Quartet has announced two new expanded score CDs - Ennio Morricone's score for the 1985 fantasy adventure RED SONJA, featuring both the original LP cues in stereo and the full film score in mono; and Georges Delerue's Oscar-nominated score for THE DAY OF THE DOLPHIN, featuring both the original LP sequencing and the full film score.
Intrada plans to release two separate but closely related scores next week.
CDS AVAILABLE THIS WEEK
Close Encounters of the Third Kind [re-release] - John Williams - La-La Land
The Day of the Dolphin - Georges Delerue - Quartet
E.T. The Extra-Terrrestrial [re-release] - John Williams - La-La Land
Force to Fear - Matt Cannon - Howlin' Wolf
Over Her Dead Body - Craig Safan - Dragon's Domain
The Peter Bernstein Collection Vol. 2 - Peter Bernstein - Dragon's Domain
Red Sonja - Ennio Morricone - Quartet
Silent Night, Deadly Night 4: Initiation - Richard Band - Dragon's Domain
IN THEATERS TODAY
Emily the Criminal - Nathan Halpern
Fall - Tim Despic
Girl Picture - Music Supervisor: Jan Forsstrom
Gossamer Fields - Aaron Zigman
Mack & Rita - Leo Birenberg
Summering - Drum & Lace
COMING SOON
September 9
Where the Crawdads Sing - Mychael Danna - Decca
September 16
Bridgerton: Season Two - Kris Bowers - Capitol
September 30
The Innocents - Pessi Levanto - Svart
October 14
Fireststarter - John Carpenter, Jody Carpenter, Daniel Davies - Sacred Bones
Coming Soon
Hollywood Soundstage - various - Chandos
Psycho Storm Chaser - Andrew Scott Bell - Howlin' Wolf
THIS WEEK IN FILM MUSIC HISTORY
August 12 - David Lee born (1926)
August 12 - David Munrow born (1942)
August 12 - Victor Young begins recording his score for The Accused (1948)
August 12 - Mark Knopfler born (1949)
August 12 - Pat Metheny born (1954)
August 12 - Peter Peter born (1960)
August 12 - Hugo Montenegro records his only Mission: Impossible episode score, for “The Rebel” (1970)
August 12 - Marty Paich died (1995)
August 12 - Zacarias M. de la Riva born (1972)
August 13 - John Ireland born (1879)
August 13 - Dennis Farnon born (1923)
August 13 - John Cacavas born (1930)
August 13 - Richard Shores records his score for The Wild Wild West episode “The Night of the Big Blackmail” (1968)
August 13 - Gerald Fried writes his final Mission: Impossible score, for “The Code” (1969)
August 13 - Richard LaSalle records his score for the Land of the Giants episode “The Mechanical Man” (1969)
August 13 - Zdenek Liska died (1983)
August 13 - Jerry Goldsmith begins recording his score for Warlock (1988)
August 13 - John Ottman begins recording his score to Gothika (2003)
August 13 - Roque Banos records his score for Oldboy (2013)
August 14 - Lee Zahler born (1893)
August 14 - Edmund Meisel born (1894)
August 14 - James Horner born (1953)
August 14 - Oscar Levant died (1972)
August 14 - Michael McCormack born (1973)
August 15 - Jacques Ibert born (1890)
August 15 - Ned Washington born (1901)
August 15 - Jimmy Webb born (1946)
August 15 - Lalo Schifrin records his score for the Mission: Impossible episode “Memory” (1966)
August 15 - Duane Tatro’s score for The Invaders episode “The Saucer” is recorded (1967)
August 15 - Henry Mancini begins recording his score for Harry and Son (1983)
August 15 - Bruce Broughton begins recording his score for George Washington II: The Forging of a Nation (1986)
August 15 - Ronald Stein died (1988)
August 15 - Ron Jones records his pilot score for the animated Superman series (1988)
August 15 - Cesk Zadeja died (1997)
August 16 - John Williams records the third season theme for Lost in Space (1967)
August 16 - Bruno Nicolai died (1991)
August 16 - Miles Goodman died (1996)
August 16 - Tadashi Hattori died (2008)
August 16 - Alan Silvestri wins Emmys for Cosmos: A Spacetime Odyssey’s main title theme and its premiere episode score; David Arnold and Michael Price win for Sherlock’s “His Last Vow” (2014)
August 17 - Lisa Coleman born (1960)
August 17 - Ernest Gold bgins recording his score for A Child Is Waiting (1962)
