Kronos has announced two new CD releases - Ronald Stein's score for the 1956 sci-fi horror flim THE SHE CREATURE, and Bert Shefter's score for the 1953 noir NO ESCAPE.
The latest release from Caldera is HARD TRUTHS AND OTHER MUSIC FOR THE WORKS OF MIKE LEIGH, featuring Gary Yerson's score for Leigh's just-released Hard Truths, his previous feature Peterloo, and two of his plays, Grief and Two Thousand Years.
This year's Golden Globe winners in the music categories were the CHALLENGERS score by Trent Reznor & Atticus Ross, and the song "El Mal" from EMILIA PEREZ. Since I never did get around to listing this year's nominees in a Friday column, they can be found at the bottom of this page.
And for all who follow the Academy Awards, due to the catastrophic fire situation in the Los Angeles area, the announcement of this year's Oscar nominations has been postponed from next Friday, January 17 to Sunday, January 19. (As I update this column at home on Wednesday evening, there are fires in the hills above where I live, and I'm waiting to see if the evacuation zone is extended to my neighborhood. Welcome to L.A.! Honestly, as I listen to local news updates about the fire, these columns are pretty much the only thing I'm able to concentrate on.) (They were able to contain the "Sunset Fire" - an especially misleading name, since the evacuation area didn't even reach Sunset, while Sunset Blvd in the Palisades acutually burned - by Thursday morning, but this was the first time I've ever had to have a "go bag" ready to leave my home at a minute's notice).
CDS AVAILABLE THIS WEEK
The Boy, the Mole, the Fox and the Horse - Isobel Waller-Bridge - Sony (import)
The Outrun - John Gurtler, Jan Miserre - Decca (import)
IN THEATERS TODAY
Den of Thieves 2: Pantera - Kevin Matley
Extremely Unique Dynamic - Ian Mackley
Hard Truths - Gary Yerson - Score CD Hard Truths and Other Music for the Works of Mike Leigh due on Caldera
Putin - Lukasz Targosz
Santosh - Luisa Gerstein
COMING SOON
January 31
The World of Hans Zimmer Part II: A New Dimension - Hans Zimmer - Sony
March 7
The Lord of the Rings: The War of the Rohirrim - Stephen Gallagher - Mutant
Coming Soon
John Barry: The Polydor Years - John Barry - Quartet
No Escape - Bert Shefter - Kronos
The She Creature - Ronald Stein - Kronos
THIS WEEK IN FILM MUSIC HISTORY
January 10 - Jesus Garcia Leoz born (1904)
January 10 - Recording sessions begin for Hugo Friedhofer’s score to Wild Harvest (1947)
January 10 - Tom Chase born (1949)
January 10 - Carlo Siliotto born (1950)
January 10 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “The Wounded” (1991)
January 11 - Charles Previn born (1888)
January 11 - Francesco De Masi born (1930)
January 11 - Michael J. Lewis born (1939)
January 11 - Wolfgang Zeller died (1967)
January 11 - Robert Prince records his score for The New Adventures of Wonder Woman episode “Spaced Out” (1979)
January 11 - Ron Jones records his score for the Star Trek: The Next Generation episode "The High Ground" (1990)
January 11 - David Whitaker died (2012)
January 12 - Joseph Gershenson born (1904)
January 12 - Pino Calvi born (1930)
January 12 - Franco Piersanti born (1950)
January 12 - Miklos Rozsa begins recording his score to Men of the Fighting Lady (1954)
January 12 - Frank LaLoggia born (1954)
January 12 - Jeremy Sams born (1957)
January 12 - Gabriel Migliori born (1975)
January 12 - Maurice Jarre begins recording his score for Mandingo (1975)
January 12 - John Williams begins recording his score for Family Plot (1976)
January 12 - Anna Meredith born (1978)
January 12 - Bryan Senti born (1983)
January 12 - Basil Poledouris begins recording his score to Amerika (1987)
January 12 - David Newman records his score for the Amazing Stories episode "Such Interesting Neighbors" (1987)
