CDS AVAILABLE THIS WEEK
Doctor Who: The Daleks in Colour - Mark Ayres, Tristram Cary - Silva
Exotic Themes for the Silver Screen: Vol. 1 - Michael Giacchino - Mutant
Fallen Angels Vol. 1 - Peter Bernstein - Dragon's Domain
Franz Waxman: Legendary Hollywood Vol. 4 - Franz Waxman - Citadel
The Gerald Fried Collection Vol. 2 - Gerald Fried - Dragon's Domain
Safe House - Kevin Kiner - Dragon's Domain [CD-R]
IN THEATERS TODAY
Across the River and Into the Trees - Edward Shearmur
AfrAId - Alex Weston
City of Dreams - Lisa Gerrard, Bennett Salvay
Close Your Eyes - Federico Jusid - Score CD Cerrar los ojos on Quartet
Merchant Ivory - Ryan Homsey
Mountains - Dyani Douze
1992 - Gilad Benamram
Slingshot - Steffen Thum
Take My Hand - Angela Little
Tokyo Cowboy - Chad Cannon
The Wasp - Adam Janota Bzowski
You Gotta Believe - Mike McCready
COMING SOON
September 13
Industry: Season 2 - Nathan Micay - LuckyMe
October 4
White Bird - Thomas Newman - Lakeshore
Coming Soon
Eyeball - Bruno Nicolai - Quartet
The Golden Age of Science Fiction Vol. 6 - Malcolm Lockyer, Ruby Raksin - Dragon's Domain
La corta notte delle bambole di vetro (Short Night of Glass Dolls) - Ennio Morricone - Quartet
The Paul Chihara Collection Vol. 5 - Paul Chihara - Dragon's Domain [CD-R]
Pentathlon - David Spear - Dragon's Domain
THIS WEEK IN FILM MUSIC HISTORY
August 30 - Conrad Salinger born (1901)
August 30 - Luis Bacalov born (1933)
August 30 - John Phillips born (1935)
August 30 - Axel Stordahl died (1963)
August 30 - Sol Kaplan's score for the Star Trek episode "The Doomsday Machine" is recorded (1967)
August 30 - Emil Newman died (1984)
August 30 - Bruce Broughton wins his fifth Emmy, for O Pioneers!; Bruce Babcock wins for the Matlock episode score “The Strangler” (1992)
August 30 - Jerry Goldsmith begins recording his replacement score for The River Wild (1994)
August 30 - Bernardo Bonezzi died (2012)
August 31 - The Sea Hawk is released in theaters (1940)
August 31 - Recording sessions begin for Bronislau Kaper's score for The Swan (1955)
August 31 - Alexander Courage's score for the Star Trek episode "The Naked Time" is recorded (1966)
August 31 - Robert Drasnin records his score for the Lost in Space episode "Forbidden World" (1966)
August 31 - Walter Scharf records his final Mission: Impossible score, for the episode “The Bank” (1967)
August 31 - Jeff Russo born (1969)
August 31 - Lalo Schifrin records his score for the Mission: Impossible episode “The Killer” (1970)
August 31 - Joel McNeely begins recording his score for Iron Will (1993)
September 1 - Franz Waxman begins recording his score for Sunset Blvd. (1949)
September 1 - Victor Young begins recording his score for Strategic Air Command (1954)
September 1 - Gil Melle begins recording his score for The Organization (1971)
September 1 - Jerry Goldsmith begins recording his score for Magic (1978)
September 1 - Ludwig Goransson born (1984)
September 1 - Marc Donahue died (2002)
September 1 - Erich Kunzel died (2009)
September 2 - Armando Trovajoli born (1917)
September 2 - Hugo Montenegro born (1925)
September 2 - Emil Richards born (1932)
September 2 - Steve Porcaro born (1957)
September 2 - Alex Heffes born (1971)
September 2 - Tadeusz Baird died (1981)
September 2 - Clifton Parker died (1989)
September 2 - Dennis McCarthy records his score for the Star Trek: Enterprise episode “The Xindi” (2003)
September 3 - Anthony Collins born (1893)
September 3 - Richard Markowitz born (1926)
