"Paul W.S. Anderson’s fantasy action flick 'In The Lost Lands' has all the hallmarks of the pulpy B-movie maestro’s now-decades-old Resident Evil formula: ruins and industrial backdrops; loud electronic beats; maps, traps, and monsters; slow-mo and the familiar sight of Milla Jovovich floating with a weapon in each hand. Once again, we find ourselves in some kind of post-apocalyptic wasteland -- in this case, a bleak neo-medieval future where most of what’s left of the human race now resides in The City Under The Mountain, a squalid metropolis ruled by a decrepit, incontinent king and an authoritarian Church. Beyond that lie the Lost Lands of the title: classic “'There be dragons' territory, a sprawl of collapsed cities and abandoned power stations full of supernatural dangers and beasties. So far, so good."
Ignatiy Vishnevetsky, AV Club
NO ADDRESS - Steve Wingfield
"'No Address'' core message about community and resilience is powerful, but the movie’s themes are diminished by some questionable creative choices. Music cuts abruptly, sound effects are included sporadically and ineffectively, and one moment that should arguably be the film’s most heartbreaking is instead made laughable through a befuddling, jarring shot. Narration by Lauren makes the film feel tacky rather than poignant, and also further confuses things when it's unclear if she's talking to the audience, her dead mother, God, or perhaps all of the above. An overly sentimental score plays underneath most of the movie, making it feel more akin to a cloying PSA with Sarah McLachlan singing somberly in the background. The subject matter is serious enough as it is, but 'No Address'' heavy-handed approach to sentimentality undercuts any semblance of a genuine moment.
Shaina Weatherhead, Collider
OLD GUY - Andrew Simon McAllister, Mono Town
"The third-act shootout is the lone instance where there’s any snappy sense of rhythm coursing through the film’s veins, courtesy of Mono Town’s track 'Two Bullets,' which underscores Danny’s inevitable return to fine form. But at that point, very little is gained after sitting through all the anti-climactic hijinks. On top of that, the bifurcated score underlines the film’s identity crisis, oscillating between plucky guitar compositions from Andrew Simon McAllister better suited to a buddy-cop comedy and smooth, synth-heavy instrumentals from Mono Town that align more with a sleek spy flick."
Courtney Howard, Variety
SEAGRASS - Oscar Vargas
"Specifically, this comes in the form of a cave down by the water that Emmy discovers with a group of other kids. One of them tells her that it is no ordinary place and that, if you look inside it while thinking of someone dead, they’ll begin to haunt you. As a disquieting yet understated score by composer Oscar Vargas begins to rise, we see the camera drift towards Emmy as she remains standing in place with this new information settling in. Even when we return to the tense domestic settings of dinners and putting kids to bed, the sense that there is something else there lingers. With cinematography by Norm Li, we then return to the cave as the camera begins to gently float out through the mouth and up through the woods before arriving back with Emmy. It feels almost reminiscent of something like the recent Presence while remaining much more ethereal and slippery. Indeed, the film is best when it keeps this element of the film as something less tangible and more uncertain about what it means. Seeing Judith comfort her daughter before, just moments later, looking rattled in the kitchen tells us that this is something that is increasingly having an impact on her as well."
Chase Hutchinson, Collider
THERE'S STILL TOMORROW - Lele Marchitelli
"Cortellesi’s examination of Delia’s life follows a straightforward neorealist format -- black and white photography, period-appropriate music -- except when it doesn’t. Early on, as Delia leaves the house and walks to her first job, the orchestral score switches to American blues music. Later on, during a scene where Delia’s trying to escape her family, a needle drop of OutKast’s 'Bombs Over Baghdad' fits the emotion of the scene so unexpectedly well that it earns a solid laugh."
Abby Olcese, RogerEbert.com
THE UNBREAKABLE BOY - Pancho Burgos-Goizueta
"If one scene finds Austin and Teresa dancing in their living room (mother and son taking pleasure in one of the only physical activities their bodies will allow them to perform safely), the next will invariably see Teresa sitting at the kitchen table and shaking her head at hospital bills under a blanket of sad piano music. The one after that? Maybe Scott crossing paths with a glinty-eyed stranger in the bathroom at church (producer Peter Facinelli), or having a heart-to-heart with the imaginary best friend he’s had since childhood (a gregariously charming Drew Powell). 'My dad is like Tyler Durden in "Fight Club"!,' Austin’s narration declares. 'I flippin’ love that movie!'"