January 12 - Luis Bonfa died (2001)
January 12 - Sadao Bekku died (2012)
January 13 - Richard Addinsell born (1904)
January 13 - Bruno Coulais born (1954)
January 13 - Trevor Rabin born (1954)
January 13 - Frederick Hollander begins recording his score for Sabrina (1954)
January 13 - Richard Hazard records his score for the Mission: Impossible episode “Kitara” (1971)
January 13 - John Frizzell records his score for the Star Trek: Enterprise episode “Proving Ground” (2004)
January 14 - Hans J. Salter born (1896)
January 14 - Mark Lawrence born (1921)
January 14 - Lex de Azevedo born (1943)
January 14 - T Bone Burnett born (1948)
January 14 - Elmer Bernstein begins recording his score to The Great Escape (1963)
January 14 - Dave Grohl born (1969)
January 14 - Maurice Jarre begins recording his score for Plaza Suite (1971)
January 14 - Harry Nilsson died (1994)
January 14 - Emil Stern died (1997)
January 14 - Fred Myrow died (1999)
January 14 - Harvey R. Cohen died (2007)
January 14 - Angela Morley died (2009)
January 15 - Alessandro Cicognini born (1906)
January 15 - Cy Feuer born (1911)
January 15 - Kenyon Hopkins born (1912)
January 15 - Fonce Mizell born (1943)
January 15 - Don Caron born (1955)
January 15 - David Raksin begins recording his score for The Vintage (1957)
January 15 - Franz Waxman begins recording his score for Count Your Blessings (1959)
January 15 - Jerry Goldsmith records his score for the pilot episode of Archer (1975)
January 15 - John Cavacas begins recording his score for the Buck Rogers in the 25th Century episode “Journey to Oasis” (1981)
January 15 - Georges Delerue records his score for the Amazing Stories episode "Dorothy and Ben" (1986)
January 15 - Georges Delerue records his score for the Amazing Stories episode "Without Diana" (1987)
January 15 - Ron Jones records his score for the Star Trek: The Next Generation episode "11001001" (1988)
January 15 - Les Baxter died (1996)
January 16 - Kenyon Emrys-Roberts born (1923)
January 16 - Alain Jessua born (1932)
January 16 - John Carpenter born (1948)
January 16 - Nicholas Carras records his score for Date Bait (1959)
January 16 - Atticus Ross born (1968)
January 16 - John Williams begins recording his score to The Fury (1978)
January 16 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Parallax” (1995)
January 16 - James Horner begins recording his score for Casper (1995)
DID THEY MENTION THE MUSIC?
THE FIRE INSIDE - Tamar-kali
"Yet it’s all undercut by surprisingly flat cinematography from music video veteran Rina Yang, a tepid strings-and-piano score by Tamar-kali ('The Assistant,' 'Shirley'), and generally lackadaisical pacing from Morrison. There’s an important message in here, especially when it comes to the financial inequality between men and women in sports. But rather than using the 17-year-old Shields’ pugnacious attitude to really explore how she landed body blows on the sexist establishment, 'The Fire Inside' just ends up shadow boxing."
Richard Whittaker, The Austin Chronicle
"As its restless protagonist navigates the road to ultimate personal victory, director Morrison is right there with her, maintaining a propulsive momentum accentuated by editor Harry Yoon’s rhythmic cuts and composer Tamar-kali’s elegant, percolating score."
Michael Rechtshaffen, The Hollywood Reporter
FLOW - Gints Zilbalodis, Rihards Zalupe
"There is much to commend on the back end of 'Flow' as well, including the sound design of the animals and the world around them. The movie’s world is textured with the trilling of insects and the rustle of trees, which add more than depth to the story but a true sense of place for all of this. The score by Zilbalodis and Rihards Zalupe is a crucial component of the narrative as well and manages to inform the story without taking it over at any point."
