Lukas Kendall is launching a new Film Score Monthly Kickstarter to finance a new version of the website (trust me, the frequent crashing of the site is even more vexing for those of us trying to finish columns than it is for our beloved readers), a Best-of-Film-Score-Monthly compilation book, a re-pressing of the FSM composer trading cards, and the first new FSM CD in several years. For more information, please click on this link.
The latest release from Intrada is a two-disc edition of John Debney's score for LUCK, the 2022 animated fantasy produced by legendary computer animation pioneer John Lasseter.
CDS AVAILABLE THIS WEEK
Luck - John Debney - Intrada Special Collection
IN THEATERS TODAY
Block Pass - Evgueni & Sacha Galperine
Echo Valley - Jed Kurzel
How to Train Your Dragon - John Powell
In the Fire of War - Arli Liberman, Tiki Tane
Materialists - Daniel Pemberton
Prime Minister - Sofia degli Alessandri
Sunlight - Christoph Bauschinger
The Unholy Trinity - Marco Beltrami, Tristan Beltrami
COMING SOON
Jun 19
Ernest Cole: Lost & Found - Alexei Aigui - Music Box
Hotel des Ameriques/Un mauvais fils/Le lieu du crime - Philippe Sarde - Music Box
July 11
Hurry Up Tomorrow - Abel Tesfaye, Daniel Lopatin - XO/Republic
Aug 1
The Brutalist - Daniel Blumberg - Milan
Coming Soon
Alien: Romulus - Benjamin Wallfisch - Mutant
Anna, quel particolare piacere - Luciano Michelini - Beat
Cobra-Kai: The Final Season - Leo Birenberg, Zach Robinson - Mutant
Friday the 13th, Part VI: Jason Lives - Harry Manfredini - La-La Land
The Humanoid - Ennio Morricone - Quartet
Idoli controluce/…E la donna creo’ l’uomo - Ennio Morricone - Beat
The Penguin - Mick Giacchino - Mutant
Red Sonja - Ennio Morricone - Quartet
The Russia House [re-release] - Jerry Goldsmith - Quartet
Sinners - Ludwig Goransson - Mutant
Star Wars: Skeleton Crew - Mick Giacchino - Mutant
The Taking of Pelham One Two Three [re-release] - David Shire - Quartet
Union Pacific: The Paramount Westerns Collection Vol. 2 - Daniele Amfitheatrof, Elmer Bernstein, Charles Bradshaw, Gerard Carbonara, Adolph Deutsch, Howard Jackson John Leipold, Cyril J. Mockridge, Leo Shuken, Nathan Van Cleave, Franz Waxman, Victor Young - La-La Land
THIS WEEK IN FILM MUSIC HISTORY
June 13 - Filip Kutev born (1903)
June 13 - Richard Peaslee born (1930)
June 13 - Paul Buckmaster born (1946)
June 13 - J.S. Zamecnik died (1953)
June 13 - Paul Sawtell and Bert Shefter begin recording their score for Jack the Giant Killer (1961)
June 13 - Andre Previn begins recording his score for The Fortune Cookie (1966)
June 13 - Bruce Broughton begins recording his score for Last Rites (1988)
June 14 - Stanley Black born (1913)
June 14 - Cy Coleman born (1929)
June 14 - Coleridge-Taylor Perkinson born (1932)
June 14 - Harold Wheeler born (1943)
June 14 - Marcus Miller born (1959)
June 14 - Doug Timm born (1960)
June 14 - John Williams begins recording his replacement score for The Man Who Loved Cat Dancing (1973)
June 14 - Craig Safan begins recording his score, adapted from Tchaikovsky, for The Bad News Bears in Breaking Training (1977)
June 14 - David Newman records his score for Bill and Ted's Bogus Journey (1991)
June 14 - Carlos D’Alessio died (1992)
June 14 - Henry Mancini died (1994)
June 15 - Robert Russell Bennett born (1894)
June 15 - David Rose born (1910)
June 15 - Harry Nilsson born (1941)
June 15 - Dennis Dreith born (1948)
June 15 - Gavin Greenaway born (1964)
June 15 - Robert Drasnin records his score for The Wild Wild West episode “The Night the Wizard Shook the Earth” (1965)
June 15 - Meredith Willson died (1984)
June 15 - Manos Hadjidakis died (1994)
June 16 - Bebe Barron born (1926)
June 16 - Fred Karlin born (1936)
June 16 - Miklos Rozsa begins recording his additional music for Beau Brummell (1954)
June 16 - Psycho opens in New York (1960)
June 16 - Jerry Goldsmith begins recording his score to Justine (1969)
June 16 - James Horner begins recording his replacement score for Wolfen (1981)
June 16 - Joe Greene died (1986)
June 16 - John Barry begins recording his score for Howard the Duck (1986)
June 16 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Peak Performance” (1989)
June 17 - Einar Englund born (1916)
June 17 - Jerry Fielding born (1922)
June 17 - Martin Boettcher born (1927)
June 17 - Dominic Frontiere born (1931)
