The latest releases from Buysoundtrax and its related labels are -- a remastered and resequenced edition of one of Bernard Herrmann's final scores, for the psychological thriller THE NIGHT DIGGER; Lalo Schifrin's score for the 1971 TV movie THE MASK OF SHEBA; Leonard Rosenman's score for the New Zealand [not Australian, as originally posted in this column] drama HEART OF THE STAG; and an expanded, two-disc edition of Dominic Frontiere's score for HAMMERSMITH IS OUT, the 1972 dark comedy-thriller, directed by Peter Ustinov, that was the final feature film to pair Elizabeth Taylor and Richard Burton.
Lukas' Film Score Monthly Kickstarter has met its original funding goal, but stretch goals will be announced as there is still time left in the campaign.
CDS AVAILABLE THIS WEEK
Ernest Cole: Lost & Found - Alexei Aigui - Music Box
Hotel des Ameriques/Un mauvais fils/Le lieu du crime - Philippe Sarde - Music Box
IN THEATERS TODAY
Bride Hard - Ryan Shore
Elio - Rob Simonsen
Everything's Going to Be Great - Rolfe Kent
A Man with Sole: The Impact of Kenneth Cole - Adam Peters
My Mom Jayne - Max Avery Lichtenstein
28 Years Later - Young Fathers
COMING SOON
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
Hammersmith Is Out - Dominic Frontiere - Dragon's Domain
Heart of the Stag - Leonard Rosenman - Dragon's Domain
How to Train Your Dragon [2025] - John Powell - Mondo
The Humanoid - Ennio Morricone - Quartet
Idoli controluce/…E la donna creo’ l’uomo - Ennio Morricone - Beat
The Mask of Sheba - Lalo Schifrin - Dragon's Domain
The Night Digger - Bernard Herrmann - Dragon's Domain
The Penguin - Mick Giacchino - Mutant
Porca Vacca - Riz Ortolani - Beat
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 20 - Carmen Dragon begins recording his score for Invasion of the Body Snatchers (1955)
June 20 - Recording sessions begin for Elmer Bernstein’s score to The Buccaneer (1958)
June 20 - Jeff Beal born (1963)
June 20 - Robert Rodriguez born (1968)
June 20 - Fred Karlin begins recording his score to Westworld (1973)
June 20 - Jaws opens in New York and Los Angeles (1975)
June 20 - Jerry Goldsmith begins recording his score for Night Crossing (1981)
June 21 - Hilding Rosenberg born (1892)
June 21 - Lalo Schifrin born (1932)
June 21 - Eumir Deodato born (1942)
June 21 - Philippe Sarde born (1948)
June 21 - Nils Lofgren born (1951)
June 21 - Paul Dunlap records his score for Hellgate (1952)
June 21 - Kasper Winding born (1956)
June 21 - Piero Umiliani begins recording his score for Big Deal on Madonna Street (1958)
June 21 - Dario Marianelli born (1963)
June 21 - Elmer Bernstein begins recording his score to 7 Women (1965)
June 21 - Gerald Fried's score for the Star Trek episode "Catspaw" is recorded (1967)
June 21 - Chinatown released in Los Angeles and New York (1974)
June 21 - Bert Kaempfert died (1980)
June 21 - Arthur B. Rubinstein begins recording his score for Another Stakeout (1993)
June 21 - John Ottman begins recording his score to Cellular (2004)
June 22 - Todd Rundgren born (1948)
June 22 - The Guns of Navarone opens in New York (1961)
June 22 - Darius Milhaud died (1974)
June 22 - Burrill Phillips died (1988)
June 22 - Rene Garriguenc died (1998)
June 22 - Cyril Ornadel died (2011)
June 22 - James Horner died (2015)
June 22 - Douglas M. Lackey died (2016)
June 22 - Harry Rabinowitz died (2016)
June 23 - Peter Knight born (1917)
June 23 - Rolf Wilhelm born (1927)
June 23 - Francis Shaw born (1942)
June 23 - Yann Tiersen born (1970)
June 23 - Howard Shore begins recording his score to The Fly (1986)
June 23 - Carlo Savina died (2002)
June 23 - Allyn Ferguson died (2010)
June 23 - Fred Steiner died (2011)
June 24 - Jeff Beck born (1944)
June 24 - Patrick Moraz born (1948)
June 24 - Anja Garbarek born (1970)
June 24 - Jerry Goldsmith begins recording his score for The Russia House (1990)
June 24 - Maurice Jarre begins recording his score for The Setting Sun (1991)
June 25 - Carly Simon born (1945)
June 25 - Victor Young begins recording his score for Shane (1952)
June 25 - Pascal Gaigne born (1958)
June 25 - Wolfram de Marco born (1966)
June 25 - Maurice Jarre begins recording his score for The Mackintosh Man (1973)
June 26 - John Greenwood born (1889)
June 26 - Dave Grusin born (1934)
June 26 - George Bassman died (1997)
DID THEY MENTION THE MUSIC?