Warren Cantrell, The Playlist
"Zilbalodis’ attention to the animals’ behaviors as they affect each other makes for a vibrant microcosm, a miniature society aboard their vessel where one entity’s actions have repercussions for the entire crew -- such as allowing newcomers into their ecosystem. Conflict arises from time to time, as in any group, but without fully anthropomorphizing them, Zilbalodis conceives this disparate gang of friends in order to embody the best of us. Still, the director goes beyond merely representing their instinct to remain alive and interiority and inherent spirituality in the form of a dream where the cat sees a herd of deer running away from the surging water and in how it depicts a death -- the latter is one of the most singularly gorgeous sequences of any movie this year. Sporadically used to supplement the rich soundscape that’s so integral to engaging with this vivid realm, the score, co-composed by Zilbalodis and composer Rihards Zalupe, resonates with a sublime minimalism while heightening tension and tranquility."
Carlos Aguilar, RogerEbert.com
"The score by Zilbalodis and Rihards Zal [sic] shifts from gorgeous passages of percussive melody to flights of stirring strings, just as the narrative weaves humorous observations together with moments of high anxiety or tragedy. 'Flow' is a joy to experience but also a deeply affecting story, the work of a unique talent who deserves to be ranked among the world’s great animation artists."
David Rooney, The Hollywood Reporter
THE LAST SHOWGIRL - Andrew Wyatt
"Gia Coppola’s 'The Last Showgirl' is a dreamy, melancholy portrait of a veteran Las Vegas dancer reeling from the news that her career has hit its expiration date. The movie is as gossamer-thin as the wings that the title character, Shelly -- played by Pamela Anderson with an undiluted sense of heartbreak -- keeps tearing on her stage costume. The story more often drifts than advances, favoring ambience over substance in a few too many wordless sequences observing Shelly wandering or dancing or just staring into the abyss in sun-blasted parking lots, on rooftops and streets, bathed in lens flare and the shimmering score of Andrew Wyatt."
David Rooney, The Hollywood Reporter
MUFASA: THE LION KING - Songs: Lin-Manuel Miranda; Score: Dave Metzger (themes by Nicholas Britell)
"None of Lin-Manuel Miranda’s songs in 'Mufasa' hold a candle to the original 'Lion King' soundtrack, but unlike 'Moana 2,' they’re all serviceable and tell the story effectively. The standout song is 'Bye Bye,' a cheeky villain number about murder. Mikkelsen (and God knows how many character animators) do a fabulous job with Kiros, a larger than life do-badder who harkens back to the lithe, canny, diabolical Scar of the original 2D animated classic. The whole cast does a fine job, but in classic Disney fashion it’s the bad guys who have the most to work with, and have the most fun."
William Bibbiani, The Wrap
"Music should be a plausible way to bridge that emotional gap. Unfortunately, the songs just never reach the emotional highs of the original soundtrack. (Which is pretty in line with the DTV sequel feel of it all.) None of the songs here are overtly terrible, but they all blur into an indistinguishable 'Lin-Manuel Miranda Presents: The Lion King!' concept album, with all Miranda’s stylistic hallmarks. He sure has a signature style, but it’s hard to reconcile that style into a movie that already has its own iconic soundtrack. The new songs feel forced and out of place."
Petrana Radulovic, Polygon
"Speaking of which, 'Mufasa: The Lion King' is indeed a musical, and Lin-Manuel Miranda has the unenviable task of living up to the iconic songs created by Elton John. While the visuals during these sequences are solid, the songs themselves follow a trend in recent Disney musicals in the sense that all the songs are just...okay. None of the seven original songs in the film are flat-out terrible, but they're also not particularly memorable either. The one song that stands out is Kiros' villain song, though not necessarily because the song itself is great. Don't get me wrong, Mads Mikkelsen singing a Disney villain song is a surefire recipe for success, but the execution here is tonally inconsistent, as it's played off as a jokey song despite Kiros presumably slaughtering some pivotal characters off-screen afterward."
