The latest CD from Intrada is a remastered, two-disc re-release of Jerry Goldsmith's thrilling score for the very first Rambo film, better known as FIRST BLOOD (whose director, Ted Kotcheff, just passed away). It features both the full film score as well as the original LP sequencing (which was most of the score), and corrects audio issues from the previous releases.
CDS AVAILABLE THIS WEEK
Class - Elmer Bernstein - Quartet
First Blood - Jerry Goldsmith - Intrada Special Collection
Gladiator - Hans Zimmer, Lisa Gerrard - La-La Land
A Little Princess: The Deluxe Edition - Patrick Doyle - Varese Sarabande CD Club
The Ministry of Ungentlemanly Warfare - Chris Benstead - Filmtrax
A Quiet Place in the Country - Ennio Morricone - Quartet
Stand By for Action! 2: Tunes of Danger - various - Silva
The Thorn Birds: The Deluxe Encore Edition - Henry Mancini - Varese Sarabande CD Club
The Working Class Go to Heaven - Ennio Morricone - Quartet
IN THEATERS TODAY
The Art of Nothing - Casimir Liberski
Clown in a Cornfield - Brandon Roberts, Marcus Trumpp
Fight or Flight - Paul Saunderson
Friendship - Keegan DeWitt
Juliet & Romeo - Evan Kidd Bogart, Justin Gray
Lilly - Ariel Marx
Nonnas - Marcelo Zarvos
Pavements - Keegan DeWitt, Dabney Morris
Shadow Force - Craig DeLeon
Watch the Skies - Gustaf Spetz, Oskar Sollenberg
COMING SOON
May 23
Speak No Evil - Sune "Koter" Kolster - Svart
Aug 1
The Brutalist - Daniel Blumberg - Milan
Coming Soon
Alien: Romulus - Benjamin Wallfisch - Mutant
The Mirror Crack'd - John Cameron - Caldera
Par ou t'es rentre...on t'a pas vu sortir - Alan Silvestri - Music Box
Plus beau que moi, tu meurs - Armando Trovajoli - Music Box
Sinners - Ludwig Goransson - Mutant
Star Wars: Skeleton Crew - Mick Giacchino - Mutant
Thelma & Louise - Hans Zimmer - La-La Land
THIS WEEK IN FILM MUSIC HISTORY
May 9 - Richard Shores born (1917)
May 9 - Eddy Manson born (1919)
May 9 - The Informer opens in New York (1935)
May 9 - Bruce Rowland born (1942)
May 9 - David Rose wins an Emmy for his Bonanza score “The Love Child,” and Walter Scharf wins for the Undersea World of Jacques Cousteau episode “The Tragedy of the Red Salmon” (1971)
May 9 - Michael Kamen records his score for the Amazing Stories episode "Mirror, Mirror" (1985)
May 9 - David Bell records his score for the Star Trek: Deep Space Nine episode “The Quickening” (1996)
May 9 - Recording sessions begin for David Arnold’s score for Independence Day (1996)
May 10 - Max Steiner born (1888)
May 10 - Dimitri Tiomkin born (1899)
May 10 - David Lindup born (1928)
May 10 - Jay Ferguson born (1947)
May 10 - Debbie Wiseman born (1963)
May 10 - Perry Blake born (1970)
May 10 - Isaac Hayes begins recording his score for Shaft (1971)
May 10 - Laurence Rosenthal begins recording his score for The Return of a Man Called Horse (1976)
May 10 - David Shire records his score for Monkey Shines (1988)
May 10 - Dennis McCarthy records his score for the final episode of Star Trek: The Next Generation, “All Good Things…” (1994)
May 10 - David Bell records his score for the Star Trek: Deep Space Nine episode “The Dogs of War” (1999)
May 10 - Jay Chattaway begins recording his score for the Star Trek: Voyager episodes “Endgame, Parts 1 & II” (2001)
May 11 - Nathan Scott born (1915)
May 11 - Recording sessions begin for Miklos Rozsa’s score to So Proudly We Hail (1943)
May 11 - Recording sessions begin for Cyril J. Mockridge’s score for Where the Sidewalk Ends (1950)
May 11 - Elmer Bernstein begins recording his score for Hud (1962)
May 11 - Elmer Bernstein begins recording his score for Trading Places (1983)