August 17 - Vivek Maddala born (1973)
August 17 - John Williams begins recording his score for Black Sunday (1976)
August 17 - Johnny Harris records his score for The New Adventures of Wonder Woman episode “The Deadly Sting” (1978)
August 18 - Igo Kantor born (1930)
August 18 - David Benoit born (1953)
August 18 - John Debney born (1956)
August 18 - Tan Dun born (1957)
August 18 - Stuart Matthewman born (1960)
August 18 - Stephen Endelman born (1962)
August 18 - Carlos Rafael Rivera born (1970)
August 18 - Artie Kane records his score for The New Adventures of Wonder Woman episode “The Return of Wonder Woman” (1977)
August 18 - Robert Russell Bennett died (1981)
August 18 - Jack Elliott died (2001)
August 18 - Elmer Bernstein died (2004)
DID THEY MENTION THE MUSIC?
BOTH SIDES OF THE BLADE [aka FIRE] - Tindersticks
"There’s a crucial moment, mid-quarrel, when Jean fumes about having seen François kiss Sara on the lips. Sara insists, defensively, that she pulled away: 'You saw a fragment of a movement,' she claims, an oddly fitting choice of words. A Denis movie can feel like a symphony of such fragments, and in 'Both Sides of the Blade,' the director continually isolates these gestures -- a hand reaching across a mattress, a gaze almost but not quite connecting with another -- as if she were trying to deconstruct, but also maximize, their emotional power. In one achingly tender scene, Sara embraces Jean during a moment of sorrow, and her words ('Mon amour, tu es mon amour') become almost as musical a refrain as the haunting orchestrations of Denis’ regular composers, the British band Tindersticks."
Justin Chang, Los Angeles Times
"The 'melo' part of melodrama means music, and it’s a sense of feeling that Denis leans into throughout. She lays minor-key, strings-heavy score by Tindersticks on thick whenever François appears on screen or, it seems, even when his name is mentioned. But this patently -- in fact, comically -- obvious use of a leitmotif conflicts with the ambiguity of the nature of the chaos that François introduces to the story. Just why does Sara act traumatized by his mere sight? Is she worried about falling into an affair with the man, or is it Jean who’s being seduced by this unassuming-looking man? What exactly happened in this couple’s past?"
Pat Brown, Slant Magazine
"A slow burn that never quite bursts into flame, 'Both Sides of the Blade' is likely to appeal most to those who are already fans of director Claire Denis. That said, would anyone turn down the opportunity to spend a couple of hours with her luminous leading lady, Juliette Binoche? Certainly not Jean (Vincent Lindon, 'Titane'), smitten lover of Binoche’s enigmatic Sara. The film opens with the two of them on vacation, frolicking in the ocean and unable to keep their hands off each other. The rather mournful score from Tindersticks, which could have been lifted from a 1970s divorce drama, is our early hint at troubles unseen."
Elizabeth Weitzman, The Wrap
"In the striking opening scene of the barbed film that is 'Both Sides of the Blade,' the latest work from writer-director Claire Denis, we are introduced to a couple caught in the throes of love. Placed in the scene as a delicate observer, we see Juliette Binoche’s Sara frolicking in the bright blues of the sea with Vincent Lindon's Jean. The sky is stunning, the setting sublime, and as they hold each other close, we are left with the feeling that these two people don’t have a care in the world. They are enraptured with each other, their faces relaxed and happy. It is a promising start that is imbued with a sense of impending dread by a somber score that is sprinkled throughout the rest of the film. When heard in this opening scene, there is the feeling that this is one of the last times we will see them happy. Proverbial storm clouds are gathering in the distance, threatening to drown the duo in a dour descent into discontentment."