Aidan Kelley, Collider
"Throughout, Jenkins’ virtual camera rarely stops moving as it swoops, sweeps, and circles around the digital scenery with stylized flourishes of slo-mo and the occasional dreamy close-up. (A favorite move, which Jenkins pulls out again and again throughout 'Mufasa', is to have the camera bob and float in and out of water.) The musical numbers are much more distinct and colorful than in Favreau’s 'Lion King' (which managed to suck the fun out of the original’s memorable Tim Rice and Elton John-penned songs). The problem is that the songs themselves—written by Lin-Manuel Miranda -- are lackluster, and Jenkins’ whooshing camerawork can only go so far."
Ignatiy Vishnevetsky, AV Club
"But for a film about striving to be better than previous generations, it’s ironic that 'Mufasa' has inherited some of the flaws of its predecessor. While the photoreal imagery here is more playful and dreamlike than that of Favreau’s film, the comedy and some of Lin Manuel Miranda’s songs are often discordant with the serious subject matter. Ultimately, the film suffers under the weight of playing down to an audience of children, breaking up the more engrossing parts of the story with bright, cheery songs and fourth wall-breaking comedy courtesy of Timon (Billy Eichner) and Pumbaa (Seth Rogen). (One song that Mads Mikkelsen’s Kiros gets is a corny swing and a miss that dulls the menace of The Outsiders.)"
Justin Clark, Slant Magazine
"Jenkins is coloring within the lines here, so to speak. 'Mufasa' is a big studio franchise property with catchy songs by Lin-Manuel Miranda. It’s supposed to build out an existing mythology, please entire extended families going to the multiplex over the holidays, and sell merchandise, not subvert or reinvent it. Jeff Nathanson’s script, while sturdy and sensitive, hits all the story beats that a movie like this is expected to hit, whether it’s explaining how the dramatic configurations that we remember from 'The Lion King' came to be, or establishing that Taka and Mufasa are brothers in spirit by having them sing a song called 'I Always Wanted a Brother.' Also, the idea that there’s a 'Circle of Life' with lions at the top of the food chain and that all the other animals are totally OK with that and see the lions as their natural rulers sits oddly with Jenkins’ democratic and egalitarian sensibility."
Matt Zoller Seitz, RogerEbert.com
"Which is all to say that 'Mufasa: The Lion King' is fine -- good, even -- and overcomes all odds to justify its own existence. It may be the best of the live-action remakes; it may also confirm that there is room for artistry and commerce at the highest levels of the Hollywood box office. But in the end, 'Mufasa' is still a prequel to a live-action remake that few were asking for, and one that commits the cardinal sin of an original Disney property: leaving you in the theatre without a catchy song in your heart, despite seven brand-new compositions from Lin-Manuel Miranda. 'Mufasa' is a small triumph for Jenkins and a small tragedy for Miranda, which means it’s a fine movie in an ocean of fine movies. Ultimately, only our kids can decide if this one has the juice."
Matthew Monagle, The Austin Chronicle
"Swept away from his home by a freak flood, Mufasa uneasily joins a new pride whose leader, Obasi (Lennie James), regards him as an immediate threat. But Mufasa bonds quickly with Obasi’s son, Taka (Kelvin Harrison Jr.), and the two grow up as surrogate brothers, although Obasi insists that rather than guard the pride like the other males, Mufasa be raised to hunt, joining the females led by the pride’s queen, Eshe (Thandiwe Newton). A threat to his new home, in the form of a pack of vicious, white-maned lions led by the fearsome Kiros (Mads Mikkelsen), sends Mufasa and Taka running to safety, setting off on a story that grows less enticing the closer it gets to 'The Lion King.' The screenplay, by Jeff Nathanson, who also wrote Favreau’s movie, is largely built to answer questions that have been keeping no one up at night -- how did Scar get his scar, anyway? -- and to make space for a handful of mid-tier Lin-Manuel Miranda songs. 'Moana 2' suffers mightily from his absence, but 'Mufasa' doesn’t gain much from his inclusion."