September 3 - Kevin Kiner born (1958)
September 3 - Alexandre Azaria born (1967)
September 3 - Joseph Mullendore records his score for the Land of the Giants episode “Deadly Pawn” (1969)
September 3 - Brooke Blair born (1977)
September 3 - Bruce Broughton begins recording his score for Young Sherlock Holmes (1985)
September 3 - Bruce Broughton begins recording his score for Glory and Honor (1997)
September 3 - Pierre van Dormael died (2008)
September 3 - Marcus Fjellstrom died (2017)
September 4 - Darius Milhaud born (1892)
September 4 - David Raksin records his score for Fallen Angel (1945)
September 4 - Mark Ronson born (1975)
September 4 - Hildur Guonadottir born (1982)
September 4 - Jerry Goldsmith begins recording his score for The Last Castle (2001)
September 5 - Giancarlo Bigazzi born (1940)
September 5 - Don Banks died (1980)
September 5 - Sondre Lerche born (1982)
September 5 - Salil Chowdhury died (1995)
DID THEY MENTION THE MUSIC?
ALIEN: ROMULUS - Benjamin Wallfisch
"Cinematographer Galo Olivares captures a grimy, growing maleficence in Álvarez’s vision that he first showcased in 'Gretel & Hansel' and plays with the darkness to colossal effect. Together, they create a claustrophobic and often intimate environment absent in several entries in the franchise. Benjamin Wallfisch’s score, as with his previous work on 'Twisters' and the 'It' films, brings depth, character, and an additional edge to the intense visuals, respecting and reflecting prior arrangements but adding something fresh. All of this is heightened by Jake Roberts’ sharp editing, especially in Álvarez’s perfectly executed set pieces."
Simon Thompson, The Playlist
"With spot-on production design that really captures the worn-out feel of space travel that the 'Alien' films so perfectly showed, the practical and visual effects, bringing that acid-dripping bitch back to life, are also superbly realised. With a gets-right-under-the-skin score from Benjamin Wallfisch, this is an 'Alien' film for the ages. Finally, someone has made a movie that comes close to the brilliance of Ridley Scott and James Cameron."
James Mottram, NME.com
"Nonetheless, Álvarez entrances and disorients with vast panoramas of tiny pods flying above massive fantastical worlds, floating and rotating camerawork (courtesy of Galo Olivares), and a Benjamin Wallfisch score that harkens back to Jerry Goldsmith’s memorable musical themes and helps set a suitably ominous mood."
Nick Schager, The Daily Beast
"There are other surface pleasures to enjoy in 'Alien: Romulus,' including the stunningly rich cinematography by Galo Olivares and the scuffed-up and worn interiors lit with glowing reds, shiny with extraterrestrial mucus. Benjamin Wallfisch’s score keens and groans ominously, sometimes dipping into synthy electronic moments."
Katie Walsh, Los Angeles Times
"These aren’t the only callbacks you’ll get, either, especially as our scrappy crew of scavengers boards the Romulus-Remus space station to snatch some cryopods they think will help them survive their trip to the next system and subsequent freedom. Everything about the film’s production design is meant to echo the vibes of the previous franchise entries, from the lo-fi ’70s industrial vibe of the station to the proto-pulse rifles that become vital weapons later in the film. Even Benjamin Wallfisch’s score does its level best to emulate the grim orchestral majesty of Jerry Goldsmith’s score for 'Alien.'"