David Ehrlich, IndieWire
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
March 28
THE BIRDCAGE (Jonathan Tunick), HEARTBREAKERS (John Debney, Danny Elfman) [Aero]
HUNDREDS OF BEAVERS (Chris Ryan) [New Beverly]
INLAND EMPIRE (David Lynch) [Alamo Drafthouse]
KILL BILL: VOL. 1 [New Beverly]
THE LAST LETTER [Los Feliz 3]
THE LOVE BUG (George Bruns) [Los Feliz 3]
MAD MAX: FURY ROAD (Tom Holkenborg) [Vista]
MULHOLLAND DRIVE (Angelo Badalementi) [Alamo Drafthouse]
MULHOLLAND DRIVE (Angelo Badalementi) [Nuart]
REPO MAN (Steven Hufsteter, Humberto Larriva) [Vista]
SHAKESPEARE IN LOVE (Stephen Warbeck) [New Beverly]
TENEBRE (Morante-Pignatelli-Simonetti) [BrainDead Studios]
THE WOMAN IN THE WINDOW (Arthur Lange), MURDER, MY SWEET (Roy Webb) [Egyptian]
March 29
THE AUTOMAT (Hummie Mann) [UCLA/Hammer]
CRY DANGER (Emil Newman, Paul Dunlap), HELL'S HALF ACRE (R. Dale Butts) [Egyptian]
DESTROYER (Theodore Shapiro) [Egyptian]
DILWALE DULHANIA LE JAYENGE (Jatin-Lalit) [Academy Museum]
EQUUS (Richard Rodney Bennett) [Los Feliz 3]
EXISTENZ (Howard Shore) [Academy Museum]
FAST TIMES AT RIDGEMONT HIGH [Los Feliz 3]
GINGER SNAPS 2: UNLEASHED (Kurt Swinghammer) [New Beverly]
HUNDREDS OF BEAVERS (Chris Ryan) [New Beverly]
IN THE HEAT OF THE NIGHT (Quincy Jones) [Vidiots]
INLAND EMPIRE (David Lynch) [Alamo Drafthouse]
THE LAST DETAIL (Johnny Mandel) [BrainDead Studios]
THE LITTLE MERMAID (Alan Menken) [New Beverly]
MAD MAX: FURY ROAD (Tom Holkenborg) [Vista]
MULHOLLAND DRIVE (Angelo Badalamenti) [Alamo Drafthouse]
PIRANHA (Pino Donaggio) [Vidiots]
THE PRINCESS OF FRANCE (Julián Larquier Tellarini, Julián Tello) [Los Feliz 3]
RAW DEAL (Paul Sawtell) [Egyptian]
REPO MAN (Steven Hufsteter, Humberto Larriva) [Vista]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SELENA (Dave Grusin) [Vidiots]
SING (Joby Talbot) [Vidiots]
TO CATCH A THIEF (Lyn Murray) [New Beverly]
TOPAZ (Maurice Jarre) [Los Feliz 3]
TROUBLE IN PARADISE [Vista]
UNFORGIVEN (Lennie Niehaus) [Aero]
March 30
AMERICAN GRAFFITI [Aero]
BOUND (Don Davis) [Egyptian]
DEAD RECKONING (Marlin Skiles) [Egyptian]
THE GRAND BUDAPEST HOTEL (Alexandre Desplat) [BrainDead Studios]
HARLAN COUNTY U.S.A. [Vidiots]
HUNDREDS OF BEAVERS (Chris Ryan) [New Beverly]
IF... (Marc Wilkinson) [Los Feliz 3]
INLAND EMPIRE (David Lynch) [Alamo Drafthouse]
JODHAA AKBAR (A.R. Rahman) [Academy Museum]
LATE SPRING (Senji Ito) [Aero]
MAD MAX: FURY ROAD (Tom Holkenborg) [Vista]
MULHOLLAND DRIVE (Angelo Badalamenti) [Alamo Drafthouse]
THE NOTEBOOK (Aaron Zigman) [Vidiots]
THE PROWLER (Lyn Murray), ACE IN THE HOLE (Hugo Friedhofer) [Egyptian]
THE PUBLIC EYE (John Barry) [Los Feliz 3]
TO CATCH A THIEF (Lyn Murray) [New Beverly]
TORN CURTAIN (John Addison) [BrainDead Studios]
TROUBLE IN PARADISE [Vista]
UGETSU [Los Feliz 3]
WHISPER OF THE HEART (Yuji Nomi)[Vidiots]
YENTL (Michel Legrand) [UCLA/Hammer]
March 31
CLIMAX [Los Feliz 3]
EXISTENZ (Howard Shore) [Academy Museum]
I'M NO ANGEL, GOIN' TO TOWN [New Beverly]
INLAND EMPIRE (David Lynch) [Alamo Drafthouse]
THE MATRIX (Don Davis) [Culver]
MOTHER (Byung-woo Lee) [Academy Museum]
MULHOLLAND DRIVE (Angelo Badalamenti) [Alamo Drafthouse]
NINOTCHKA (Werner R. Heymann) [Egyptian]
THE PALM BEACH STORY (Victor Young) [Egyptian]
SAFE (Ed Tomney) [Vidiots]
THE STOLEN MAN [Los Feliz 3]
April 1
BLUE COLLAR (Jack Nitzsche), AMERICAN GIGOLO (Giorgio Moroder) [New Beverly]
DAVID LYNCH: THE ART LIFE (Jonatan Bengta) [Landmark Pasadena]
INLAND EMPIRE (David Lynch) [Alamo Drafthouse]