Sam Adams, Slate.com
"Unfortunately, 'Mufasa' remains in the shadow of the original animation and the recent screen adaptation of 'Wicked,' which utilizes the same story template far more effectively -- and with far better songs. Lin-Manuel Miranda is the sole credited songwriter here, and after proving an ingenious addition to the Disney stable with his 'Moana' efforts, has begun to phone it in. There's not a single memorable hook here, with only the staging of these set pieces and the songs they're clearly designed to imitate -- such as an early 'I Just Can't Wait To Be King' riff -- lingering in the memory due to a dearth of ear worm melodies. When Timon and Pumbaa (Seth Rogen and Billy Eichner) burst out into a Weird Al Yankovic style 'Hakuna Mufasa' sing-along, it becomes clear the film is self-aware that no new song will resonate quite as much as the originals. Unusually for a Disney movie, I found myself thinking that the film would be far stronger without any musical interludes, as they only emphasized how better the original songs from 'The Lion King' were; the story is energetic and action-packed enough to hold a young audience's attention, feeling like a welcome addition to the franchise."
Alistair Ryder, Looper
"But the true problems at the ‘Mufasa’ core are its lack of conviction in itself, its really great story and the way it’s been forced to bow to the obligations of fanservice, nostalgia and franchise demands. What does that mean specifically, since those criticisms are often glib and facilely used? Two things, actually. One: it’s filled with songs -- as the franchise is known for, obviously, that’s not a surprise -- but not only are they not especially memorable, but more crucially, they rob the narrative of its momentum and delay the captivating drama, often stopping it dead in its tracks. Two: there’s a framing device throughout the film; it’s a bit of fan service from the original films that include Rafiki (John Kani), Pumbaa (Seth Rogen) and Timon (Billy Eichner), but again, the actual crime isn’t just their appearance per se, it’s suspending the main narrative drive with padding that’s not necessary or very compelling. However, again, “Mufasa: The Lion King” and its absorbing story are often marred by the elements above: songs and framing device flashbacks that interrupt drama and conflict and create a scattered feeling. The songs (Lin-Manuel Miranda) aren’t bad, but like the story-within-the-story narrative device, they are deeply frustrating at disturbing something much more gripping. Our pejorative above about the director -- Disney as the director -- isn’t really aimed at its filmmaker, Barry Jenkins himself. The film looks perfect; its technical craft is impeccable, the score rousing, the editing crisp, etc. etc. But there’s a Disney-like anonymity to it, and if you told me Jon Favreau directed it or any number of filmmakers who have made photorealistic animated movies, I would believe you."
Rodrigo Perez, The Playlist
"A road movie/long-distance chase is as workable an outline as any, providing plenty of opportunity for characters to break into Miranda’s songs -- or rather, both too much and not enough. Not enough, because seven tunes (including two under two minutes) don’t cover a lot of ground in a two-hour movie; and too much, because Jenkins, like Favreau before him, can hardly sustain musical-number staging in this endlessly uncanny valley that often feels actively hostile to the bounciness of so many traditionally animated Disney numbers. Miranda is the best of the modern Disney-affiliated composers, and you spend a chunk of the movie picturing how neat some of his new stuff would be if it was accompanied by work from the company’s normal animation group, rather than CG lions designed specifically to look like they do not want to sing."
Jesse Hassenger, Paste Magazine
"Squint hard, though, and you can perhaps see shades of the film Jenkins wanted to make. 'Mufasa' could have been a love story; it’s not. It could have been about finding your place in the world; it’s not. It could have been about the overwhelming weight of responsibility; it’s not. It could have been about the sheer confusion of growing up, and seeing affection and love curdle into resentment and betrayal. Jeff Nathanson’s awkwardly literal-minded script pays occasional lip service to these ideas, but the movie itself fails to give us anything resembling an actual cinematic experience of them. (I’d mention the Lin-Manuel Miranda songs…but I’ve already forgotten them.) All the technological marvels of the world can’t breathe life into a film that doesn’t know what it wants to be."