Clint Worthington, Consequence
"And that good judgement is something she’ll need, because this facility is packed with things that want to (and succeed at) whittling down this group. Through its first hour, 'Alien: Romulus' generates genuine dread as this group creeps down abandoned corridors, their every step flirting with disaster. Benjamin Wallfisch’s score captures a creeping sense of wrongness, as otherworldly chants underscore that these people are in the presence of a deep space horror that should have never been discovered. This stretch moves with relative patience as the camera slowly pans across a shattered vessel full of environmental storytelling cues -- ones that mean nothing to these clueless interlopers, but drip with acidic dramatic irony for those familiar with these movies. We know that around any corner is something beyond these people’s worst fears, and Álvarez wrings every morsel out of this awful silence."
Elijah Gonzalez, Paste Magazine
"Along with the nerve-shredding sound, a big assist in that area comes from cinematographer Galo Olivares’ agile camerawork and Benjamin Wallfisch’s haute horror score, incorporating echoes of Jerry Goldsmith and James Horner’s music for the first two movies."
David Rooney, The Hollywood Reporter
CUCKOO - Simon Waskow
"It’s a lot. 'Cuckoo' throws everything at the wall and not everything sticks, but if you’re willing to surrender to its demented pleasures, there’s fun to be had amongst the baby-snatching beasts and gun-toting misogynists. Not to mention some general bad vibes that are underpinned by a bone-shuddering score by Simon Waskow, who worked on Tilman’s previous film 'Luz,' and some outstanding sound design."
Time Out, Stephen A. Russell
"Shooting on 35-millimeter film, Paul Faltz, backed by Simon Waskow’s whining, fidgety score, leans into the surreality of Gretchen’s predicament with bizarre close-ups. Ears jerk and twitch in response to mysterious calls; throats flutter with a rapid, stuttering pulse; slimy secretions are passed from one woman to another. And as the resort’s dangers escalate and Gretchen’s injuries multiply, the film’s bonkers, body-horror ambitions become the means by which she will overcome her grief and heal her emotional dislocation."
Jeannette Catsoulis, The New York Times
"Given the revelations about Gretchen’s mother and about Alma’s conception -- which turns out to be a secret far worse than her merely having absorbed her twin in the womb -- 'Cuckoo' could loosely fit within the motherhood or grief-horror subgenres. But despite Paul Faltz’s mordantly elegant cinematography and the nice line in 1980s-style synth scoring from Simon Waskow, Singer doesn’t have anything so conceptual or 'elevated' on his mind. Or if he does, it’s crowded out by the 27 other ways he wants to get freaky at that same moment, some more successful than others, and none of them even remotely explained by any of the increasingly elaborate exposition dumps that pepper the route to an unnecessarily elongated shoot-out finale."
Jessica Kiang, Variety
GOOD ONE - Celia Hollander
"And while Donaldson’s film is reminiscent of the modest coziness of the aforementioned Kelly Reichardt, 'Good One' is arguably a bit more accessible, with a beautiful score by Celia Hollander and lighthearted comedy brightening something that might be a bit more surreptitious in the hands of the former."
Rodrigo Perez, The Playlist
"This is all then juxtaposed with the beauty of the landscape that is captured perfectly by cinematographer Wilson Cameron and given even more life via the score by Celia Hollander. There are many moments where Donaldson just slows everything down to take all this in, fusing the splendor of these rich images with peaceful yet potent music. That the film has drawn some comparisons to Reichardt perhaps makes sense. This is both because Le Gros was previously in the aforementioned 'Certain Women' and because Reichardt’s latest, the sublime 'Showing Up,' has many such moments of more peaceful contemplation. Hell, there are even moments in 'Good One' where you hear some notes that might lead you to wonder if André 3000 was also playing the flute here again as well as it almost sounds like he might be."
Chase Hutchinson, Collider
"'Good One' is the writer and director India Donaldson’s feature debut, and an astounding one, full of the kind of emotional detail that can only come from personal experience. The movie smoothly shifts from gentle comedy to emotional punch, modest in a way that sneaks up on you in the end, backed by Celia Hollander’s acoustic, folk-inflected score. For most of the film, we’re expecting something to happen to Sam -- it feels inevitable, out here in the woods with two grown men."