Claire Hutchinson, Collider
"'Both Sides of the Blade' is hardly the first time Denis has depicted middle-class domesticity with the same raw animalism that often compels her towards more exotic settings (e.g. cannibalistic vampire covens, interstellar masturbation booths), but it’s been a while since one of her 'normal' movies was so angry or implosive. Absent the effervescent self-discovery and dashes of ecstasy that defined Denis’ previous collaboration with 'Let the Sunshine in' writer Christine Angot -- that one had an 'At Last' needle drop for the ages, this one leans on a queasy Tindersticks score and the occasional sound of barking dogs -- her latest film is a slow-burn chamber drama that adheres to the geometry of its not-so-bizarre love triangle between a married woman, her ex-con husband, and the dashing entrepreneur she once left in order to be with him.
David Ehrlich, IndieWire
"Grégoire Colin shows up early in 'Both Sides of the Blade.' We only get a glimpse of his character, François, from afar. He’s standing on the sidewalk, putting a helmet on his girlfriend’s head, then donning one of his own before the two drive off together on his motorcycle. But from the way Sara (Juliette Binoche), and the alarmed strings on the soundtrack, react to the sight of him, you’d think she’d just had a vision of her own death. She hurries inside the building where she works as a radio show host -- did he choose the spot on purpose, knowing she’d pass by? -- and clutches herself dramatically in the privacy of the elevator, murmuring his name. When she mentions having seen the man to her husband Jean (Vincent Lindon), it’s with such forced casualness that Jean can barely bring himself to play along."
Alison Willmore, New York
"This is Denis' third collaboration with Binoche ('Let the Sunshine In' and 'High Life'), and here she has teamed up again with Christine Angot (who co-wrote 'Let the Sunshine In') to craft a script out of Angot's 2018 novel 'Un Tournant de la vie' Angot's novel is mostly dialogue, which is reflected in the 'talky' screenplay, where the language is finely wrought and intricately observed, spiked with indirection, avoidance, and blatant lying (to each other, and to themselves). When the truth comes out, it bursts forth messily after being trapped so long in a container. 'Both Sides of the Blade' has had multiple titles in its production history (it is still listed as 'Fire' on IMDb), but the final version came from a song by Tindersticks (who did the moody score). The original French title has a certain blunt panache: 'Avec Amour et Acharnement': 'With Love and Relentlessness,' but when Denis heard 'Both Sides of the Blade' during the editing process, she thought it most appropriate for this story of passion's sharpness and danger."
Sheila O'Malley, RogerEbert.com
"Of all the unsolved mysteries in Claire Denis‘ new Berlin Competition film, the biggest may just be its U.S. retitling to a generic and not particularly representative 'Fire.' The film’s English title in the rest of the world, 'Both Sides of the Blade' -- a line from the terrific Tindersticks track that ends the film -- is not just cooler and more compelling. It also provides a much-needed way to parse the movie’s strangely unbalanced dynamics: as a scalene love triangle between a woman, her partner of nine years, and her ex, 'Fire' feels oddly out of whack, but as a portrait of that woman, with the two men representing opposing edges of her knife-like need for passionate, unconstrained love, it becomes a little more coherent, if not that much more satisfying...Such ferocity is a far cry from the film’s entrancingly lovely opening, however. In a blue, sparkling sea while a tumultuously sweet segment of the Tindersticks score plays, Jean and Marie are first shown cavorting on a vacation. They dunk and splash and twine round each other like seals, looking so loved up and ravishing in Eric Gautier‘s intimate, sensuous camerawork that they seem like people discovering each other for the first time, or perhaps having an affair. But the music continues as they return to the Paris apartment they’ve shared for years. And even once the film moves out of blissful montage mode, and the lingering effect that a really great holiday can have on one’s mood must surely be beginning to dissipate, still, their interactions are peculiarly avid and intense for a couple of such long-standing. Every kiss, even a “bye I’m off to work” peck is a deep, desirous osculation; every conversation, even casual ones about dinner plans, is delivered with rapt intent; every time they have sex — and Denis always delivers such wonderfully real, tactile sex scenes — intercourse seems to be a revelation, their craving bodies delighting in the covetous surprise of skin on skin like they haven’t long ago grown used to all of each other’s secret nooks and niches...These curiously flat scenes are all but redundant anyway: This is Marie’s show. And Binoche’s Marie, while an asset to the film’s watchability, might also be the conundrum most crippling for its believability. Whatever about her being distracted by an obviously untrustworthy François when decent, devoted Jean is so much more appealing a prospect (and Lindon can break your heart a little with the sincerity he brings to a speech about why he likes to drive out to a particular supermarket to do the grocery shopping) -- French love-triangles gonna French love-triangle, I guess. Even so, though, the intensity of her dilemma is severely undercut by how ultimately selfish it is. Marie never seems particularly interested in either man except for how they are interested in her and is revealed to be so self-centered in her pursuit of amours both fou and entirely rational, that she is far less likable than Binoche’s disingenuously bright-eyed and forthright performance can account for. There she is, sliding, as Stuart Staples croons crookedly as the credits roll, down both sides of the blade, but it’s hard to imagine and harder to care whether the dagger will actually find her heart."