Bilge Ebiri, New York
"Whereas Elton John’s music translated brilliantly to Broadway, the studio has since moved away from traditional show tunes in favor of Lin-Manuel Miranda’s motormouthed lyricism (listen to how the 'Hamilton' creator compresses the words 'no other animal' in the first line of the sibling song). Still, Miranda’s talents remain an odd match for Disney, leaving Lebo M -- a vocalist from the first movie -- to elevate the soundtrack once again, reinforcing the connection to Zulu rhythms and chants. Though Disney submitted the aforementioned duets for Oscar consideration, the best song is an ensemble number, 'We Go Together,' drawn from a supposed African aphorism: 'If you want to go fast, go alone; but if you want to go far …' At nearly every step, Mufasa’s challenges mirror those that Simba must later overcome, but the movie doesn’t celebrate Mufasa’s might so much as his modesty. Where his believe-in-yourself wisdom powered the original film, now he preaches a timely new lesson: strength in numbers and respect for one’s subjects."
Peter Debruge, Variety
"This compromise works for a few years, and Jenkins stages a graceful transition as the cubs grow into young lions. Singing Lin-Manuel Miranda’s original songs -- competent if not necessarily enduring -- Mufasa (now voiced by Pierre) and Taka (Harrison Jr.) demonstrate a mutual respect for and commitment to one another. Some of the more affecting moments take place in this formative stage. Jenkins emphasizes the pair’s intimacy with close-up shots of their expressive faces and their bodies while playfully jostling or conspiring to prank the adults. Pierre and Harrison Jr.’s natural chemistry shines in these scenes, which helps smooth out some of the bulkier bits of exposition in the screenplay."
Lovia Gyarkye, The Hollywood Reporter
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
January 10
BLACK ANGEL (Frank Skinner) , LARCENY (Leith Stevens) [New Beverly]
BRING IT ON (Christophe Beck) [New Beverly]
THE BROTHER FROM ANOTHER PLANET (Mason Daring), BATTLE BEYOND THE STARS (James Horner) [Vidiots]
CHILDREN OF MEN (John Tavener) [Egyptian]
DUNE: PART TWO (Hans Zimmer) [DGA Theater]
GHOST IN THE SHELL (Kenji Kawai) [Academy Museum]
GRINDHOUSE: DEATH PROOF [New Beverly]
HALE COUNTY THIS MORNING, THIS EVENING, THE DEFIANT ONES (Ernest Gold) [Los Feliz 3]
ON THE WATERFRONT (Leoanrd Bernstein) [Vidiots]
RAISING ARIZONA (Carter Burwell) [Nuart]
SEVEN SAMURAI (Fumio Hayasaka) [Alamo Drafthouse]
VALLEY GIRL (Scott Wilk, Marc Levinthal) [Vista]
January 11
ADJUSTMENT & WORK [Los Feliz 3]
THE CHALLENGE (Jerry Goldsmith) [Los Feliz 3]
COOL HAND LUKE (Lalo Schifrin) [Academy Museum]
THE DEVIL'S REJECTS (Tyler Bates) [New Beverly]
FORBIDDEN PLANET (Louis & Bebe Barron) [Egyptian]
FURIOSA: A MAD MAX SAGA (Tom Holkenborg) [Alamo Drafthouse]
THE GREAT MUPPET CAPER (Joe Raposo) [New Beverly]
THE GREAT MUPPET CAPER (Joe Raposo) [Vidiots]
HOLY MOTORS [Vidiots]
IF I HAD A MILLION [Vista]