June 17 - Barry Manilow born (1943)
June 17 - George S. Clinton born (1947)
June 17 - Alfred Newman begins recording his score to How to Marry a Millionaire (1953)
June 17 - Franz Waxman begins recording his score for Career (1959)
June 17 - Paul Giovanni died (1990)
June 17 - David Newman begins recording his score for Coneheads (1993)
June 17 - Shirley Walker and John Carpenter begin recording their score for Escape from L.A. (1996)
June 18 - Johnny Pearson born (1925)
June 18 - Simeon Pironkov born (1927)
June 18 - Paul McCartney born (1942)
June 18 - Bernard Herrmann begins recording his score to Blue Denim (1959)
June 18 - Elmer Bernstein begins recording the soundtrack LP for The Sons of Katie Elder (1965)
June 18 - Frederick Hollander died (1976)
June 18 - Basil Kirchin died (2005)
June 18 - Ali Akbar Khan died (2009)
June 19 - Leon Klatzkin born (1914)
June 19 - Johnny Douglas born (1920)
June 19 - Maurice Jaubert died (1940)
June 19 - Marjan Kozina died (1966)
June 19 - Bruce Broughton records his score for the Amazing Stories episode "Mr. Magic" (1985)
June 19 - Joseph Mullendore died (1990)
June 19 - Recording sessions begin for James Newton Howard’s score for Waterworld (1995)
DID THEY MENTION THE MUSIC?
CAUGHT BY THE TIDES - Giong Lim
"Qiaoqiao is involved with Bin (Li Zhubin), who appears to be her agent, and who treats her with a brusqueness that implies underlying tensions. Jia, however, doesn’t explicate the specific nature of their bond, nor their professions; instead, such details are gleaned through fragmentary scenes which, in Datong, are presented in a boxy 1.33:1 aspect ratio and are set to rueful pop songs and Giong Lim’s equally poignant score."
Nick Schager, The Daily Beast
"Jia’s use of hypnotic slow pans conveys a sense of much time passing, with a poignancy reflected in Lim Giong’s lovely score. Nowhere is this more evocative than in the many travel sequences. That applies not just to when Qiaoqiao sets off on a public transport boat down the Yangtze River to find Bin after a period of radio silence, but also to glimpses of what seems almost like a mass migration from the provinces to the cities. The blur of train passengers -- soldiers and civilians -- heading into an uncertain future in search of opportunity is quite affecting. Those sad, shimmering images, which appear almost as if they are underwater, are a gorgeous example of the way Jia manipulates the visuals to convey the emotional distance of time."
David Rooney, The Hollywood Reporter
GUNSLINGERS - Richard Patrick
"Goosed by a couple gratuitous interludes of gory amateur surgery, the movie is eventful, with a high body count. But there’s never the baseline authenticity of atmosphere or character depth that might make so much action meaningful, or even particularly exciting. Production values are adequate, apart from the occasional iffy digital effect. Patrice Lucien Cochet’s widescreen cinematography, however, has a muted color scheme that renders the images rather drab. Richard Patrick’s score tends toward a thundering intensity the unpersuasive dramatics don’t justify, its bombastic approach extending to no less than three clodhopping rawk tunes under the closing credits."
Dennis Harvey, Variety
MISSION: IMPOSSIBLE - THE FINAL RECKONING - Max Aruj, Alfie Godfrey
"'Truth is vanishing, war is coming,' someone intones at the beginning of the film, and then we're subjected to shots of missiles launching and cities being obliterated. In place of snappy banter, there is cod philosophy about destiny and choice, and in place of Lalo Schifrin's adrenaline-pumping classic theme, there are orchestral minor chords on the soundtrack. What's disappointing about all this doom and gloom is that the franchise has made the kind of whiplashing U-turn you might see in its car-chase sequences. The last 'Mission: Impossible' film, 'Dead Reckoning,' was a funny, frothy Euro-caper sprinkled with mischief, glamour and romance -- or as close to romance as you're ever going to get in a Cruise production -- and the follow-up has the same writer-director, Christopher McQuarrie. Yet 'The Final Reckoning,' set almost entirely in tunnels and caverns, and in the depths of the ocean, is the dullest and darkest film in the series, both literally and figuratively."