Jessica Kiang, The Playlist
"Gautier, in his first collaboration with the director, often shoots the leads’ faces in tingling, discomfiting close-up, the characters’ emotions writ so large they scarcely know what to do with them; the film’s sharp, forthright sex scenes likewise offer them few hiding places. Even a customary peck on the cheek is a loaded erotic act here, woozily amplified and made electric by another enveloping, sandpaper-on-velvet art-rock score by Denis favorites Tindersticks. In this simultaneously small and cavernous love story, even a whisper echoes for days."
Guy Lodge, Variety
"Claire Denis’ smart, moody, superbly acted melodrama, 'Both Sides of the Blade,' begins with a rapturous vacation interlude, with the central couple draped in one another’s arms in the sea as the sweet melodic notes of Tindersticks’ score wash over them. The scene is so gushingly romantic it’s almost kitsch. But Denis is a masterful director who always knows exactly what she’s doing. The ecstasy of the establishing scenes makes the raw, wrenching volatility of later developments, when the past cuts through like a knife to shatter the couple’s harmony, more powerful. The constantly shifting interpersonal dynamics are conveyed with fluid modulation of tone by a director in full control of her material. Brooding notes creep into the score, and cinematographer Eric Gautier’s pristine widescreen compositions grow more jagged and agitated as communication between Sara and Jean begins to falter."
David Rooney, The Hollywood Reporter
THIRTEEN LIVES - Benjamin Wallfisch
"With a film like 'Thirteen Lives,' there is always a temptation to signpost moments of drama, loss, triumph, and adversity, with an overwhelming score that overpowers and drags the film into a mire of sonic tropes which do a disservice to the narrative and the audience. Composer Benjamin Wallfisch resists all of those pratfalls, delivering a present but unintrusive soundtrack. Couple this with the incredible sound design, and 'Thirteen Lives' is an audio journey in itself."
Simon Thompson, The Playlist
"This film is at its best with the underwater scenes, where Howard’s cave-diving footage puts the audience into claustrophobic, muddy-water environments. These submerged sequences skillfully convey the dangerous external stakes faced by the protagonists. By shooting scenes in the first-person perspective, the camera becomes our avatar. The divers’ fear of the unknown is our fear of what’s lurking beyond the frame. Simon Christidis’ underwater cinematography is complimented by James Wilcox’s finely tuned edits and Benjamin Wallfisch’s percolating score, which shape the narrative with generous nuance. Production designer Molly Hughes’ work recreating the caverns and tunnels, where rigid stalactites and stalagmites act as a prison, externalizes the divers’ disorienting headspace."
Courtney Howard, The Onion AV Club
"Like the Bifurto Abyss in 'Il Buco,' Italian director Michelangelo Frammartino’s remarkable film about a group of young speleologists exploring one of the world’s deepest caves, Tham Luang Nang Non is its own character -- a force to be tackled with patience and wit. Production designer Molly Hughes’ recreation of the cave interior enlivens the latter half of the film, which unfolds in its twisted passageways. Sound is equally key to the film’s varying effectiveness. When Howard pulls back on Benjamin Wallfisch’s otherwise fine score, the dive scenes gain greater potency. The noises of water colliding with the walls of the cave or labored breathing through an oxygen mask conjure the suffocating nature of swimming through unknown territory more vividly than any music could."