Alissa Wilkinson, The New York Times
"All this laser-like focus on such personal dynamics stands in fascinating contrast to the serene regard of the camera for the lush forests that serve as the backdrop for the film’s central drama. Though the dialogue of these early scenes feels relatively innocuous, 'Good One' slowly derives tension from the way Sam remains steadfastly tight-lipped (for one, she’s secretly dealing with the onset of her latest period), while her chaperones reveal more and more of who they are by the moment, their selfishness bleeding out in both word and deed. All the while, Celia Hollander’s eclectically whimsical score seems to warn of possible dangers ahead."
Greg Nussen, Slant Magazine
"So much of this psychologically complex movie’s artistry is wonderfully assured, from cinematographer Wilson Cameron’s textured intimacy with nature and faces, to the tenderly applied, deceptively varied music. But what most gives me hope for Donaldson as a filmmaker, however, is how much she cares about the lost magic of scene work, those building blocks of human interaction -- movement, composition, dialogue, pacing, depth and in this case the gifts of an incredible newcomer in Collias -- that fuse us to a movie’s internal logic, its intangibles. 'Good One' is as complete a piece of storytelling as you’ll see all year. For a pot of frogs coming to a boil, it’s a great place to be."
Robert Abele, Los Angeles Times
"Donaldson’s script doesn’t waste any time setting its terms, even if her film has the discipline and patience to wait for more than an hour before it finally activates them. Modest and casual until the exact moment when the film’s master plan suddenly clicks into place like the hammer of a gun transforming a neutral tool into a deadly weapon, 'Good One' is the kind of movie that tightens its complete lack of tension into a knot in the pit of your stomach. It often reminded me of Julia Loktev’s little-seen but seldom-forgotten 'The Loneliest Planet' in that sense. Wilson Cameron’s serene nature cinematography and Celia Hollander’s airy, Joanna Newsom-esque score don’t quite disabuse us from the notion that something terrible is eventually going to happen, even if they both play against the suspense (this doesn’t feel like a thriller until you start to project its family dynamics onto your own parents and/or children, at which point it becomes thoroughly harrowing), and when the worm finally turns it’s almost a relief that we can put it behind us. It’s sad and unfair, but also liberating in a way."
David Ehrlich, IndieWire
"There’s a captivating delicacy to Donaldson’s understated approach, echoed in the crystalline poetry of Cameron’s nature images and the chiming notes of Celia Hollander’s gentle score. All three principal performances are expertly synced and feel entirely lived in. But it’s Collias who gives the minimalist character study its lingering emotional amplitude, conveying the volatile inner life of a woman making discoveries not only about her camping companions but also about herself."
David Rooney, The Hollywood Reporter
HELL HOLE - John Adams
"In characteristic Adams family fashion, Poser and Adams have their suckers in every facet of Hell Hole’s creation, having written the film alongside their eldest daughter, Lulu Adams, in addition to performing on camera and sharing the director’s chair. John Adams does quadruple duty here with additional credits as editor and composer, and it’s through score and editing that 'Hell Hole' feels most of a piece with the collective’s prior work -- namely with its sky-high drone shots, jaggedly assembled scare interludes, and a spare, guitar-heavy soundscape that gestures back to the group’s punk-rock roots even as the film expands their creative canvas outward."
Rocco T. Thompson, Slant Magazine
"It’s what the filmmakers do next that makes 'Hell Hole' into a mixed bag. As they have in their other films, the Adams crew sprinkles loads of memorable quirks into the narrative, from two workers on the site who won’t stop chatting about nonsense to the way Nikola shifts into full mad scientist mode when he so much as sniffs a potential discovery. There’s an offbeat humor to the whole affair, and an overt, punk-rock cartoonishness (thanks in part to John Adams’ score) to the moments when actual monsters start to squirm across the screen. But the film also has a quieter side, a side that’s interested in the eco-horror of it all; the feminist bent of the way the monster seems to behave; and the ways in which the people we work with can become a sort of chosen family. None of these elements fail outright, but along the way the strange, singular stew starts to feel at least a little diluted by the sheer number of ideas stirring around in the narrative. It feels smarter than your average creature feature, but in its quest to prove that, it sometimes gets lost in the vastness of its own ambition.