BULLET TRAIN EXPLOSION - Taisei Iwasaki, Yuma Yamaguchi
"Though the details of 'Bullet Train Explosion''s plot tie cheesy connections to the pulpy, realist original, its tone couldn’t be more different. A grimy human drama between disillusioned perpetrators and desperate saviors, all swirling around an elegantly brutal threat, 'The Bullet Train' found its tension and heart away from the action. Despite remaking much of that film (Taisei Iwasaki and Yuma Yamaguchi’s tense score being one of the most successful throwbacks), 'Bullet Train Explosion' abandons the complicating human factors that gave the original its soul. It makes the same mistake as so many modern blockbusters: confusing bigger, louder, and simpler with better."
Jacob Oller, AV Club
"First introduced waxing poetic to a group of high school students ('Although each of us has our own reasons for boarding the Shinkanesen, we’re all heading in the same direction,' he smiles as the music swells behind him), Takaichi-san regards train travel as a sacred expression of human solidarity. So when an unknown terrorist phones in a bomb threat that risks turning the passengers aboard his Hayabusa 60 against one another, Takaichi can’t help but see the situation as a holy war for everything he believes in."
David Ehrlich, IndieWire
FROM THE WORLD OF JOHN WICK: BALLERINA - Tyler Bates, Joel J. Richard
'But even by today’s standards, it’s impressive how often men get to kick De Armas in the kidneys. Her willowy frame takes a tremendous battering as brutes slam her into tables and through walls. In one rousing moment, she and her combatant greedily grab and smash plate after plate after plate on each other’s heads. (Tyler Bates and Joel J. Richard’s percussive score pairs well with a soundscape of shattering glass.) I didn’t tally Eve’s corpses, but her body count appears to be roughly as high as Wick’s and she wasn’t even forced to do it in heels. She favors sensible boots accessorized with a grenade belt."
Amy Nicholson, Los Angeles Times
"But instead of Daniel joining Eve’s mountain siege, Wick shows up to stop her causing inter-assassin war, and maybe no legacy character has felt more crowbarred into a spin-off than he is here. It underpins the main failure of 'Ballerina' -- we can be entertained for scenes, but the action and humor is built atop an utterly tedious story of duty and revenge that reminds us of its hollowness whenever the pounding techno music turns down and the bullets and punches stop flying. Every good thing about 'Ballerina' exists in isolation, a compromised whole that misses the standard set by the John Wick series even as it contorts itself to match it. Ballerina may impress with some slick execution, but that doesn’t mean it’s a job well done."
Rory Doherty, Paste Magazine
"Unsurprisingly, the setting is a dance club bathed in eye-searing neon and the clash is accompanied by thumping techno music, deftly integrated into Tyler Bates and Joel J. Richard’s pulse-pounding synth score (along with an occasional whisper of Tchaikovsky’s 'Swan Lake'). But the moody nightscapes pierced by saturated primary colors that have characterized much of the series give way to a different palette when the action shifts from the Continental in New York and then Prague to the picturesque Austrian village of Hallstatt, which turns out to be a kind of retirement community for killers, presided over by the Chancellor."