Lovia Gyarkye, The Hollywood Reporter
"But it’s love that ultimately leads Kya astray, as she finds her youthful heart torn between the affections of two boys: Tate (Taylor John Smith), a neighboring, childhood friend who eventually heads off to college, and Chase (Harris Dickinson), a local, 'normal' boy from town who ends up mirroring the abusive patterns of her father. Albeit, neither of these romantic relationships is particularly believable, which could be said of any relationship Kya is meant to have with another character in the film. The script does little to depict emotional connection any farther below the surface, preferring clichéd dialogue and overbearing music cues from composer Mychael Danna as a substitute for tangible character development."
Brianna Zigler, The Playlist
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
August 12
BIG TROUBLE IN LITTLE CHINA (John Carpenter, Alan Howarth) [Nuart]
BLADE RUNNER (Vangelis) [Alamo Drafthouse]
BLUE (Zbigniew Preisner) [Los Feliz 3]
BLUE VELVET (Angelo Badalamenti) [BrainDead Studios]
FIVE EASY PIECES [Los Feliz 3]
INGLOURIOUS BASTERDS [New Beverly]
KOYANNISQATSI (Philip Glass) [Alamo Drafthouse]
THE PAJAMA GAME (Richard Adler, Jerry Ross, Nelson Riddle) [Academy Museum]
PSYCHO (Bernard Herrmann) [Nuart]
REALITY BITES (Karl Wallinger), THE SECRET LIFE OF WALTER MITTY (Theodore Shapiro) [Aero]
SCREAM (Marco Beltrami) [BrainDead Studios]
STAY HUNGRY (Bruce Langhorne, Bryan Berline) [Los Feliz 3]
THE THING (Ennio Morricone) [Alamo Drafthouse]
THE THING (Ennio Morricone), BODY SNATCHERS (Joe Delia) [New Beverly]
TWIN PEAKS FIRE WALK WITH ME (Angelo Badalamenti) [New Beverly]
August 13
THE BEST LITTLE WHOREHOUSE IN TEXAS (Carol Hall, Dolly Parton, Patrick Williams) [Alamo Drafthouse]
BLADE RUNNER (Vangelis) [Alamo Drafthouse]
FRIDAY THE 13TH PART V: A NEW BEGINNING (Harry Manfredini) [New Beverly]
HAIRSPRAY (Kenny Vance) [BrainDead Studios]
THE KING OF MARVIN GARDENS [Los Feliz 3]
KOYANNISQATSI (Philip Glass) [Alamo Drafthouse]
MEPHISTO (Zdenko Tamassy) [BrainDead Studios]
THE NEVERENDING STORY (Klaus Doldinger, Giorgio Moroder) [Landmark Westwood]
NORTH BY NORTHWEST (Bernard Herrmann) [Nuart]
PETE'S DRAGON (Al Kasha, Joel Hirschhorn, Irwin Kostal) [Academy Museum]
PILLOW TALK (Frank DeVol) [Academy Museum]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SLEEPING BEAUTY (George Bruns) [New Beverly]
STARSHIP TROOPERS (Basil Poledouris) [Los Feliz 3]
TIE ME UP! TIE ME DOWN! (Ennio Morricone) [BrainDead Studios]
THE THING (Ennio Morricone) [Alamo Drafthouse
THE THING (Ennio Morricone), BODY SNATCHERS (Joe Delia) [New Beverly]
THIS IS NOT A FILM, THERE IS NO EVIL (Amir Molookpour) [Aero]
August 14
BLADE RUNNER (Vangelis) [Alamo Drafthouse]