Nicholas Barber, BBC.com
"But despite the expected pluses of slick visual polish, muscular camerawork by Fraser Taggart and a dynamic score by Max Aruj and Alfie Godfrey, 'The Final Reckoning' ends up being a bit on the dull side. If it’s going to be the last we see of one of the most consistently entertaining franchises to come out of Hollywood in the past few decades -- a subject about which Cruise and McQuarrie have remained vague -- it’s a disappointing farewell with a handful of high points courtesy of the indefatigable lead actor."
David Rooney, The Hollywood Reporter
THE NEW BOY - Nick Cave, Warren Ellis
"I was unsurprised to read that Thornton is also a cinematographer, and his multifaceted fingerprint over most every aspect of 'The New Boy' yields a film that is sumptuously personalized and imbued with potent visual and spiritual metaphor. The film is absolutely beautiful to behold; Thornton’s sweeping Outback vistas given all the more power by a soaring, emotive score from Nick Cave and Warren Ellis. From the parched desert grasses with their scuttling lizards and darting snakes, to the stands of massive, prehistoric trees and rolling fields of wheat, the film frequently evokes the painterly pastoral compositions of Terrence Malick. The visuals make a natural bedfellow with a film that is perhaps unsurprisingly light on traditional plot; 'The New Boy' is much more interested in drinking up both the heady beauty and harsh challenges of surviving and coming of age in this place rather than anything akin to a three-act structure."
Jim Vorel, Paste Magazine
"Thornton’s cinema is one of enormous, orchestral music and vast landscapes that envelop and invite us in, even if you feel like you don’t know where you’re going or shouldn’t be allowed to look around. It’s the kind of culturally specific filmmaking that somehow immediately gains universality in that ambition to connect, to understand the empathy and sensitivity to listen in to these conflicts and this bright spark of a boy who speaks to struggles of faith however you were raised. It doesn’t hurt to have Nick Cave and Warren Ellis on scoring duties, arguably the best possible pairing to work with this out-of-reality remote way of living, engaging with the natural world, its parched fields and beating sun, while still injecting immense life and humanity -- and so, hope -- into everything that breathes. And that goes for a lot more things than you’d initially expect."
Ella Kemp, IndieWire
"Filmed by Thornton (who serves as cinematographer too) like a sunbeam through honey, 'The New Boy' is steeped in the majesty of nature. One perfect shot dwarfs Sister Eileen and the boy in a forced perspective in which a workhorse appears even more gigantic. And while the religious symbolism of lightning-struck bushfires and coiling grass snakes is overt, it works within this tale of colonial erasure. The haunting pace rocks the viewer into a meditative state, as does a lulling score by Bad Seeds’ Warren Ellis and Nick Cave. When two paths are presented in the closing moments, you might find yourself willing there was another way for the future of this country."
Stephen A. Russell, Time Out
"Bathed in darkness and warm tones, 'The New Boy' feels like a classic melodrama with modern sensibilities. Thornton also serves as the film’s cinematographer, giving it the look of a classic western, with a night sky that looks like a painting come to life. Inside the monastery, the rooms are bathed in the sun during the day and glow by candlelight at night. The score, by Australian musicians Nick Cave and Warren Ellis, is melancholic with a quiet power to all the subtle notes. Assimilation is portrayed as something painful, drawing the boy further and further away from his roots and relationship to nature. Along with his light powers, the boy is also a healer, reviving animals and humans, which disturbs George (Wayne Blair), the only male authority figure at the monastery. The priest who used to run the place has been dead for a year, but Sister Eileen keeps it hidden from the outside world, electing to run the monastery for as long as she can."
Jourdain Searles, RogerEbert.com
"Warren Ellis and Nick Cave’s score do their best to give 'The New Boy' a sense of spiritual profundity, but it’s not quite enough to give meaning to a story that ends up meandering its way to a flabby conclusion. The film never returns to the strength of its opening scene, and by the end, the spark is gone."