David Rooney, The Hollywood Reporter
GAZER - Steven Matthew Carter
"Before long, the woman does disappear, but not quite as Frankie expected. Police arrive on the scene, and evidence stacks up that something truly awful has befallen her. In a haze of increasingly intermittent blackout periods, Frankie’s left to question not only what’s taken place but what she might not remember about her involvement. Round and round, like a circle in a spiral, 'Gazer' assumes the narrative form of a film noir, in which the forces conspiring to trap Frankie -- the shadows crushing her from all sides -- —exist primarily, but not exclusively, in her mind’s twisting corridors. (Steven Matthew Carter’s terrific noir score, thick with squelching saxophones, is itself as treacherous and immersive as the story it accompanies, unraveling alongside its protagonist into abraded electronic textures.)"
Isaac Feldberg, RogerEbert.com
"Sloan takes the slim mystery around what Frankie has gotten involved in and wraps it in a richly resonant ghostliness. Matheus Bastos’s grainy 16mm cinematography creates a luminously dark atmosphere, while Steven Matthew Carter’s scratchy, yowling score spikes the tension. Much of the film’s dialogue doesn’t consist of conversations between characters but of Frankie listening to her voice on a Walkman. 'What do you see?' she asks herself, the camera holding on her searching eyes as she tries to keep time from drifting away. 'If you feel yourself zoning out, rewind tape.' The repetition of Frankie’s recorded monologues acts like a metronome, casting a hypnotic aura over her search for anything that can anchor her to the present."
Chris Barsanti, Slant Magazine
"Steve Matthew Carter’s score is especially worth mentioning among the film’s strengths. While at first conventional, with its wailing saxophone notes peppered with orchestral instruments and a smattering of electronic sounds, Gazer’s score eventually dives off the deep end into a swath of droning synths and discordant jazz reminiscent of the late Jóhann Jóhannsson. Carter’s music is a pitch-perfect accompaniment to Frankie’s mental state, deteriorating in real time along with her own fraying sense of space and reality."
Toussaint Egan, Polygon
"Yet, where exactly is 'Gazer' heading? That unknown is the payoff, with some well-placed twists in the second half, all of which serve to set up a very different film than what came before. As Frankie, Mastroianni carries the film, and what could be considered an emotionless expression she wears nonstop carries far more than one realizes as the events unfold and whatever exists in Frankie’s life starts to unravel. The sparse jazz score oddly works as well, as does the brief dalliance into David Cronenberg around the film’s midpoint; it seems there’s something here for everyone, though these rewards take some time to arrive."
Brian Favour, The Playlist
"Bewildered in multiple ways, Frankie wanders her grimy New Jersey environs in a gray hoodie, making regular pit stops at pay phones where she strives to contact Paige, Diane, and Cynthia, largely to unproductive results. 'Gazer' has a distinctly ‘70s feel, from its grainy visuals and cinematographic devices (such as zooms from a great distance that locate Frankie on city streets) to its score of melancholic horns and its tape recorder-centric action (supposedly, Frankie can’t handle cell phones’ sensory overload)."
Nick Schager, The Daily Beast
GHOST TRAIL - Yuksek
"Adam Bessa gives a quietly powerful performance as Hamid, whom we follow from the film’s intentionally disorienting opening. This first scene is an early indication of the kind of immersive sound design Millet will employ throughout. It’s dark, but we hear the rumble of a truck engine and the squeal of brakes as Hamid and dozens of other disheveled men are dropped in the desert outside the notorious Sednaya prison in March 2014. The queasy strings in the score from French music producer Yuksek also do a lot to put us on edge from the get-go."