Matthew Jackson, Paste Magazine
IT ENDS WITH US - Rob Simonsen, Duncan Blickenstaff
"The score wavers between sad piano music, languorous pop songs and (when it wants to be edgy) no music at all. And the running time, an Oscar-baity two hours and 10 minutes, just allows more time for all these little tics and flourishes to multiply and pile up. To return to the supermarket analogy, that’s too long to spend in one."
Chris Knight, Original Cin
THE LAST FRONT - Frederik Van de Moortel
"There are compensatory pleasures. The supporting performances are above and beyond, and Glen is so likable and so believable as a decent man pushed too far that if this film does well, he might be in line to have a late-in-life career renaissance in another of the senior action flicks that have become ubiquitous. The cinematography by Xavier Van D'huynslager puts the widescreen format to excellent use in presenting information and blocking large numbers of people, something many contemporary filmmakers no longer seem to know how to do. The action sequences are lean and clean; you know what's happening, what's at stake, and why things turned out as they did. Frederik Van de Moortel's score is fundamentally honest in that it's more ''80s action thriller' than 'Oh, the humanity!' It's superb at escalating tension in the lead-up to violence, and there's a brilliant moment in the second half where he introduces what sounds like distorted and truncated feedback loops, as if to suggest that the character the scene is focused on is losing his grip on reality."
Matt Zoller Seitz, RogerEbert.com
"While this is not a large-scale war drama, it has still been mounted with care in all design and tech quarters. Frederik Van de Moortel provides a serviceable orchestral score that, like everything else here, carries a certain sense of déjà vu yet conveys the required urgency and atmosphere."
Dennis Harvey, Variety
THE UNION - Rupert Gregson-Williams
"This un-fizzy flatness could be chalked up to the much-chronicled contemporary cinematic aversion to romance in areas where it was once commonplace: action, sci-fi, comedy and so on. But in this case, it feels like part of a larger, more baffling tension-reduction strategy that mutes 'The Union' at every turn, from its poor-man’s-'Mission: Impossible' opening (augmented with music that sounds like a Christopher Nolan temp track) to the weirdly blasé romantic relationship to a stakes-raising character death that plays maybe a half-step more dramatic than a random killing. Even the stupid little keeping-him-humble subplot about whether Mike will get back to Jersey in time to deliver a wedding toast has been lacquered over with a kind of numb indifference."
Jesse Hassenger, Paste Magazine
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
August 30