Anna Bogutskaya, The Playlist
"He is introduced to us as a frenzied whirl of movement in the propulsive, boldly stylized opening scene -- heavy on slow-motion and the most reverberating excesses of Nick Cave and Warren Ellis’s typically expressive score -- as the unnamed pre-teen lad is abducted by horseback police on a parched stretch of Outback desert, fighting his way free before being struck down by a returning boomerang. Tied in a hessian sack and driven far from home, he’s unceremoniously dumped on the doorstep of Sister Eileen (Blanchett), who runs a modest shelter for similarly abandoned boys -- several of them Indigenous -- in a remote monastery flanked by wheat fields and olive groves."
Guy Lodge, Variety
"The movie opens with an attention-grabbing demonstration of the disproportionate strength packed into the small body of the protagonist -- played by 11-year-old discovery Aswan Reid with the inbuilt tenacity of a wild survivalist. As Nick Cave and Warren Ellis’ majestic score intensifies, the kid chokes a horseback police officer and takes off across a vast empty plain before being felled by a boomerang. The assumption that the weapon was wielded by an Aboriginal law enforcement recruit is an economical early nod by Thornton to the one-sided bargain of co-existence."
David Rooney, The Hollywood Reporter
THE PHOENECIAN SCHEME - Alexandre Desplat
"Anderson’s screenplay, based on a story he wrote with Roman Coppola, follows Korda as he struggles to sweet-talk his investors into ponying up more money while hoping to unmask those trying to assassinate him. But although 'The Phoenician Scheme' is transporting -- an effect amplified by Alexandre Desplat’s lilting orchestral score, supplemented by selections from Stravinsky and Beethoven -- the narrative proves to be fussy rather than delightful. Adam Stockhausen’s gorgeous production design turns every ballroom, airplane and imagined afterlife into its own magical universe, but those lavish details cannot fully distract from the familiarity of Anderson’s bittersweet saga of a proud, flawed man learning to embrace his softer side thanks to Liesl’s arrival in his life."
Tim Grierson, Screen Daily
"Inspired by 20th century names like Onassis and Niarchos, Anatole 'Zsa-zsa' Korda is palpably suspended in air between the breeziness of Alexandre Desplat’s score and the viciousness of the Igor Stravinsky pieces that Anderson mixes through it. 'Break, but don’t bend' is his personal motto (not to be confused with his aforementioned mantra), which bodes well for the compromise the revenge-obsessed Zsa-zsa will eventually have to strike with his forgiveness-minded daughter, but 'The Phoenician Scheme' is too frenetic for del Toro to chart a compelling path to his character’s come-to-Jesus-moment."
David Ehrlich, IndieWire
"His first film with cinematographer Bruno Delbonnel, the Frenchman is an impressive Bob Yeoman approximate, and composer Alexandre Desplat is once again a terrific conductor for the marching, determined rhythms of Anderson’s urgently paced movies."
Rodrigo Perez, The Playlist
"'The Phoenician Scheme' is an expertly crafted film in all the ways you expect from Wes Anderson. It's a Rube Goldberg machine of deadpan comedy, moving at a rapid speed with the closest thing to an action movie script Anderson has written. Everything from the sets to the costumes to the cinematography is impossibly perfect, each little classic art homage and funny piece of text in its proper place. The tension-building score mixes Igor Stravinsky with original pieces by Alexandre Desplat."
Reuben Baron, Looper
"We begin with music that’s uncharacteristically tense for a Wes Anderson film -- chugging cellos leading a full orchestra that’s more 'Mission: Impossible' than 'Moonrise Kingdom' -- and opener à la Nolan blockbusters: an assassination attempt. It’s an exhilarating launch into a story that starts petering out soon after. Renowned criminal mastermind Zsa Zsa Korda (Benicio del Toro) sits before a gorgeously designed train car much like the off-white, wooden, burgundy, and plaid train car that will take him and his associates around Phoenicia for the rest of the movie. An unfortunate associate is crammed into the back corner. Without warning, a bomb obliterates any semblance of said corner, and we launch into 'The Phoenician Scheme,' never to take a breath. For the first time, Wes Anderson has overindulged his taste for quirk. 'The Phoenician Scheme' is too formulaic for its own good, lost in the haze of mathematically zany dialogue, structure, story, and design that becomes tiresome to pay attention to, much less keep up with. It’s often pleasant, pretty, impressive, and well-scored (and we’ll note the spectacle of design shortly), but that isn’t enough for someone of his caliber. Where is the emotion? The feeling? The Owen Wilson perspective of his storytelling soul?"