Christy Lemire, RogerEbert.com
"Working from a screenplay ('inspired by true events') co-written with Florence Rochat, Millet displays a shrewd grasp of paranoid-thriller mechanics: fluid camerawork, crisp cutting, propulsive music, anxiety-spiking sound design. He also has a refreshing preference for intimacy and clarity over distancing stylistic or narrative fussiness. Given how often these movies’ plot convolutions make us feel like Winona Ryder in the SAG Awards meme, 'Ghost Trail''s straightforwardness is a boon -- evidence that the writer-director is interested in the protagonist’s experience as something more than a vessel for instant genre gratifications. One of the satisfactions of the film is indeed how it lets us focus on the story’s stakes rather than indecipherable double-crosses or unconnectable dots. Millet knows how to crank up the tension, assisted by Yuksek’s churning electro-infused score and the deft layering of ambient campus noise -- whispers in the hallway, chairs creaking, the shuffling of papers -- with Hamid’s own throbbing heartbeat. The filmmaker and DP Olivier Boonjing shoot Bessa up close as Hamid spies on his suspect and listens to recordings of victim testimonies; we see the glistening of sweat on his skin and the tightening of his jaw, hear his breathing grow ragged."
Jon Frosch, The Hollywood Reporter
HAVOC - Aria Prayogi
"Doesn’t matter. What Havoc has going for it is all that action and a strong cast that includes Timothy Olyphant, SunSunny Pangy Pang, Luis Guzmán and dozens of brilliant stunt men and women. The music, courtesy of Aria Prayogi, involves some inspired choices that range from terrifying jazz to a scene of violence and kidnapping that plays out to the strains of 'Oh Holy Night.'"
Liz Braun, Original Cin
"If you can make it 50 minutes into the movie, you’ll be rewarded with a nightclub scene in which Walker, the dirty cops and Little Sister’s platoon converge on Charlie and Mia, while Gesaffelstein thunders on the soundtrack.That would have been a “cool” music choice 12 years ago, when his 'Aleph' album dropped, but playing three tracks back-to-back-to-back during the 10-minute club sequence so soon after the arrival of Lady Gaga’s 'Mayhem' (featuring four Gesaffelstein collaborations) feels late to the party. In any case, it’s the right music for a Gareth Evans spectacular, matching Aria Prayogi’s dark, industrial-sounding score, but a weird fit for the neon-lit venue or the scene’s laid-back DJ, all of which belong to somewhere frat boys and Kardashians hang out, not the final resting place for 50 or so thugs with incredibly bad aim."
Peter Debruge, Variety
"Set pieces like that one -- amped up by Aria Prayogi’s propulsively moody score, which at times dips effectively into cool Carpenter-esque synth dread -- are the movie’s meat and potatoes, much more so than its plot mechanics."
David Rooney, The Hollywood Reporter
HENRY JOHNSON - Jay Wadley
"Despite the minimalist approach, the movie is surprisingly cinematic. DP Sing Howe Yam’s camera is attentive to every detail, Banner Gwin’s editing can be fluid or jagged, in sync with Mamet’s dialogue, and Jay Wadley’s score uses jittery percussion and pensive strings to great effect to heighten the tension. Most of all, the play is brought to life by a quartet of sharp actors fully inhabiting their roles -- led by Mamet’s son-in-law Evan Jonigkeit in the title role, the only character who appears in all four scenes."
David Rooney, The Hollywood Reporter
JANE AUSTEN WRECKED MY LIFE - Peter von Poehl
"On top of that, the score mixed with the darkly colorful palette makes some scenes even reminiscent of Wong Kar-Wai's films, evocative and full of emotion. The film is undoubtedly a bit slower than your typical rom-com, but each scene is so rich, it's hard not to get sucked into the environment around Agathe and simply enjoy it. Piani invites us to look intimately through Agathe's eyes, and as a result, we develop a natural empathy for her. Piani's vision of the quiet streets of Paris and the close quarters of Shakespeare and Company feel plucked right out of an aesthetic vision board. The same goes for the country house in England, which feels both untouchably picturesque and cozy and lived-in."
Therese Lacson, Collider
"But Agathe is wrestling with more than just her insecurities, as kissing Félix just before she took the ferry has stirred up newfound feelings for her old friend. Félix is a serial womanizer and a classic cad with whom she’s always felt a certain unexplored sexual tension, despite their many years of platonic companionship, and even in his absence, this development stands to complicate whatever she feels for Oliver. (Lest one doubt where viewers’ allegiances should lie, composer Peter von Poehl’s score practically quotes 'Yumeji’s Theme' from 'In the Mood for Love,' a romantic melody that’s all but impossible to resist.)"