LIMBO (Mason Daring) [Los Feliz 3]
A LITTLE PRINCESS (Patrick Doyle) [Los Feliz 3]
ON THE WATERFRONT (Leonard Bernstein) [Vidiots]
ONE HUNDRED AND ONE DALMATIANS (George Bruns) [New Beverly]
PARIS, TEXAS (Ry Cooder) [BrainDead Studios]
REBEL WITHOUT A CAUSE (Leonard Rosenman) [Egyptian]
REQUIEM FOR A DREAM (Clint Mansell) [BrainDead Studios]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SHAKEDOWN, THE WEB (Hans J. Salter) [New Beverly]
SHREK 2 (Harry Gregson-Williams) [Academy Museum]
2001: A SPACE ODYSSEY [Fine Arts]
VALLEY GIRL (Scott Wilk, Marc Levinthal) [Vista]
THE WITCH (Mark Korven) [Egyptian]
January 12
APUR SANSAR (Ravi Shankar) [Vidiots]
THE BLACK STALLION (Carmine Coppola, Shirley Walker) [Vidiots]
BOYZ N THE HOOD (Stanley Clarke) [Academy Museum]
BUTCH CASSIDY AND THE SUNDANCE KID (Burt Bacharach) [Academy Museum]
CITY OF HOPE (Mason Daring) [Los Feliz 3]
FESTIVAL [Egyptian]
THE GREAT MUPPET CAPER (Joe Raposo) [New Beverly]
IF I HAD A MILLION [Vista]
MATEWAN (Mason Daring) [Egyptian]
THE NORTHMAN (Robin Carolan, Sebastian Gainsborough) [Los Feliz 3]
THE PERKS OF BEING A WALLFLOWER (Michael Brook) [Alamo Drafthouse]
THE PLACE BEYOND THE PINES (Mike Patton) [BrainDead Studios]
THE PREVIEW MURDER MYSTERY [Los Feliz 3]
REPO MAN (Steven Hufsteter, Humberto Larriva) [BrainDead Studios]
RIDE THE PINK HORSE (Frank Skinner), KISS THE BLOOD OFF MY HANDS [New Beverly]
SEVEN SAMURAI (Fumio Hayasaka) [Alamo Drafthouse]
2001: A SPACE ODYSSEY [Fine Arts]
THE UMBRELLAS OF CHERBOURG (Michel Legrand) [Vidiots]
January 13
THE BIRD WITH THE CRYSTAL PLUMAGE (Ennio Morricone) [Los Feliz 3]
THE BLACK ARROW (Paul Sawtell), THE BRIGAND (Mario Castelnuovo-Tedesco) [New Beverly]
BLADE RUNNER (Vangelis) [Culver]
JURKO THE HIGHWAYMAN (Juraj Lexmann) [Los Feliz 3]
TOUKI BOUKI [Vidiots]
January 14
THE BLACK ARROW (Paul Sawtell), THE BRIGAND (Mario Castelnuovo-Tedesco) [New Beverly]
THE EXTERMINATING ANGEL [Los Feliz 3]
HACKERS (Simon Boswell) [Vidiots]
PRETTY IN PINK (Michael Gore) [BrainDead Studios]
THE STING (Marvin Hamlisch) [Landmark Pasadena]
January 15
BETWEEN THE TEMPLES [New Beverly]
THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (Howard Shore) [Academy Museum]
UNDERWATER (Marco Beltrami, Brandon Roberts) [Los Feliz 3]
January 16
BETWEEN THE TEMPLES [New Beverly]
ETERNAL SUNSHINE OF THE SPOTLESS MIND (Jon Brion) [Academy Museum]
GUNS FOR SAN SEBASTIAN (Ennio Morricone) [Los Feliz 3]
January 17
ANACONDA (Randy Edelman) [Vidiots]
BEST IN SHOW (Jeffrey C.J. Vanston) [New Beverly]
BLADE RUNNER (Vangelis) [Academy Museum]
CRACK HOUSE (Michael Piccirillo) [Vista]
GRINDHOUSE: DEATH PROOF [New Beverly]
MILLER'S CROSSING (Carter Burwell) [Nuart]
NETWORK (Elliot Lawrence) [Vidiots]
SEVEN (Howard Shore) [Los Feliz 3]
THE SPOOK WHO SAT BY THE DOOR (Herbie Hancock) [UCLA/Hammer]
STREET TRASH (Rick Ulfik) [BrainDead Studios]
VIRDIANA (Gustavo Pittaluga) [Aero]
WALKABOUT (John Barry), WAKE IN FRIGHT [OUTBACK] (John Scott) [New Beverly]
January 18
THE BLOODY LADY (Juraj Lexmann) [Los Feliz 3]