Luke Hicks, The Film Stage
"With a story co-written by long-time collaborator Roman Coppola (who also serves at Executive Producer), it’s Anderson’s unique fingerprints that are all over this adventurous yet unabashedly silly tale. A first time collaboration with the iconic cinematographer Bruno Delbonnel ('Amélie', 'Inside Llewyn Davis'), the 1.33:1 aspect ratio and glossy 35mm photography makes you want to lick the screen. Composer Alexandre Desplat adds in another dose of Francophilic exuberance, while many of the settings of the locations (mostly Babelsberg Studio outside of Berlin) give a slight Germanic tease to the décor under the guidance of the exceptional American production designer Adam Stockhausen."
Jason Gorber, Paste Magazine
"The movie opens with composer Alexandre Desplat injecting a dose of Lalo Schifrin-esque suspense into a low-altitude flight, as Korda calmly reads the sort of highly specialized nonfiction book that would put most men to sleep, when an explosion tears through the fuselage of his private plane. It’s a relatively spectacular opening by Anderson standards, even if the crash is depicted in one of those traveling shots where the camera tracks alongside the smoldering remains of the plane slowly enough for audiences to chuckle at the sight of Korda’s possessions scattered across a cornfield."
Peter Debruge, Variety
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
June 13
THE BIRDCAGE (Jonathan Tunick) [Alamo Drafthouse]
BLACK SWAN (Clint Mansell) [New Beverly]
THE BLUES BROTHERS [BrainDead Studios]
CHRISTIANE F. (Jurgen Knieper) [Aero]
DUDE BRO PARTY MASSACRE III (Tyler Burton) [Vidiots]
FALLEN ANGELS (Frankie Chan) [Nuart]
FRIDAY THE 13TH (Harry Manfredini) [Alamo Drafthouse]
FRIDAY THE 13TH (Harry Manfredini) [Vidiots]
FRIDAY THE 13TH PART VII: THE NEW BLOOD, FRIDAY THE 13TH PART VIII: JASON TAKES MANHATTAN [New Beverly]
THE FUGITIVE (James Newton Howard) [Egyptian]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
ONE FLEW OVER THE CUCKOO'S NEST (Jack Nitzsche) [Academy Museum]
TOMMY (Pete Towsend) [Vista]
WITHNAIL & I (Rick Wentworth, David Dundas) [Los Feliz 3]
THE WIZ (Charlie Smalls, Quincy Jones) [Vidiots]
June 14
AFTER HOURS (Howard Shore) [Egyptian]
ALL THE VERMEERS IN NEW YORK (Jon A. English) [Los Feliz 3]
THE BRADY BUNCH MOVIE (Guy Moon), A VERY BRADY SEQUEL (Guy Moon) [New Beverly]
BRING IT ON (Christophe Beck) [Academy Museum]
COBRA WOMAN (Edward Ward) [Los Feliz 3]
DON'T GO NEAR THE PARK (Chris Ledesma) [Los Feliz 3]
FATHER OF THE BRIDE (Adolph Deutsch) [New Beverly]
JFK (John Williams) [Egyptian]
THE MUPPET MOVIE (Paul Williams, Kenny Ascher) [Culver]
NATIONAL GALLERY [Los Feliz 3]
ONE HUNDRED AND ONE DALMATIANS (George Bruns) [Vista]
THE PASSAGE [BrainDead Studios]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SCOTT PILGRIM VS. THE WORLD (Nigel Godrich) [New Beverly]
SHOWGIRLS (David A. Stewart) [Alamo Drafthouse]
A SIMPLE PLAN (Danny Elfman) [Aero]
TOMMY (Pete Towsend) [Vista]
VALLEY OF THE DOLLS (John Williams, Andre Previn) [Academy Museum]
WILD STYLE [BrainDead Studios]
June 15
BIG DADDY (Teddy Castellucci) [Los Feliz 3]