May 11 - Michael Small begins recording his score for Kidco (1983)
May 11 - Alexander Courage begins recording his score for Superman IV: The Quest for Peace (1987)
May 11 - Ron Jones records his score for the Star Trek: The Next Generation episode "Up the Long Ladder" (1989)
May 11 - Georges Delerue records his score for Love Thy Neighbor (1994)
May 11 - Paul Baillargeon records his score for the Star Trek: Deep Space Nine episode “Skahaar” (1995)
May 11 - Recording sessions begin for Elliot Goldenthal’s score for Batman Forever (1995)
May 11 - Alan Silvestri begins recording his score for Eraser (1996)
May 12 - Gordon Jenkins born (1910)
May 12 - Philip Springer born (1926)
May 12 - Burt Bacharach born (1928)
May 12 - Klaus Doldinger born (1936)
May 12 - Jacob Groth born (1951)
May 12 - Niki Reiser born (1958)
May 12 - Nitin Sawhney born (1964)
May 12 - Steven M. Stern born (1967)
May 12 - Alex Ebert born (1978)
May 12 - Ernest Gold begins recording his unused score for Used Cars (1980)
May 12 - Humphrey Searle died (1982)
May 13 - David Broekman born (1902)
May 13 - Ken Darby born (1909)
May 13 - Isaak Shvarts born (1923)
May 13 - Charles Gross born (1934)
May 13 - John Lunn born (1956)
May 13 - Alison Goldfrapp born (1966)
May 13 - Craig Safan begins recording his unused score for Wolfen (1981)
May 13 - Recording sessions begin on Basil Poledouris’ score for RoboCop (1987)
May 13 - Alan Silvestri begins recording his score to Predator (1987)
May 13 - Leon Klatzkin died (1992)
May 13 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Basics, Part 1” (1996)
May 13 - Jay Chattaway records his score for the Star Trek: Enterprise episode “Zero Hour” (2004)
May 13 - Robert Drasnin died (2015)
May 14 - J.S. Zamecnik born (1872)
May 14 - Kenneth V. Jones born (1924)
May 14 - Tristram Cary born (1925)
May 14 - The Adventures of Robin Hood released (1938)
May 14 - Ken Lauber born (1941)
May 14 - Frank Churchill died (1942)
May 14 - David Byrne born (1952)
May 14 - Miklos Rozsa begins recording his score for Tip on a Dead Jockey (1957)
May 14 - Alex North begins recording his score for Hot Spell (1957)
May 14 - Raphael Saadiq born (1966)
May 14 - John Williams wins the Emmy for his Jane Eyre score, and Pete Rugolo wins for the Bold Ones episode “In Defense of Ellen McKay” (1972)
May 14 - Michael Kamen begins recording his score for Adventures in Babysitting (1987)
May 14 - Michael Kamen begins recording his score for Die Hard 2 (1990)
May 14 - Dennis McCarthy records his score for the Enterprise episode “The Expanse” (2003)
May 15 - Bert Shefter born (1904)
May 15 - Lars-Erik Larsson born (1908)
May 15 - John Lanchbery born (1923)
May 15 - Freddie Perren born (1943)
May 15 - Brian Eno born (1948)
May 15 - Mike Oldfield born (1953)
May 15 - Andrey Sigle born (1954)
May 15 - Recording sessions begin for Bronislau Kaper's score for Somebody Up There Likes Me (1956)
May 15 - Gordon Parks begins recording his score for Shaft's Big Score! (1972)
May 15 - David Munrow died (1976)
May 15 - Jerry Goldsmith wins his third Emmy, for Babe; Alex North wins his only Emmy, for Rich Man, Poor Man (1976)
May 15 - Rob aka Robin Coudert born (1978)
May 15 - Billy Goldenberg records his score for the Amazing Stories episode "Secret Cinema" (1985)
May 15 - John Green died (1989)
May 15 - Jay Chattaway records his score for the Star Trek: Voyager episode “Learning Curve” (1995)
May 15 - Dennis McCarthy records his score for the Enterprise episode “Shockwave, Part 1” (2002)
May 15 - Marius Constant died (2004)
May 15 - Alexander Courage died (2008)
DID THEY MENTION THE MUSIC?