Peter Debruge, Variety
"Working with cinematographer Pierre Mazoyer, Piani creates a look that resembles the romantic comedies of the early aughts. There’s plenty in terms of intimate close-ups, especially when our lead and her possible suitor(s) exchange longing gazes or light touches, and a fanciful score composed by Peter Von Poehl. But the true draw in 'Jane Austen Wrecked My Life' is Agathe, a compelling protagonist whose passion for literature and love keeps us sufficiently engaged."
Lovia Gyarkye, The Hollywood Reporter
KARATE KID: LEGENDS - Dominic Lewis
"That’s a lot of connections and coincidences, and the movie is just getting warmed up. The entire franchise has an old-fashioned feeling, but 'Karate Kid: Legends' pushes it to the next level. It has an ’80s-style Hollywood score, insistent and sometimes bombastic. Shot in New York and Ottawa, it makes Lower Manhattan seem as gritty and cozy as Rocky’s South Philadelphia neighborhood. The film is also connected to a long tradition of urban melodramas in which young people hone a skill (sometimes dancing, sometimes singing, sometimes fighting) to win a contest and use the prize money to rescue a financially imperiled person or institution (a dance studio, a recreation center, a grandma). This time, it’s Victor’s pizzeria that needs saving. He tries to raise the loan repayment money by fighting in an underground boxing match, with Li as his trainer (a wonderful twist on the series’ master-student dynamic that could’ve driven an entire film of its own, but unfortunately doesn’t). It’s not enough."
Matt Zoller Seitz, RogerEbert.com
OCEAN WITH DAVID ATTENBOROUGH - Steven Price
"As expected, there’s lots of awesome imagery here, from waving green kelp forests with purple urchins at their base, to dolphins and birds swarming around a gyrating silver ball of fish, while Steven Price’s orchestral score throbs along enthusiastically."
Liam Lacey, Original Cin
SISTER MIDNIGHT - Paul Banks
"In its static images, droll camera pans, and jaunty editing (courtesy of Napoleon Stratogiannakis), Kandhari’s film proves indebted to the work of Wes Anderson, and that influence extends to a diverse soundtrack that melds original compositions (by Paul Banks), traditional Indian tunes, and rock ‘n’ roll and country tracks by The Band, The Stooges, Howlin’ Wolf, and Motörhead."
Nick Schager, The Daily Beast
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters
June 20
BOUND (Don Davis) [Alamo Drafthouse]
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]
O BROTHER, WHERE ART THOU? (Carter Burwell) [Aero]
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]
SEVEN (Howard Shore) [Vista]
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]
BARBIE (Mark Ronson, Andrew Wyatt) [Egyptian]
BEAUTY AND THE BEAST (Georges Aurice) [Vidiots]
BLADE RUNNER 2049 (Benjamin Wallfisch, Hans Zimmer) [Egyptian]
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]
THE HUNGER (Michel Rubini, Denny Yeager) [Alalmo Drafthouse]
