France's Cesar Award nominations have been announced, including their Best Original Soundtrack category:
Beating Hearts (L'amour ouf) - Jon Brion
The Count of Monte-Cristo (Le Comte de Monte-Cristo) - Jerome Rebotier
Emilia Perez - Clement Ducol, Camille
Holy Cow (Vingt Dieux) - Linda Courvoisier, Charlie Courvoisier
The Most Precious of Cargoes (La plus précieuse des marchandises) - Alexandre Desplat
Three of these scores have actually been commercially released on CD, and there is an awards promo set of Emilia Perez circulating. In comparison, only four of the 15 scores shortlisted for the Oscar nomination have been commercially released on CD (Challengers, Gladiator II, Nosferatu, The Room Next Door), though five others have received vinyl releases (Alien: Romulus, Conclave, Inside Out II, Sing Sing, The Wild Robot), and I would not be surprised if at least Babygirl and especially The Brutalist show up on vinyl.
CDS AVAILABLE THIS WEEK
The Bruce Broughton Collection Vol. 1 - Bruce Broughton - Dragon's Domain
Gold of the Amazon Women - Gil Melle - Dragon's Domain
The Golden Age of Science-Fiction Vol. 7 - Les Baxter, Ib Glindemann, Sven Gyldmark, Richard LaSalle, Ronald Stein - Dragon's Domain
The World of Hans Zimmer Part II: A New Dimension - Hans Zimmer - Sony
IN THEATERS TODAY
Companion - Hrishikesh Hirway - Score LP due from Mutant
Dog Man - Tom Howe
Love Me - David Longstreth
2121 - Cihan Guclu
Valiant One - Benjamin Backus
COMING SOON
March 7
The Lord of the Rings: The War of the Rohirrim - Stephen Gallagher - Mutant
March 21
Anthology: The Paris Concerts - Howard Shore - Deutsche Grammophon
The Apprentice - Martin Dirkov, David Holmes, Brian Byrne - Filmtrax
April 4
The Ministry of Ungentlemanly Warfare - Chris Benstead - Filmtrax
Coming Soon
Confessoine di un Commissario di Polizia al Procuratore della Republica - Riz Ortolani - Quartet
Despite the Falling Snow - Rachel Portman - Kronos
No Escape - Bert Shefter - Kronos
The She Creature - Ronald Stein - Kronos
Tre Colonne in Cronaca - Ennio Morricone - Quartet
THIS WEEK IN FILM MUSIC HISTORY
January 31 - Benjamin Frankel born (1906)
January 31 - Hans Posegga born (1917)
January 31 - Nicholas Carras born (1922)
January 31 - Al De Lory born (1930)
January 31 - Philip Glass born (1937)
January 31 - Andrew Lockington born (1974)
January 31 - Andy Garfield born (1974)
January 31 - John Cacavas begins recording his score for Airport ’77 (1977)
January 31 - Yasushi Akutagawa died (1989)
February 1 - Rick Wilkins born (1937)
February 1 - Herbert Stothart died (1949)
February 1 - Karl Hajos died (1950)
February 1 - Miklos Rozsa records his score for The Asphalt Jungle (1950)
February 1 - Lyn Murray begins recording his score for To Catch a Thief (1955)
February 1 - Alexander Courage records his score for the Lost in Space episode "The Cave of the Wizards" (1967)
February 1 - Barry Gray begins recording his score for Thunderbird 6 (1968)
February 1 - Ron Jones records his score for the Star Trek: The Next Generation episode "A Matter of Perspective" (1990)
February 1 - Alan Silvestri begins recording his score for The Perez Family (1995)
February 1 - Howard Shore begins recording his score for The Score (2001)
February 2 - Giuseppe Becce born (1877)
February 2 - Nikolai Kryukov born (1908)
February 2 - Mike Batt born (1950)
February 2 - Miklos Rozsa begins recording his score for Crisis (1950)
February 2 - Dimitri Tiomkin begins recording his score for Take the High Ground! (1953)
February 2 - David Buttolph begins recording his score for Secret of the Incas (1954)
February 2 - Gerald Fried records his score for Cast a Long Shadow (1959)
February 2 - Recording sessions begin for Bronislau Kaper's score to Mutiny on the Bounty (1962)
February 2 - Richard LaSalle records his score for the Land of the Giants episode “A Small War” (1970)
February 2 - Richard Band begins recording his score for Parasite (1982)
February 2 - Recording sessions begin on James Newton Howard’s score for Outbreak (1995)
February 2 - David Bell records his score for the Star Trek: Voyager episode “Dark Frontier, Part I” (1999)
February 2 - Paul Baillargeon begins recording his score for the Star Trek: Voyager episode “Q2” (1999)
February 2 - Dennis McCarthy and Kevin Kiner record their score for the Star Trek: Enterprise episode “The Aenar” (2005)
February 3 - Paul Sawtell born (1906)
February 3 - Derek Hilton born (1927)
February 3 - Daniele Amfitheatrof begins recording his score for Lassie Come Home (1943)
February 3 - Dave Davies born (1947)
February 3 - Toshiyuki Watanabe born (1955)
February 3 - Ray Heindorf died (1980)
February 3 - Lionel Newman died (1989)
February 3 - Basil Poledouris begins recording his score for RoboCop 3 (1992)
February 3 - Paul Baillargeon records his score for the Star Trek: Enterprise episode ‘The Forgotten” (2004)
February 4 - Hal Mooney born (1911)
February 4 - Kitaro born (1953)
February 4 - Don Davis born (1957)
February 4 - Bronislau Kaper begins recording his and Heitor Villa-Lobos' score to Green Mansions (1959)
February 4 - Patton opens in New York City (1970)