ERIC LARUE - Jonathan Mastro
"Most movies about school shootings, including 'Elephant,' 'Mass' and 'The Fallout,' tackle the shock, sorrow and horror that ripple through communities. But Shannon’s starchy tone, accented by Jonathan Mastro’s mournful score, allows no room for emotional theatrics or pat psychological breakthroughs. Instead, 'Eric LaRue' critiques society’s (and maybe also Hollywood’s) need to make sense of senselessness. Everyone around Janice is trying to find ways to come to terms with what happened, but Janice unflinchingly wants no part. The problem is, she’s not quite sure what it is she does want."
Tim Grierson, Los Angeles Times
"There’s no escaping the fact that 'Eric Larue' is a downer, but it’s a work of thoughtful intelligence and restraint, elegantly shot and graced by a striking score from Jonathan Mastro full of dissonant strings that often evoke a sense of nerves about to shatter."
David Rooney, The Hollywood Reporter
SINNERS - Ludwig Göransson
"The eventual turn to its riotous second half is underlined by a typically inventive soundtrack from Ludwig Göransson. The multifaceted score begins with blues guitar playing as a base before subtly layering other styles of music over it. Compared with what’s to come, it comes off as formal restraint, with something supernatural simmering just below the surface through uncanny instances of sound design. Sometimes, though, there’s fun in being less subtle, and the director and composer indulge with the introduction of the vampire Remmick (Jack O’Connell), his arrival announced with the crash of drums and heavy electric guitar, the presence of which feels as unnatural as the demonic entities we’re watching. The film’s visual idea of the vampire is simple but fun, mostly normal in appearance other than an uncanny glint of light in their dark eyes -- using this subtlety to stoke paranoia in the increasingly confined sawmill."
Kambole Campbell, Little White Lies
"Coogler has orchestrated three clashing genres -- drama, musical and monster movie -- into a hymnal about the struggle to create something beautiful during your time on Earth. A party, a song, an everlasting commune, each major character in the movie is chasing down some kind of dream, the same essential proof that they lived. Ludwig Göransson’s phenomenal score backs Coogler up, layering fiddles over doom metal as if they were meant to harmonize. This is music you’ve never heard and yet it seems to come from deep inside our pop-cultural soul, a symphony of violence for a country that looks at a violin case and imagines a Tommy gun."
Amy Nicholson, Los Angeles Times
"'Sinners' has riches across the board, from Ludwig Göransson’s blistering, rock-heavy score, Oscar-winner Ruth E. Carter’s gorgeous costume designs, to the brilliant and often breathtaking cinematography from Autumn Durald Arkapaw (quickly becoming one of the best in the game). Black skin hasn’t been photographed this beautifully since the early films of Barry Jenkins, and Durald Arkapaw’s use of dusky, low-light photography is stunning. Then there’s the jaw-dropping camera work, from some excellent blocking to some outstanding, elaborately choreographed long takes that dazzle and yet do not call too much attention to themselves."
Rodrigo Perez, The Playlist
"On the technical side of things, longtime Coogler collaborator Ludwig Göransson (a Oscar winner and Consequence Composer of the Year for his work on 'Oppenheimer') really steps up to create a sonic landscape that feels authentic to the 1930s Deep South… except for the parts that aren’t meant to be. Blues, gospel, and Irish folk music all come together as cultures clash, with Caton playing multiple tracks with remarkable zest."
Liz Shannon Miller, Consequence
"The film’s final freakout is a deliciously gory affair instigated by Sammie’s otherworldly music. Drawn by Sammie’s uncommon abilities, three white vampires singing Irish folk songs saunter up to the juke joint, where they ask for entry. Though initially rebuffed by Smoke and Stack, and without spoiling much, their ultimate way in feels like Coogler warning against the dangers of whiteness in spaces built for people of color. The consequences of crossing such color lines, therefore, result in a gruesome tableau, where composer Ludwig Göransson’s twangy score downshifts into growling metal and the aspect ratio expands to accommodate every spilt speck of blood. This collision of 'Queen of the Damned' and 'From Dusk Till Dawn' offers plenty of spectacle, even if it offers few new wrinkles to the vampire mythology, especially as it relates to the film’s Southern setting."