THE BIRDCAGE (Jonathan Tunick) [Alamo Drafthouse]
THE BRADY BUNCH MOVIE (Guy Moon), A VERY BRADY SEQUEL (Guy Moon) [New Beverly]
CLOSE ENCOUNTERS OF THE THIRD KIND (John Williams) [Vidiots]
DIE HARD WITH A VENGEANCE (Michael Kamen) [Vidiots]
EVERYTHING EVERYWHERE ALL AT ONCE (Son Lux) [Los Feliz 3]
FATHER OF THE BRIDE (Adolph Deutsch) [New Beverly]
FERRIS BUELLER'S DAY OFF (Ira Newborn) [Academy Museum]
A GOOFY MOVIE (Carter Burwell) [Los Feliz 3]
THE HUNT FOR RED OCTOBER (Basil Poleoduris) [Culver]
THE KID [Aero]
MID90S (Trent Reznor, Atticus Ross) [BrainDead Studios]
NO COUNTRY FOR OLD MEN (Carter Burwell), A SERIOUS MAN (Carter Burwell) [Aero]
ONE HUNDRED AND ONE DALMATIANS (George Bruns) [Vista]
ORLANDO (David Motion, Sally Potter) [Academy Museum]
PATERSON (Squrl) [Egyptian]
PINK NARCISSUS (Gary Goch, Martin Jay Sadoff) [Vidiots]
SON OF DRACULA (Hans J. Salter), DRACULA'S DAUGHTER (Heinz Roemheld), SON OF FRANKENSTEIN (Frank Skinner) [Egyptian]
THE TEN COMMANDMENTS (Elmer Bernstein) [Academy Museum]
TO KILL A MOCKINGBIRD (Elmer Bernstein) [Los Feliz 3]
June 16
CENTIPEDE HORROR [Los Feliz 3]
FOREIGN CORRESPONDENT (Alfred Newman) [Egyptian]
GREMLINS II: THE NEW BATCH (Jerry Goldsmith) [Culver]
KNIFE + HEART (M83) [Alamo Drafthouse]
NAKED LUNCH (Howard Shore) [Vidiots]
SHOWGIRLS (David A. Stewart) [Alamo Drafthouse]
SLEEPAWAY CAMP (Edward Bilous) [Academy Museum]
SPELLBOUND (Miklos Rozsa) [Egyptian]
SPLIT IMAGE (Bill Conti) [Los Feliz 3]
TIGER ON THE BEAT, SKINNY TIGER & FATTY DRAGON [New Beverly]
THE WARRIORS (Barry DeVorzon) [BrainDead Studios]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Academy Museum]
June 17
THE KIDS ARE ALL RIGHT (Carter Burwell) [Landmark Pasadena]
KNIFE + HEART (M83) [Alamo Drafthouse]
LUPIN THE THIRD: THE CASTLE OF CAGLIOSTRO (Yuji Ono) [BrainDead Studios]
RAN (Toru Takemitsu) [New Beverly]
SABOTEUR (Frank Skinner) [Egyptian]
SHADOW OF A DOUBT (Dimitri Tiomkin) [Egyptian]
SHOWGIRLS (David A. Stewart) [Alamo Drafthouse]
THE SISTERHOOD OF THE TRAVELING PANTS (Cliff Eidelman) [Aero]
SUCH GOOD FRIENDS (Thomas A. Shepard) [Los Feliz 3]
June 18
THE BEST LITTLE WHOREHOUSE IN TEXAS (Carol Hall, Patrick William) [Vidiots]
CHARLEY VARRICK (Lalo Schifrin) [Los Feliz 3]
IT HAPPENED ONE NIGHT [Vidiots]
KNIFE + HEART (M83) [Alamo Drafthouse]
LIFEBOAT (Hugo Friedhofer) [Egyptian]
MISHIMA: A LIFE IN FOUR CHAPTERS (Philip Glass) [Academy Museum]
NOTORIOUS (Roy Webb) [Egyptian]
RAN (Toru Takemitsu) [New Beverly]
SHOWGIRLS (David A. Stewart) [Alamo Drafthouse]
TRAINSPOTTING [BrainDead Studios]
VIDEODROME (Howard Shore) [Culver]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Academy Museum]
June 19
CHRISTIANE F. (Jurgen Knieper) [Los Feliz 3]
THE MIRACLE OF MORGAN'S CREEK (Leo Shuken, Charles Bradshaw), CHRISTMAS IN JULY [New Beverly]
ONE OF THEM DAYS (Chanda Dancy) [Vidiots]
REBECCA (Franz Waxman) [Egyptian]
UHF (John Du Prez) [Alamo Drafthouse]
VANISHING POINT [BrainDead Studios]
WHITE MEN CAN'T JUMP (Bennie Wallace) [Vidiots]
June 20
FALLEN ANGELS (Frankei Chan) [Egyptian]
THE HANDMAIDEN (Cho Young-wuk) [Academy Museum]
HAPPY TOGETHER (Danny Chung) [Nuart]