BLEAK MOMENTS [Los Feliz 3]
BLOODSPORT (Paul Hertzog) [BrainDead Studios]
BLUE (Zbigniew Preisner) [Los Feliz 3]
DIRTY DANCING (John Morris) [Fine Arts]
HAPPY GILMORE (Mark Mothersbaugh) [BrainDead Studios]
HARRY POTTER AND THE CHAMBER OF SECRETS (John Williams, William Ross) [Fine Arts]
HE GOT GAME (Aaron Copland) [BrainDead Studios]
INDIANA JONES AND THE LAST CRUSADE (John Williams) [Fine Arts]
THE LAST UNICORN (Jimmy Webb) [Alamo Drafthouse]
LOVER COME BACK (Frank De Vol) [Academy Museum]
MIDNIGHT IN PARIS [BrainDead Studios]
A PATCH OF BLUE (Jerry Goldsmith) [Academy Museum]
POKEMON DETECTIVE PIKACHU (Henry Jackman) [Alamo Drafthouse]
REAR WINDOW (Franz Waxman) [Nuart]
SECONDS (Jerry Goldsmith) [Los Feliz 3]
SLEEPING BEAUTY (George Bruns) [New Beverly]
STAY HUNGRY (Bruce Langhorne, Bryan Berline) [Los Feliz 3]
SUPERMAN (John Williams) [IPIC Westwood]
THE THING (Ennio Morricone) [Alamo Drafthouse
THE THING (Ennio Morricone), BODY SNATCHERS (Joe Delia) [New Beverly]
August 15
CLOUDY WITH A CHANCE OF MEATBALLS (Mark Mothersbaugh) [Alamo Drafthouse]
FIVE EASY PIECES [Los Feliz 3]
KOYANNISQATSI (Philip Glass) [Alamo Drafthouse]
NIGHT OF THE LIVING DEAD [Los Feliz 3]
PRINCE OF DARKNESS (John Carpenter, Alan Howarth) [Alamo Drafthouse]
August 16
ALMA'S RAINBOW (Jean-Paul Bourelly) [Los Feliz 3]
CONTAMINATION (Goblin) [Alamo Drafthouse]
THE LAST UNICORN (Jimmy Webb) [Alamo Drafthouse]
MINIONS (Heitor Pereira) [BrainDead Studios]
POKEMON DETECTIVE PIKACHU (Henry Jackman) [Alamo Drafthouse]
RESERVOIR DOGS, KAANTE [New Beverly]
THELMA & LOUISE (Hans Zimmer) [Academy Museum]
THE THING (Ennio Morricone) [Alamo Drafthouse
THE WANDERING PRINCESS (Chuji Kinoshita) [Los Feliz 3]
August 17
BLADE RUNNER (Vangelis) [Alamo Drafthouse]
CONTAMINATION (Goblin) [Alamo Drafthouse]
FLOATING WEEDS (Takanobu Saito) [BrainDead Studios]
HEAD (Ken Thorne) [Los Feliz 3]
KOYANNISQATSI (Philip Glass) [Alamo Drafthouse]
RESERVOIR DOGS, MAN BITES DOG (Jean-Marc Chenut, Laurence Dufrene, Philippe Malempre) [New Beverly]
SHADOW OF A DOUBT (Dimitri Tiomkin) [Nuart]
SUPERMAN (John Williams) [IPIC Westwood]
WHITE (Zbigniew Preisner) [Los Feliz 3]
August 18
THE DRAUGHTSMAN'S CONTRACT (Michael Nyman) [Aero]
THE KING OF MARVIN GARDENS [Los Feliz 3]
MANUSCRIPTS DON'T BURN [Los Feliz 3]
PRINCE OF DARKNESS (John Carpenter, Alan Howarth) [Alamo Drafthouse]
RESERVOIR DOGS, MAN BITES DOG (Jean-Marc Chenut, Laurence Dufrene, Philippe Malempre) [New Beverly]
SABOTEUR (Frank Skinner) [Nuart]
August 19
ALMA'S RAINBOW (Jean-Paul Bourelly) [Los Feliz 3]
AMERICAN PSYCHO (John Cale) [Nuart]
THE COOK, THE THIEF, HIS WIFE AND HER LOVER (Michael Nyman), THE BABY OF MACON [Aero]
THE DEER HUNTER (Stanley Myers) [BrainDead Studios]
GREASE [IPIC Westwood]
GREASE 2 [Alamo Drafthouse]