Robert Daniels, RogerEbert.com
"'Sinners really comes to life via the musical numbers. Coogler’s longterm creative partner Ludwig Göransson, who won an Oscar for crafting 'Black Panther''s music, conjures up a masterful, blues-soaked score. Coogler uses it to prove just how influential the genre is via a spellbinding sequence that tracks through the juke joint, whirling around Preacher Boy and showcasing a hip-hop DJ, an MC and an electric guitarist."
James Mottram, NME.com
"That 'Sinners' remains such an absolute ripper in spite of its uninspired villains is owed to how Coogler makes being a human seem even more fun, and so much of that is owed to the film’s thundering musicality. This isn’t the first time that a Ludwig Göransson score has been inextricable from the texture of a Ryan Coogler movie, but 'Sinners' opens with someone talking about a kind of music 'so pure it can pierce the veil between life and death, past and future' (a heavy gauntlet to drop at your composer’s feet!), and then proceeds to show us exactly what that sounds like. Twangy bass lines thick enough to saw down a redwood tree are shredded with shivers of electric guitar to create a blues sound that cuts a hole straight through the decades."
David Ehrlich, IndieWire
"'Sinners' is an all-around triumph of craft, with stunning technical contributions from cinematographer Autumn Durald Arkapaw, composer Ludwig Göransson, and the Oscar-winning costume designer Ruth E. Carter, all longtime Coogler collaborators. It’s both a wildly ambitious meditation on American history and a rip-roaring good time. If, in the end, the director’s reach ever so slightly exceeds his grasp -- well, as Sammie learns that night onstage at the juke joint, pushing one’s art to the limit of possibility is always a risk worth taking."
Dana Stevens, Slate Magazine
"Göransson and Coogler use banjos, percussion and wailing slide guitars to underscore the passionate dance between the brothers, friends and lovers who pack the dance floor and side rooms. Original songs, like the seductive 'Pale, Pale Moon,' the ominous 'Pick Poor Robin Clean' and the rollicking 'Magic What We Do,' which brilliantly explodes in a rhythmic celebration of musical excellence by diverse cultures, past and future, allow Coogler to create an aural tapestry that both grounds the film and exalts the outsized talent created by their culture."
Tara Bennett, Paste Magazine
"That aspect extends into the sumptuous textures and saturated colors of Autumn Durald Arkapaw’s magnificent, big-canvas cinematography (the film was shot on both 65mm IMAX and Ultra Panavision 70); and even more so, into the flavorful music of Ludwig Göransson, with the score and the blues performances fusing together to intoxicating effect."
David Rooney, The Hollywood Reporter
THE TEACHER - Alex Baranowski
"Nabulsi tries to tell all of these stories at the same time and ultimately fails to make us care for any of them. There is not enough in terms of information and screen time for us to really get to the core of what is going on in any of those plots. Scenes are rushed so that we can get to other scenes that pertain to a completely different story, lest we forget about Adam and his family's search for justice or Simon's dealings with Israeli officers. One particularly egregious example is the conversation between Basem and Lisa that was supposed to establish the chemistry between the two characters. Instead of giving us some convincing dialogue, Nabulsi merely shows us the characters chatting silently under the score, forcing us to simply take her word for granted that Basem and Lisa are meant for each other."
Elisa Guimaraes, Collider
"Set and filmed in the West Bank, 'The Teacher' is built upon a strong sense of place, both physical and, in terms of generational loss, historical. The plaintive score by Alex Baranowski gives voice to an inheritance of yearning and anguish that courses through the characters’ lives, the experience of being torn from one’s homeland and, in the present day, perpetually under siege. The story opens with a traveling shot of remarkable eloquence as Bakri’s Basem drives to work from his home in the village of Burin, the countryside giving way to a constricted militarized zone (Gilles Porte is the cinematographer)."