BREATHLESS (Jack Nitzsche) [Academy Museum]
BUFFALO '66 (Vincent Gallo) [BrainDead Studios]
CASABLANCA (Max Steiner) [Vidiots]
THE CONVERSATION (David Shire) [Alamo Drafthouse]
CITY OF GOD (Antonio Pinto, Ed Cortes) [BrainDead Studios]
GREEN ROOM (Brooke Blair, Will Blair) [Nuart]
HEARTS OF DARKNESS: A FILMMAKER'S APOCALYPSE (Todd Boekelheide) [Alamo Drafthouse]
HORROR OF DRACULA (James Bernard) [Vista]
LADY SNOWBLOOD (Masaaki Hiaro) [Alamo Drafthouse]
LOVE STREAMS (Bo Harwood) [New Beverly]
M [Aero]
THE MUMMY RETURNS (Alan Silvestri) [New Beverly]
NAPOLEON DYNAMITE (John Swihart) [Los Feliz 3]
QUEST FOR CAMELOT (Patrick Doyle) [Alamo Drafthouse]
REPO MAN (Steven Hufsteter, Humberto Larriva) [Alamo Drafthouse]
THE SHINING (Wendy Carlos, Rachel Elkind) [Egyptian]
STAR TREK -- THE MOTION PICTURE (Jerry Goldsmith) [Fine Arts]
SURF NINJAS (David Kitay) [Vidiots]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
August 31
ADIEU PHILIPPINE [Los Feliz 3]
THE ADVENTURES OF ROBIN HOOD (Erich Wolfgang Korngold) [Egyptian]
APARAJITO (Ravi Shankar) [Vidiots]
APOCALYPSE NOW (Carmine Coppola, Francis Ford Coppola) [Alamo Drafthouse]
BEFORE SUNSET [Vidiots]
DON'T GIVE UP THE SHIP (Walter Scharf) [Vista]
THE DOUBLE LIFE OF VERONIQUE (Zbigniew Preisner) [Egyptian]
ESCAPE FROM L.A. (Shirley Walker, John Carpenter) [Academy Museum]
FOLLOW THAT BIRD (Van Dyke Parks, Lennie Niehaus) [New Beverly]
GOODFELLAS [Aero]
THE GOONIES (Dave Grusin) [Culver]
HORROR OF DRACULA (James Bernard) [Vista]
I KNOW WHAT YOU DID LAST SUMMER (John Debney) [Vidiots]
KILLER KLOWNS FROM OUTER SPACE (John Massari) [New Beverly]
MONSTERS, INC. (Randy Newman) [Academy Museum]
MULHOLLAND DRIVE (Angelo Badalementi) [Egyptian]
REPO MAN (Steven Hufsteter, Humberto Larriva) [Alamo Drafthouse]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SPACE JAM (James Newton Howard) [Vidiots]
STAR TREK: THE WRATH OF KHAN (James Horner), STAR TREK III: THE SEARCH FOR SPOCK (James Horner) [Fine Arts]
STRANGERS KISS (Gato Barbieri) [Alamo Drafthouse]
THE SWARM (Jerry Goldsmith) [Los Feliz 3]
THE TERMINATOR (Brad Fiedel) [Alamo Drafthouse]
THE THING (Ennio Morricone) [Los Feliz 3]
13 GOING ON 30 (Theodore Shapiro) [Los Feliz 3]
THREE ON A MATCH, BLONDE CRAZY [New Beverly]
September 1
AMADEUS [Egyptian]
BLUE COLLAR (Jack Nitzsche) [Los Feliz 3]
BRAZIL (Michael Kamen) [Vidiots]
THE DEVIL WEARS PRADA (Theodore Shapiro), CLOCKWATCHERS (Mader) [Aero]
DON'T GIVE UP THE SHIP (Walter Scharf) [Vista]
FOLLOW THAT BIRD (Van Dyke Parks, Lennie Niehuus) [New Beverly]
FRENZY (Ron Goodwin) [Egyptian]
HEARTS OF DARKNESS: A FILMMAKER'S APOCALYPSE (Todd Boekelheide) [Alamo Drafthouse]
HEATHERS (David Newman) [Vidiots]
MEET DANNY WILSON [Los Feliz 3]
POINT BREAK (Mark Isham) [Alamo Drafthouse]
PRIDE & PREJUDICE (Dario Marianelli) [Los Feliz 3]