LIQUID SKY (Slava Tsukerman, Brenda I. Hutchinson, Chase Smith) [Vidiots]
THE MIRACLE OF MORGAN'S CREEK (Leo Shuken, Charles Bradshaw), CHRISTMAS IN JULY [New Beverly]
NAKED ACTS (Cecilia Smith) [Vidiots]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
THE OUTSIDERS (Carmine Coppola) [Vidiots]
PRAYER OF THE ROLLERBOYS (Stacy Widelitz) [BrainDead Studios]
ROCK 'N' ROLL HIGH SCHOOL [Vidiots]
THE TOWN (Harry Gregson-Williams, David Buckley) [New Beverly]
WILD AT HEART (Angelo Badalamenti) [Vista]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Academy Museum]
June 21
AN AMERICAN TAIL (James Horner) [Vidiots]
BEAUTY AND THE BEAST (Georges Aurice) [Vidiots]
DOGTOOTH [Los Feliz 3]
DOPE (Germaine Franco) [Academy Museum]
EX LIBRIS: THE NEW YORK PUBLIC LIBRARY [Los Feliz 3]
THE GREAT OUTDOORS (Thomas Newman) [Academy Museum]
LA BAMBA (Carlos Santana, Miles Goodman) [Vidiots]
LOW TIDE, STOP THE POUNDING HEART [BrainDead Studios]
MIDSOMMAR (Bobby Krlic) [Alamo Drafthouse]
MONTY PYTHON AND THE HOLY GRAIL (De Wolfe) [Vidiots]
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Vista]
THE RESCUERS DOWN UNDER (Bruce Broughton) [New Beverly]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SCARECROW IN A GARDEN OF CUCUMBERS (Jerry Blatt) [Los Feliz 3]
TEENAGE MUTANT NINJA TURTLES (John Du Prez) [Culver]
UNDER THE SILVER LAKE (Disasterpeace) [Los Feliz 3]
WILD AT HEART (Angelo Badalamenti) [Vista]
June 22
ADVENTURES IN BABYSITTING (Michael Kamen) [Academy Museum]
BEN-HUR (Miklos Rozsa) [Academy Museum]
BREATHLESS (Jack Nitzsche) [BrainDead Studios]
CHRISTIANE F. (Jurgen Knieper) [Los Feliz 3]
THE CURIOUS CASE OF BENJAMIN BUTTON (Alexandre Desplat) [New Beverly]
DIRTY WORK (Richard Gibbs) [BrainDead Studios]
DUNE: PART TWO (Hans Zimmer) [Fine Arts]
THE GRADUATE (Simon & Garfunkel, Dave Grusin) [Vidiots]
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Vista]
THE RESCUERS DOWN UNDER (Bruce Broughton) [New Beverly]
SENNA (Antonio Pinto) [Vidiots]
VICTOR/VICTORIA (Henry Mancini) [Academy Museum]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: The Jewel of the Nile (Nitzsche); Silent Night, Deadly Night (Botkin); Exodus: Gods and Kings (Iglesias); Revenge (Nitzsche); Urban Legend (Young); The Hot Spot (Nitzsche); April Fool's Day (Bernstein); The Indian Runner (Nitzsche); St. Giles Cripplegate (Nitzsche); Cabaret Manana (Esquivel); Sodom and Gomorrah (Rozsa); Music for a Sparkling Planet (Esquivel); Victor/Victoria (Mancini); Space-Age Bachelor Pad Music (Esquivel); Caesar and Cleopatra (Bliss); The Genius of Esquivel/Esquivel 1968!! (Esquivel); A Passage to India (Jarre)
Read: Dolls! Dolls! Dolls!: deep inside Valley of the Dolls, the most beloved bad book and movie of all time, by Stephen Rebello
Seen: The Little Shop of Horrors; Watership Down; I Don't Understand You; Karate Kid: Legends; From the World of John Wick: Ballerina; The War of the Worlds; Death Becomes Her; The Big Clock; Where Danger Lives
Watched: Mystery Science Theater 3000 ("Doctor Mordrid," "The Wonder of Reproduction," "Cavalcade")
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