Sheri Linden, The Hollywood Reporter
THUNDERBOLTS* - Son Lux
"Even though Schreier hasn’t done much work in action films, he knows exactly what he’s doing here, with action sequences that are fast, fun, but never confusing. For example, when this team fights against each other upon meeting in Valentina’s bunker, he’s teaching us both who these characters are and what they’re capable of. As Yelena mentions, they’re a team that just punches and shoots, but Schreier makes this a blast to watch. It’s also just a film with a great style to it -- again, a rarity in the MCU. The cinematography by Andrew Droz Palermo ('The Green Knight,' 'A Ghost Story,' 'You’re Next') is necessarily dark, but never oppressive, and matches the tone of this story beautifully. Similarly, the excellent score from Son Lux has just the right mixture of melancholy and excitement, even seemingly extrapolating part of Kid Cudi’s 'Pursuit of Happiness' here and there, a song that certainly speaks to the themes that the film is going for."
Ross Bonaime, Collider
"Those set pieces hit effectively, whether it’s a car chase involving armored Jeeps and a late-model limousine or Sentry’s eerie rampage through New York City, turning any and all bystanders into smudgy shadows on the pavement. Editors Angela M. Catanzaro and Harry Yoon, as well as scorers Son Lux, don’t rewrite the rules of superhero movies as much as they follow them effectively but unobtrusively."
Alonso Duralde, The Film Verdict
"To that end, the absence of any multiverse nonsense allows Schreier to emphasize the reality of what’s at stake. When Sebastian Stan’s Bucky Barnes inevitably shows up to galvanize the Thunderbolts into a team, Schreier is free to focus on the character’s moral determination -- and his Terminator-like bravado -- instead of sweating over his place in the space-time continuum. The film might overplay the comic relief that David Harbour provides as Yelena’s dad (Alexei is a silly growl that 'Thunderbolts*' tries to stretch into a barrel-chested symphony), but his eagerness to be of use is part of the character’s charm, and his obsession with his daughter’s childhood softball team is the kind of detail that helps Schreier tether the MCU back to reality. When that energy is cast against the most idiosyncratic moments of Son Lux’s prickly and dynamic score (which is more conventional than I might have liked, but still alive with a force all its own), it’s enough to feel like this franchise might still be able to find its footing again."
David Ehrlich, IndieWire
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
May 9
ARMY OF DARKNESS (Joseph LoDuca) [Vidiots]
BATMAN FOREVER (Elliot Goldenthal) [Vidiots]
BULLITT (Lalo Schifrin) [New Beverly]
THE CONVERSATION (David Shire) [Egyptian]
CROUCHING TIGER, HIDDEN DRAGON (Tan Dun) [Academy Museum]
HEREDITARY (Colin Stetson) [Alamo Drafthouse]
JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES [Alamo Drafthouse]
MAMMA MIA! [Alamo Drafthouse]
PRINCESS MONONOKE (Joe Hisaishi) [Los Feliz 3]
SPIRITED AWAY (Joe Hisaishi) [Vidiots]
THE STING (Marvin Hamlisch) [Nuart]
WEEKEND AT BERNIE'S (Andy Summers) [Los Feliz 3]
ZATOICHI THE FUGITIVE (Akira Ifukube), ZATOICHI ON THE ROAD (Akira Ifukube) [New Beverly]
May 10
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner) [New Beverly]
AFTER LIFE (Yasuhiro Kasamatsu) [Egyptian]