REPO MAN (Steven Hufsteter, Humberto Larriva) [Alamo Drafthouse]
STAGECOACH (Richard Hageman, Frank Harling, John Leipold, Leo Shuken) [Academy Museum]
STAR TREK IV: THE VOYAGE HOME (Leonard Rosenman) [Fine Arts]
STAR TREK V: THE FINAL FRONTIER (Jerry Goldsmith) [Fine Arts]
STAR TREK VI: THE UNDISCOVERED COUNTRY (Cliff Eidelman) [Fine Arts]
TEENAGE MUTANT NINJA TURTLES II: THE SECRET OF THE OOZE (John DuPrez) [Vidiots]
THE TERMINATOR (Brad Fiedel) [Alamo Drafthouse]
THE THING (Ennio Morricone) [Los Feliz 3]
THREE ON A MATCH, BLONDE CRAZY [New Beverly]
September 2
APOCALYPSE NOW (Carmine Coppola, Francis Ford Coppola) [Alamo Drafthouse]
CONSTANTINE (Brian Tyler, Klaus Badelt), THE WATCHER (Marco Beltrami) [New Beverly]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [Vidiots]
HARRY POTTER AND THE PRISONER OF AZKABAN (John Williams) [Alamo Drafthouse]
HEAT (Elliot Goldenthal) [Egyptian]
POINT BREAK (Mark Isham) [Egyptian]
REPO MAN (Steven Hufsteter, Humberto Larriva) [Alamo Drafthouse]
SUNSET BOULEVARD (Franz Waxman) [Eygptian]
THE TERMINATOR (Brad Fiedel) [Alamo Drafthouse]
THE THIRD MAN (Anton Karras) [Aero]
THE TROUBLE WITH HARRY (Bernard Herrmann) [Vidiots]
VIDEODROME (Howard Shore) [Los Feliz 3]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Culver]
September 3
APOCALYPSE NOW (Carmine Coppola, Francis Ford Coppola) [Alamo Drafthouse]
BLOW OUT (Pino Donaggio), SNAKE EYES (Ryuichi Sakamoto) [New Beverly]
HARRY POTTER AND THE PRISONER OF AZKABAN (John Williams) [Alamo Drafthouse]
LE SAMOURAI (Francois De Roubaix) [Los Feliz 3]
MO' BETTER BLUES (Bill Lee) [Vidiots]
NEAR OURIET [Los Feliz 3]
THE TERMINATOR (Brad Fiedel) [Alamo Drafthouse]
September 4
APOCALYPSE NOW (Carmine Coppola, Francis Ford Coppola) [Alamo Drafthouse]
BLOW OUT (Pino Donaggio), SNAKE EYES (Ryuichi Sakamoto) [New Beverly]
CLOSE ENCOUNTERS OF THE THIRD KIND (John Williams) [Academy Museum]
HARRY POTTER AND THE PRISONER OF AZKABAN (John Williams) [Alamo Drafthouse]
LADY SNOWBLOOD (Masaaki Hiaro) [Alamo Drafthouse]
MR. KLEIN (Egisto Macchi, Pierre Porte) [Los Feliz 3]
REPO MAN (Steven Hufsteter, Humberto Larriva) [Alamo Drafthouse]
TITICUT FOLLIES [Los Feliz 3]
September 5
BLOW OUT (Pino Donaggio), SNAKE EYES (Ryuichi Sakamoto) [New Beverly]
LE SAMOURAI (Francois De Roubaix) [Los Feliz 3]
LONELY ARE THE BRAVE (Jerry Goldsmith) [Aero]
WINGS [Academy Museum]
September 6
THE BAD SLEEP WELL (Masaru Sato) [New Beverly]
BROKEBACK MOUNTAIN (Gustavo Santaolalla) [Vidiots]
BURLESQUE (Christophe Beck) [Vidiots]
GREMLINS (Jerry Goldsmith) [Nuart]
HEAT (Elliot Goldenthal) [Vista]
I HEARD IT THROUGH THE GRAPEVINE [Academy Museum]
I LOST MY BODY (Dan Levy) [Los Feliz 3]
JACKIE BROWN [New Beverly]
THE LIFE AQUATIC WITH STEVE ZISSOU (Mark Mothersbaugh) [New Beverly]