HALLOWEEN III: SEASON OF THE WITCH (John Carpenter, Alan Howarth) [Alamo Drafthouse]
HEAVY TRAFFIC (Ray Shanklin, Ed Bogas) [Los Feliz 3]
INGLOURIOUS BASTERDS [New Beverly]
PHANTOM THREAD (Jonny Greenwood) [Nuart]
RESERVOIR DOGS, SLACKER [New Beverly]
SEND ME NO FLOWERS (Frank De Vol) [Academy Museum]
TRESPASS (Ry Cooder) [New Beverly]
WHITE (Zbigniew Preisner) [Los Feliz 3]
August 20
THE ARISTOCATS (George Bruns) [New Beverly]
THE BELLY OF AN ARCHITECT (Wim Mertens) [Los Feliz 3]
BOB LE FLAMBEUR (Eddie Barclay, Jo Boyer) [BrainDead Studios]
CONAN THE BARBARIAN (Basil Poledouris) [Alamo Drafthouse]
THE FAST AND THE FURIOUS (BT) [BrainDead Studios]
FIVE EASY PIECES [Los Feliz 3]
THE 5,000 FINGERS OF DR. T (Frederick Hollander) [Academy Museum]
THE GODFATHER (Nino Rota) [Landmark Westwood]
GREASE [IPIC Westwood]
GREASE 2 [Alamo Drafthouse]
MAGNOLIA (Jon Brion) [Nuart]
RESERVOIR DOGS, SLACKER [New Beverly]
SUGAR & SPICE (Mark Mothersbaugh) [New Beverly]
TEXASVILLE [Aero]
WHITE MEN CAN'T JUMP (Bennie Wallace) [BrainDead Studios]
A ZED AND TWO NOUGHTS (Michael Nyman) [Los Feliz 3]
August 21
THE ARISTOCATS (George Bruns) [New Beverly]
BACK TO THE FUTURE (Alan Silvestri) [IPIC Westwood]
BASEKETBALL (Ira Newborn) [BrainDead Studios]
THE 'BURBS (Jerry Goldsmith) [Los Feliz 3]
COOL HAND LUKE (Lalo Schifrin) [Academy Museum]
DR. NO (Monty Norman) [Fine Arts]
DROWNING BY NUMBERS (Michael Nyman) [Aero]
GREASE [IPIC Westwood]
GREASE 2 [Alamo Drafthouse]
HARRY POTTER AND THE PRISONER OF AZKABAN (John Williams) [Fine Arts]
HIROSHIMA, MON AMOUR (Georges Delerue, Giovanni Fusco) [BrainDead Studios]
THE HUSTLER (Kenyon Hopkins) [BrainDead Studios]
ONE WAY OR ANOTHER (Sergio Vitier) [Los Feliz]
RESERVOIR DOGS, SLACKER [New Beverly]
THERE WILL BE BLOOD (Jonny Greenwood) [Nuart]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: The China Syndrome (Small); Time Machines (Coil); Chungking Express (Chan); Happy Together (various); 2046 (Umebayashi, various); My Blueberry Nights (Cooder, various); The Grandmaster (Umebayashi, Mechaly); The River (Williams); Country (Gross)
Read: The Steel Mirror, by Donald Hamilton
Seen: April in Paris; Gravity; Bullet Train; Calamity Jane; Two-Lane Blacktop; Island of Lost Souls; California Split; The Croods: A New Age; The Hasty Hare [1952]; Moonraker; Firefox; Bodies Bodies Bodies
Watched: The Horror of Party Beach; Damages ("Your Secrets Are Safe"); Star Trek ("That Which Survives); What We Do in the Shadows ("The Trial"); The Boys ("Good for the Soul"); You're the Worst ("We Can Do Better Than This"); Counterpart ("The Lost Art of Diplomacy"); The Venture Bros. ("Venture Libre"); Damages ("The Dog Is Happier Without Her")
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