MR. BLANDINGS BUILDS HIS DREAM HOUSE (Leigh Harline) [Egyptian]
THE MAJOR AND THE MINOR (Robert Emmett Dolan) [Egyptian]
MULHOLLAND DRIVE (Angelo Badalamenti) [Alamo Drafthouse]
VIY (Karen Khachaturyan) [Los Feliz 3]
April 2
AMORES PERROS (Gustavo Santaolalla) [Academy Museum]
BEAUTY AND THE BEAST (Georges Auric) [Egyptian]
BLUE COLLAR (Jack Nitzsche), AMERICAN GIGOLO (Giorgio Moroder) [New Beverly]
THE ELEPHANT MAN (John Morris) [Alamo Drafthouse]
INLAND EMPIRE (David Lynch) [Alamo Drafthouse]
MULHOLLAND DRIVE (Angelo Badalamenti) [Alamo Drafthouse]
MYSTERY TEAM (Donald Glover) [Los Feliz 3]
SUNRISE [Egyptian]
WEEKEND (Antoine Duhamel) [Los Feliz 3]
April 3
BLUE COLLAR (Jack Nitzsche), AMERICAN GIGOLO (Giorgio Moroder) [New Beverly]
CLAUDINE (Curtis Mayfield) [Egyptian]
THE ELEPHANT MAN (John Morris) [Alamo Drafthouse]
GHOST IN THE SHELL (Kenji Kawai) [Academy Museum]
THE HOST (Byung-woo Lee) [Academy Museum]
MY BEAUTIFUL LAUNDRETTE (Stanley Myers, Hans Zimmer) [Egyptian]
April 4
THE BLACK STALLION (Carmine Coppola, Shirley Walker) [Egyptian]
BRAZIL (Michael Kamen) [New Beverly]
DONNIE DARKO (Michael Andrews) [New Beverly]
DUNE (Toto) [Alamo Drafthouse]
IDENTIFICATION OF A WOMAN (John Foxx) [Los Feliz 3]
KANCHENJUNGHA (Satyajit Ray) [Academy Museum]
KILL BILL: VOL. 2 (RZA, Robert Rodriguez) [New Beverly]
RABID [Nuart]
THE ROYAL TENENBAUMS (Mark Mothersbaugh) [Vidiots]
THE WARRIORS (Barry DeVorzon) [Vidiots]
April 5
BOMBSHELL [UCLA/Hammer]
BONNIE AND CLYDE (Charles Strouse) [Aero]
DONNIE DARKO (Michael Andrews) [New Beverly]
THE ELEPHANT MAN (John Morris) [Egyptian]
INDIANA JONES AND THE TEMPLE OF DOOM (John Williams) [New Beverly]
THE KING OF COMEDY (Robbie Robertson) [Los Feliz 3]
LA HAINE [Egyptian]
MEMORIES OF MURDER (Taro Iwashiro) [Academy Museum]
THE MUPPETS TAKE MANHATTAN (Joe Raposo) [Vidiots]
NEVER CRY WOLF (Mark Isham), DUMA (John Debney) [Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
STATE LEGISLATURE [Los Feliz 3]
TERROR IN THE AISLES (John Beal) [New Beverly]
April 6
CAPOTE (Mychael Danna) [Academy Museum]
CISCO PIKE [Vidiots]
DONNIE DARKO (Michael Andrews) [New Beverly]
THE FITS (Danny Bensi, Saunder Jurriaans) [UCLA/Hammer]
FLY AWAY HOME (Mark Isham) [Egyptian]
GHOST IN THE SHELL (Kenji Kawai) [Academy Museum]
INDIANA JONES AND THE TEMPLE OF DOOM (John Williams) [New Beverly]
IT'S A MAD, MAD, MAD, MAD WORLD (Ernest Gold) [Aero]
THE MANY ADVENTURES OF WINNIE THE POOH [Vidiots]
PLAY IT AS IT LAYS [Aero]
SMILEY FACE (David Kitay) [Alamo Drafthouse]
WERCKMEISTER HARMONIES (Mihaly Vig) [Egyptian]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: The Man with the Golden Gun (Barry); Red Dragon (Elfman); 25th Hour (Blanchard); Electric Shadows (Zhao); Cold Mountain (Yared); Capote (Danna); Mission: Impossible III (Giacchino); Synecdoche, New York (Brion); Doubt (Shore); The Ides of March (Desplat); Moneyball (Danna); The Master (Greenwood)
Read: The Boy Who Never Grew Up, by David Handler; The Tango Briefing, by Adam Hall, aka Elleston Trevor, aka Trevor Dudley-Smith
Seen: Starting Over; Semi-Tough; Devdas [2002]; Captain America: Brave New World; The Last Seduction; Mickey 17; Okja; Parasite [2019]; Seven Veils; Snowpiercer; Play Misty for Me; You'll Like My Mother; Magazine Dreams; Misericordia
Watched: Columbo ("By Dawn's Early Light"); Who?; Person of Interest ("Flesh and Blood"); The Twilght Zone ("Static")
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