ALL THAT JAZZ (Ralph Burns) [lOS fELIZ 3]
BEETHOVEN (Randy Edelman) [Vidiots]
BEETLEJUICE (Danny Elfman) [Vista]
THE BIG LEBOWSKI (Carter Burwell), ALONG CAME POLLY (Theodore Shapiro) [Academy Museum]
DEFENDING YOUR LIFE (Michael Gore) [Aero]
GET SHORTY (John Lurie) [Aero]
GOING DOWN [Los Feliz 3]
HEAT (Elliot Goldenthal) [BrainDead Studios]
HEREDITARY (Colin Stetson) [Alamo Drafthouse]
JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES [Alamo Drafthouse]
THE LIGHTHOUSE (Mark Korven) [BrainDead Studios]
ONE FALSE MOVE (Terry Plumeri, Peter Haycock, Eric Holt) [Vidiots]
THE PINK PANTHER (Henry Mancini) [Vidiots]
REQUIEM FOR A DREAM (Clint Mansell) [New Beverly]
ROBOCOP (Basil Poledouris) [Academy Museum]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
STILL WALKING (Gontiti) [Egyptian]
STOP MAKING SENSE [Vidiots]
WALL-E (Thomas Newman) [Academy Museum]
WEEKEND AT BERNIE'S [Los Feliz 3]
YOUNG FRANKENSTEIN (John Morris) [Aero]
ZATOICHI THE FUGITIVE (Akira Ifukube), ZATOICHI ON THE ROAD (Akira Ifukube) [New Beverly]
May 11
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner) [New Beverly]
AGUIRRE, THE WRATH OF GOD (Popol Vuh) [BrainDead Studios]
BEETLEJUICE (Danny Elfman) [Vista]
BEYOND THE VALLEY OF THE DOLLS (Stu Phillips) [BrainDead Studios]
CABARET (John Kander, Ralph Burns) [UCLA/Hammer]
CHARLIE WILSON'S WAR (James Newton Howard) [Academy Museum]
FARGO (Carter Burwell) [Los Feliz 3]
HEREDITARY (Colin Stetson) [Alamo Drafthouse]
THE INCREDIBLES (Michael Giacchino) [Los Feliz 3]
JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES [Alamo Drafthouse]
THE MAGNIFICENT AMBERSONS (Bernard Herrmann) [Los Feliz 3]
MAMMA MIA! [Alamo Drafthouse]
MERMAIDS (Jack Nitzsche) [Aero]
MOMMIE DEAREST (Henry Mancini) [Vidiots]
MRS. DOUBTFIRE (Howard Shore) [Vidiots]
NOBODY KNOWS (Gontiti), LIKE FATHER, LIKE SON (Takeshi Matsubara, Junichi Matsumoto, Takashi Mori) [Aero]
SHOPLIFTERS (Haruomi Hosono) [Egyptian]
SPACEBALLS (John Morris) [Fine Arts]
TERMIMATOR 2: JUDGMENT DAY (Brad Fiedel) [Los Feliz 3]
THE TREE OF LIFE (Alexandre Desplat) [Egyptian]
ZATOICHI THE FUGITIVE (Akira Ifukube), ZATOICHI ON THE ROAD (Akira Ifukube) [New Beverly]
May 12
DELIRIUM: PHOTO OF GIOIA (Simon Boswel) [Los Feliz 3]
GREY GARDENS [Egyptian]
HEREDITARY (Colin Stetson) [Alamo Drafthouse]
I'M GONNA GIT YOU SUCKA (David Michael Frank) [Culver]
JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES [Alamo Drafthouse]
M [Vidiots]
MAMMA MIA! [Alamo Drafthouse]
ROBOCOP (Basil Poledouris) [Academy Museum]
SATURDAY NIGHT FEVER (David Shire) [Los Feliz 3]
SQUIRM (Robert Prince), BUG (Charles Fox) [New Beverly]
May 13
DEMON SEED (Jerry Fielding) [Los Feliz 3]
HEREDITARY (Colin Stetson) [Alamo Drafthouse]
THE INDIAN TOMB (Gerhard Becker) [Los Feliz 3]
JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES [Alamo Drafthouse]
MAMMA MIA! [Alamo Drafthouse]
ORLANDO (David Motion, Sally Potter), FEMALE PERVERSIONS (Debbie Wiseman) [New Beverly]
SHAMPOO (Paul Simon) [Egyptian]
SINGLES (Paul Westerberg) [Vidiots]
THREE DAYS OF THE CONDOR (Dave Grusin) [Egyptian]
May 14
BARRY LYNDON (Leonard Roseman) [Egyptian]
THE FIFTH ELEMENT (Eric Serra) [Academy Museum]
FUNNY LADY (John Kander, Peter Matz) [Egyptian]
THE HARDER THEY COME (Jimmy Cliff) [Vidiots]
HESTER STREET (William Bolcom) [Egyptian]
JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES [Alamo Drafthouse]
MAMMA MIA! [Alamo Drafthouse]
ORLANDO (David Motion, Sally Potter), FEMALE PERVERSIONS (Debbie Wiseman) [New Beverly]
ROBOCOP (Basil Poledouris) [Academy Museum]
THANK GOD IT'S FRIDAY [Los Feliz 3]
VOX LUX (Scott Walker) [BrainDead Studios]
May 15
DEMON SEED (Jerry Fielding) [Los Feliz 3]
FANNY AND ALEXANDER (Daniel Bell) [Vidiots]
FUN WITH DICK AND JANE (Ernest Gold) [Los Feliz 3]
PLATOON (Georges Delerue) [BrainDead Studios]
SLEEP DEALER (tomandandy) [Academy Museum]
THE WOLF MAN (Hans J. Salter, Frank Skinner), THE MUMMY [New Beverly]
YOUNG FRANKENSTEIN (John Morris) [Egyptian]
May 16
DEAD RINGERS (Howard Shore) [Egyptian]
FIGHT CLUB (Dust Brothers) [Vista]
GODSPEED (Si-Ming Tseng) [Los Feliz 3]
GOING DOWN [Vidiots]
GRAVITY (Steven Price) [New Beverly]
PARKING (Dong An) [Los Feliz 3]
STREETS OF FIRE (Ry Cooder) [Nuart]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
THE WOLF MAN (Hans J. Salter, Frank Skinner), THE MUMMY [New Beverly]
May 17
BOXING GYM [Los Feliz 3]
CADDYSHACK (Johnny Mandel) [Vidiots]
CARS (Randy Newman) [Vidiots]
COOLEY HIGH (Freddie Perrin) [Alamo Drafthouse]
DOG DAY AFTERNOON [Alamo Drafthouse]
FIGHT CLUB (Dust Brothers) [Vista]
THE FLORDIA PROJECT [BrainDead Studios]
THE FOX AND THE HOUND (Buddy Baker) [New Beverly]
FUN WITH DICK AND JANE (Ernest Gold) [Los Feliz 3]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
ROMEO MUST DIE (Stanley Clarke) [Vidiots]
RUMBLE FISH (Stewart Copeland) [BrainDead Studios]
THE STRAIGHT STORY (Angelo Badalamenti) [Vidiots]
A SUN (Sheng-Xiang Lin, Luming Lu) [Aero]
THUNDERBALL (John Barry) [Vista]
THE TRIPLETS OF BELLEVILLE (Ben Charest), THE ILLUSIONIST (Sylvain Chomet) [New Beverly]
TROLL 2 (Carlo Maria Cordio) [New Beverly]
May 18
THE BOXER'S OMEN (Chin-Yung Shing, Chen-Hou Su) [BrainDead Studios]
CALIGULA [BrainDead Studios]
CAT ON A HOT TIN ROOF [Vidiots]
DOUBT (Howard Shore) [Academy Museum]
FLOATING WEEDS (Takanobu Saito) [Egyptian]
THE FOX AND THE HOUND (Buddy Baker) [New Beverly]
INCEPTION (Hans Zimmer) [Fine Arts]
OPEN YOUR EYES (Alejandro Amenabar) [Vidiots]
SLEEP DEALER (tomandandy) [Academy Museum]
STRANGER THAN PARADISE (John Lurie) [Los Feliz 3]
THUNDERBALL (John Barry) [Vista]
THE TRIPLETS OF BELLEVILLE (Ben Charest), THE ILLUSIONIST (Sylvain Chomet) [New Beverly]
WILLOW (James Horner) [Vidiots]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Infernal Affairs (Chan); Perhaps Love (various); The Tenant of Wildfell Hall (Mitchell); La femme nikita (Serra); A Merry War (Batt); The Banquet (Tan); The Governess (Shearmur); The Abduction Club (Davey); The Grandmaster (Umebayashi/Mechaly); Pride & Prejudice (Marianelli); Pursuit/The People Next Door/Crawlspace (Goldsmith); Atonement (Marianelli); Evita (Lloyd Webber); Miss Pettigrew Lives for a Day (Englishby); The Assassin (Lim)
Read: Capote, by Gerald Clarke
Seen: Neptune Frost; Jack Goes Boating; Love Liza; The 40 Year-Old Virgin; Thunderbolts*; On Swift Horses; Hero [2002]; Star Wars Episode I: The Phantom Menace; The Empire Strikes Back; Star Wars: The Rise of Skywalker; Owning Mahowny; It's a Gift; You're Telling Me
Watched: Mystery Science Theater 3000 ("Santo in The Treasure of Dracula"); The Wire ("Reformation"); You're the Worst ("A Bunch of Hornballs")
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