LA BAMBA (Carlos Santana, Miles Goodman) [Vidiots]
LOW TIDE, STOP THE POUNDING HEART [BrainDead Studios]
MIDSOMMAR (Bobby Krlic) [Alamo Drafthouse]
MILK (Danny Elfman) [Aero]
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]
SEVEN (Howard Shore) [Vista]
SHOOT THE PIANO PLAYER (Georges Delerue) [Egyptian]
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]
BOUND (Don Davis) [Alamo Drafthouse]
BREATHLESS (Jack Nitzsche) [BrainDead Studios]
CASABLANCA (Max Steiner) [Egyptian]
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]
HAPPINESS (Robbie Kondor) [Aero]
METROPOLIS (Gottfried Huppertz) [Aero]
MIDSOMMAR (Bobby Krlic) [Alamo Drafthouse]
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Vista]
THE RESCUERS DOWN UNDER (Bruce Broughton) [New Beverly]
SENNA (Antonio Pinto) [Vidiots]
SEVEN (Howard Shore) [Vista]
VICTOR/VICTORIA (Henry Mancini) [Academy Museum]
THE WIND WILL CARRY US (Peyman Yazdanian) [Egyptian]
YOUNG TORLESS (Hans Werner Henze) [Los Feliz 3]
June 23
BOUND (Don Davis) [Alamo Drafthouse]
DAYS OF THUNDER (Hans Zimmer) [Culver]
THE FORTY-YEAR-OLD VERSION [Vidiots]
HORRIBLE HIGH HEELS (Yu-Lung Hsi) [Los Feliz 3]
I CONFESS (Dimitri Tiomkin) [Egyptian]
MIDSOMMAR (Bobby Krlic) [Alamo Drafthouse]
PORTRAIT OF A LADY ON FIRE (Para One, Arthur Simonini) [Academy Museum]
SATURDAY NIGHT (Jon Batiste), NATIONAL LAMPOON'S ANIMAL HOUSE (Elmer Bernstein) [New Beverly]
SUSPICION (Franz Waxman) [Egyptian]
WHAT YOU GONNA DO WHEN THE WORLD'S ON FIRE? [BrainDead Studios]
June 24
THE BLING RING (Daniel Loptain, Brian Reitzell) [BrainDead Studios]
BOUND (Don Davis) [Alamo Drafthouse]
KISS ME, STUPID (Andre Previn) [Los Feliz 3]
MIDSOMMAR (Bobby Krlic) [Alamo Drafthouse]
PARIAH [Landmark Pasadena]
REAR WINDOW (Franz Waxman) [Egyptian]
SATURDAY NIGHT (Jon Batiste), NATIONAL LAMPOON'S ANIMAL HOUSE (Elmer Bernstein) [New Beverly]
June 25
BOUND (Don Davis) [Alamo Drafthouse]
GODZILLA MINUS ONE (Naoki Sato) [BrainDead Studios]
HAPPINESS (Robbie Kondor) [Los Feliz 3]
THE HUNT FOR RED OCTOBER (Basil Poledouris) [Aero]
LITTLE DARLINGS (Charles Fox) [Vidiots]
MIDSOMMAR (Bobby Krlic) [Alamo Drafthouse]
THE PEOPLE UNDER THE STAIRS (Don Peake, Graeme Revell) [Alamo Drafthouse]
THE POSTMAN ALWAYS RINGS TWICE (George Bassman), PORTRAIT IN BLACK (Frank Skinner) [New Beverly]
REAR WINDOW (Franz Waxman) [Egyptian]
ROPE [Egyptian]
WEEK-END IN HAVANA (Alfred Newman) [Academy Museum]
June 26
DROP ZONE (Hans Zimmer) [Los Feliz 3]
THE GOLD RUSH (Charles Chaplin) [Egyptian]
THE POSTMAN ALWAYS RINGS TWICE (George Bassman), PORTRAIT IN BLACK (Frank Skinner) [New Beverly]
REAR WINDOW (Franz Waxman) [Vidiots]
ROPE [Egyptian]
SUDDENLY (David Raksin) [Aero]
TIE ME UP! TIE ME DOWN! (Ennio Morricone) [Vidiots]
June 27
THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT (Guy Gross) [Vidiots]
ARRIVAL (Johann Johannsson) [Vidiots]
BLADE RUNNER (Vangelis) [Egyptian]
ENTER THE DRAGON (Lalo Schifrin) [Vista]
EQUATION TO AN UNKNOWN [BrainDead Studios]
FULL METAL JACKET (Abigail Mead) [New Beverly]
MAURICE (Richard Robbins) [Academy Museum]