CRACK HOUSE (Michael Piccirillo) [Vista]
ENTOURAGE [Aero]
ESCAPE FROM NEW YORK (John Carpenter, Alan Howarth) [Academy Museum]
HOWL'S MOVING CASTLE (Joe Hisaishi) [Academy Museum]
THE KING OF THE NEIGHBORHOOD (Luis Hernanez Breton) [Los Feliz 3]
THE LAND BEFORE TIME (James Horner) [New Beverly]
THE LAST TEMPTATION OF CHRIST (Peter Gabriel) [BrainDead Studios]
THE LIGHTHOUSE (Mark Korven) [Los Feliz 3]
NOTHING BUT A MAN [UCLA/Hammer]
PINOCCHIO (Leigh Harline, Paul J. Smith, Ned Washington) [Vidiots]
REBECCA (Franz Waxman) [Vidiots]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SELMA (Jason Moran) [Academy Museum]
SOYLENT GREEN (Fred Myrow) [Vidiots]
THE SPOOK WHO SAT BY THE DOOR (Herbie Hancock) [UCLA/Hammer]
THE STING (Marvin Hamlisch) [Academy Museum]
TOMMY BOY (David Newman) [Vista]
TORN CURTAIN (John Addison) [Vidiots]
TOUCH OF EVIL (Henry Mancini) [BrainDead Studios]
WALKABOUT (John Barry), WAKE IN FRIGHT [OUTBACK] (John Scott) [New Beverly]
WOLF CREEK (Francois Tetaz) [New Beverly]
January 19
ABSENCE OF MALICE (Dave Grusin) [Academy Museum]
COLLATERAL (James Newton Howard) [Academy Museum]
GREASE [Vidiots]
THE LAND BEFORE TIME (James Horner) [New Beverly]
SWING TIME (Jerome Kern) [Los Feliz 3]
TOMMY BOY (David Newman) [Vista]
WALKABOUT (John Barry), WAKE IN FRIGHT [OUTBACK] (John Scott) [New Beverly]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: RoboCop (Poledouris); Oblivion (M83); The Running Man (Faltermeyer); Paprika (Hirasawa); City of Fear (Goldsmith); Drokk [Dredd] (Salisbury/Barrow); Akira (Shoji); Paycheck (Powell); Remember (Danna); Tetsuo: The Iron Man (Ichikawa); And You Thought Your Parents Were Weird (Miller); The Reincarnation of Peter Proud (Goldsmith)
Read: A Sleeping Life, by Ruth Rendell
Seen: Strange Days; Universal Language; At the Circus; The Bloodstained Shadow; Dahomey; I'm Still Here [2024]
Watched: The Return of the Musketeers; Justified ("The Hatchet Tour"); Have Gun - Will Travel ("The Last Laugh"); Columbo ("A Stitch in Crime," "The Most Dangerous Match")
BEST ORIGINAL SCORE – MOTION PICTURE
VOLKER BERTELMANN (CONCLAVE)
DANIEL BLUMBERG (THE BRUTALIST)
KRIS BOWERS (THE WILD ROBOT)
CLÉMENT DUCOL, CAMILLE (EMILIA PÉREZ)
TRENT REZNOR, ATTICUS ROSS (CHALLENGERS)
HANS ZIMMER (DUNE: PART TWO)
BEST ORIGINAL SONG – MOTION PICTURE
“BEAUTIFUL THAT WAY” –– THE LAST SHOWGIRL
Music by: Andrew Wyatt; Lyrics by: Andrew Wyatt, Miley Cyrus, Lykke Li
“COMPRESS / REPRESS” –– CHALLENGERS
Music by: Trent Reznor, Atticus Ross
Lyrics by: Trent Reznor, Luca Guadagnino
“EL MAL” –– EMILIA PÉREZ
Music by: Clément Ducol, Camille
Lyrics by: Clément Ducol, Camille, Jacques Audiard
“FORBIDDEN ROAD” –– BETTER MAN
Music & Lyrics by: Robbie Williams, Freddy Wexler, Sacha Skarbek
“KISS THE SKY” –– THE WILD ROBOT
Music & Lyrics by: Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael Pollack, Ali Tamposi
“MI CAMINO” –– EMILIA PÉREZ
Music & Lyrics by: Clément Ducol, Camille
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