THE NOTEBOOK (Aaron Zigman) [Aero]
OVER THE EDGE (Sol Kaplan) [Alamo Drafthouse]
PARIS, TEXAS (Ry Cooder) [Egyptian]
TERMINATOR 2: JUDGMENT DAY (Brad Fiedel) [Vista]
September 7
THE BAD SLEEP WELL (Masaru Sato) [New Beverly]
BOULEVARD NIGHTS (Lalo Schifrin) [Los Feliz 3]
A BOY NAMED CHARLIE BROWN (Rod McKuen, John Scott Trotter, Vince Guaraldi) [New Beverly]
BURDEN OF DREAMS [Academy Museum]
THE CASTAWAYS OF TURTLE ISLAND (Dorival Caymmi, Nana Vasconcelos) [Los Feliz 3]
THE CONVERSATION (David Shire) [aero]
GLORIA (Bill Conti) [Egyptian]
THE GREAT MOUSE DETECTIVE (Henry Mancini) [Vidiots]
HEAT (Elliot Goldenthal) [Vista]
JASON AND THE ARGONAUTS (Bernard Herrmann) [Egyptian]
LOOKING FOR LANGSTON [Academy Museum]
NIGHT ON EARTH (Tom Waits) [Egyptian]
NOW AND THEN (Cliff Eidelman) [Vidiots]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE ROOM (Mladen Milicevic) [Landmark Westwood]
ROXANNE (Bruce Smeaton) [Vidiots]
SOME LIKE IT HOT (Adolph Deutsch) [Vista]
TERMINATOR 2: JUDGMENT DAY (Brad Fiedel) [Vista]
TO LIVE AND DIE IN L.A. (Wang Chung) [Los Feliz 3]
TOY STORY 2 (Randy Newman) [Academy Museum]
TWIN PEAKS FIRE WALK WITH ME (Angelo Badalamenti) [New Beverly]
September 8
THE BAD SLEEP WELL (Masaru Sato) [New Beverly]
A BOY NAMED CHARLIE BROWN (Rod McKuen, John Scott Trotter, Vince Guaraldi) [New Beverly]
COWBOY BEBOP: THE MOVIE (Yoko Kanno) [Vidiots]
EARTHQUAKE (John Williams) [Aero]
GERONIMO: AN AMERICAN LEGEND (Ry Cooder) [Academy Museum]
HARRY AND THE HENDERSONS (Bruce Broughton) [Vidiots]
HARRY POTTER AND THE GOBLET OF FIRE (Patrick Doyle) [Alamo Drafthouse]
HEAT (Elliot Goldenthal) [Vista]
HIGH SCHOOL [Egyptian]
LE CERCLE ROUGE (Eric Demarsan) [Egyptian]
MAINE-OCEAN EXPRESS [Los Feliz 3]
SOME LIKE IT HOT (Adolph Deutsch) [Vista]
TENET (Ludwig Goransson) [Fine Arts]
TO LIVE AND DIE IN L.A. (Wang Chung) [Los Feliz 3]
WHERE IS THE FRIEND'S HOUSE? (Amine Allah Hessine) [Vidiots]
WINGS [Academy Museum]
A WOMAN UNDER THE INFLUENCE (Bo Harwood) [Egyptian]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Killers of the Flower Moon (Robertson); Caifanes (Caifanes); Compact Jazz (Astrud Gilberto); Sin Miedo (del Amor y Otros Demonios) (Uchis); Donde Jugaran Los Ninos? (Mana); The Life Aquatic Studio Sessions (Seu Jorge); North of Hollywood (North); Pies Descalzos (Shakira); Being John Malkovich (Burwell); El Cid (Rozsa); The Key (Arnold)
Read: Blue Pages, by Eleanor Perry
Seen: Brewster McCloud; Blink Twice; The Crow [2024]; Fantastic Mr. Fox; Bottle Rocket; The Union; Good One; Spider-Man: Into the Spider-Verse; Smiles of a Summer Night; Cockfighter; The Rules of the Game; The Earrings of Madame de...
Watched: Poker Face ("Dead Man's Hand"); The Twilight Zone ("Mr. Dingle, the Strong"); One Million Years B.C.
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