ONCE UPON A TIME...IN HOLLYWOOD [New Beverly]
THE PEOPLE'S JOKER [BrainDead Studios]
PINK NARCISSUS [Alamo Drafthouse]
SHANGHAI BLUES (James Wong) [Los Feliz 3]
SHUTTER ISLAND [New Beverly]
2046 (Shigeru Umebayashi) [Nuart]
WEEK-END IN HAVANA (Alfred Newman) [Academy Museum]
June 28
THE BEGUILED (Phoenix) [BrainDead Studios]
CAN'T BUY ME LOVE (Robert Folk) [New Beverly]
DAYS OF GLORY (Daniele Amfitheatrof) [Egyptian]
ENCANTO (Germaine Franco) [Vidiots]
ENTER THE DRAGON (Lalo Schifrin) [Vista]
FATHER OF THE BRIDE (Alan Silvestri) [Vidiots]
FULL METAL JACKET (Abigail Mead) [New Beverly]
IN JACKSON HEIGHTS [Los Feliz 3]
KING KONG (James Newton Howard) [Egyptian]
LOOKING FOR LANGSTON, THE STICKY FINGERS OF TIME (Miki Navazio) [Academy Museum]
THE LOST BOYS (Thomas Newman) [Vidiots]
LOVE, SIMON (Rob Simonsen) [Academy Museum]
MA VIE EN ROSE (Dominique Dalcan) [Los Feliz 3]
MEETING PEOPLE IS EASY [New Beverly]
MILLENNIUM MAMBO (Yoshihro Hanno, Giong Lim) [Aero]
PIERROT LE FOU (Antoine Duhamel) [Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SCHOOL OF ROCK (Craig Wedren) [Egyptian]
SINGIN' IN THE RAIN (Nacio Herb Brown, Lennie Hayton) [Vista]
SOLARIS (Cliff Martinez) [Vidiots]
STRANGE WORLD (Henry Jackman) [Academy Museum]
SURVIVING THE GAME (Stewart Copeland) [Los Feliz 3]
TOMBSTONE (Bruce Broughton) [Academy Museum]
THE WIZARD (J. Peter Robinson) [Culver]
WRONGFULLY ACCUSED (Bill Conti) [Los Feliz 3]
June 29
CAN'T BUY ME LOVE (Robert Folk) [New Beverly]
CLEOPATRA (Alex North) [Academy Museum]
DAS BOOT (Klaus Doldinger) [Aero]
DOGTOOTH [Los Feliz 3]
EX MACHINA (Ben Salisbury, Geoff Barrow) [Egyptian]
FULL METAL JACKET (Abigail Mead) [New Beverly]
HAROLD AND MAUDE (Cat Stevens) [BrainDead Studios]
HEAVYWEIGHTS (J.A.C. Redford) [Aero]
HOUSE OF FLYING DAGGERS (Shigeru Umebayashi) [Vidiots]
LEGALLY BLONDE 2: RED, WHITE & BLONDE (Rolfe Kent) [Alamo Drafthouse]
MIRROR (Eduard Artemyev) [Egyptian]
MUPPET TREASURE ISLAND (Hans Zimmer) [Vidiots]
SINGIN' IN THE RAIN (Nacio Herb Brown, Lennie Hayton) [Vista]
10 THINGS I HATE ABOUT YOU (Richard Gibbs) [Academy Museum]
WINTER KEPT US WARM [Los Feliz 3]
WITHNAIL & I (Rick Wentworth, David Dundas) [BrainDead Studios]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: More of Other Worlds, Other Sounds (Esquivel); The Ballad of Cable Hogue (Goldsmith); Four Corners of the World (Esquivel); Caesar and Cleopatra (Auric); Buena Vista Social Club Presents Ibrahim Ferrer (Ferrer); A Room with a View (Robbins); One Little Indian (Goldsmith); Spartacus (North); Maurice (Robbins); Bad Girls (Goldsmith); Antony and Cleopatra (Scott); Where Angels Fear to Tread (Portman); Once (various)
Read: A World Out of Time, by Larry Niven
Seen: How to Train Your Dragon [2025]; Materialists; Valley of the Dolls; Bring It On; The Life of Chuck; The Ten Commandments [1956]; Tiger on Beat; Skinny Tiger and Fatty Dragon; Saboteur
Watched: Privilege; Extras ("The Extra Special Series Finale")
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