February 4 - Joe Raposo died (1989)
February 4 - Von Dexter died (1996)
February 4 - J.J. Johnson died (2001)
February 4 - Jimmie Haskell died (2016)
February 5 - Felice Lattuada born (1882)
February 5 - Bronislau Kaper born (1902)
February 5 - Clifton Parker born (1905)
February 5 - Elizabeth Swados born (1951)
February 5 - Cliff Martinez born (1954)
February 5 - Nick Laird-Clowes born (1957)
February 5 - Elmer Bernstein begins recording his score for The Rat Race (1960)
February 5 - Jacques Ibert died (1962)
February 5 - Guy Farley born (1963)
February 5 - Kristopher Carter born (1972)
February 5 - Ron Jones records his score for the Star Trek: The Next Generation episode "When the Bough Breaks" (1988)
February 5 - Douglas Gamley died (1998)
February 5 - David Bell records his score for the Star Trek: Voyager episode “The Killing Game, Part 1” (1998)
February 5 - Dennis McCarthy records his score for the Enterprise episode “Stigma” (2003)
February 5 - Al De Lory died (2012)
February 5 - Ray Colcord died (2016)
February 6 - Akira Yamaoka born (1968)
February 6 - Hugo Montenegro died (1981)
February 6 - Alan Silvestri begins recording his score for Romancing the Stone (1984)
February 6 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Power Play” (1992)
February 6 - John Dankworth died (2010)
February 6 - Sam Spence died (2016)
DID THEY MENTION THE MUSIC?
ALL WE IMAGINE AS LIGHT - Dhritiman Das
"There’s meaning to be found in the unease between what’s happening in these people’s lives and the film’s wandering tone. Piano arpeggios drift in on the soundtrack, suggesting something lighter and more accepting even as the music flirts with atonality. It’s all part of the troubling essence of this place. 'Some people call this the city of dreams, but I don’t. I think it’s the city of illusions,' intones one of the many unidentified voices on the soundtrack. 'There’s an unspoken code in this city: Even if you live in the gutter, you’re allowed to feel no anger,' says another. The Mumbai here is a place where everyone comes and nobody feels at home. Which in turn means nobody has the room to claim a better life."
Bilge Ebiri, New York
"Cinematographer Ranabir Das’s use of diffused light, slow pans, tilts, and zooms, production designer Shamim Khan’s naturalistically over-decorated, time-worn sets, and the mix of intimately recorded voiceover and twinkling jazz instrumentals are all carefully modulated to produce a tone that’s light but never airless. As for the film’s pace, Kapadia’s keeps it slow but never languorous. Monsoon season itself is tamed into submission. Gently, Kapadia begins to let in enough water to expose the cracks in each characters’ foundation."
Ryan Coleman, Slant Magazine
"The film’s title is only ever obliquely explained, in a story someone tells of a factory worker so exploited by his workplace’s gruelingly long shifts that at times he could barely remember what the daylight looked like. But at the gentle resolve of 'All We Imagine as Light' -- which is nothing so strained as a neat wrap-up -- while the tinkling piano theme plays out one last time and strings of LEDs twinkle, we can hope these women will not suffer the same fate. The light is all around them, and if they have to imagine it, it’s only because they cannot see it emanates from within."
Jessica Kiang, Variety
THE BEST CHRISTMAS PAGEANT EVER - Matthew S. Nelson, Dan Haseltine
"The Manitoba-shot feature has an appropriately warm, seasonal, snowy-small-town look in Jean A. Carriere’s production design and C. Kim Miles’ cinematography. Matthew S. Nelson and Dan Haseltine’s effective background score makes room for an array of Christmas carols performed by Blake Shelton and other recording artists."
Dennis Harvey, Variety
I'M STILL HERE - Warren Ellis
"Having the fate of this well-appointed, upper-middle-class house evoke that of an increasingly oppressed Brazil might seem like a strained metaphor, but Salles’ deeply invested filmmaking is remarkable in its grace and naturalism. In vintage, spongy colors, interspersed with home movies shot by the eldest, movie-and-music-mad daughter, Vera (Valentina Herszage) on a handheld Super 8 camera, DP Adrian Teijido’s gorgeously tactile photography gives the whole film the texture of a story not being told but remembered. As soundtracked to Gilberto Gil sambas and Caetano Veloso hits, and elsewhere to Warren Ellis’ lovely piano and strings score, there’s a melancholy in even the brightest moments of family togetherness. And it’s not because of a sense of impending doom, but because these scenes play like memories, and however happy, memories are always on some level sad."
Jessica Kiang, Variety
"The movie looks gorgeous. Adrian Teijido’s agile cinematography uses 35mm to great grainy effect to evoke the ‘70s and Super 8mm home movies shot during that decade provide lovely punctuation. The other key asset to the film is Warren Ellis’ score, which starts out pensive and quietly troubling before shifting almost imperceptibly into a much more emotional vein with the surge of feeling that accompanies the forward time jumps."
David Rooney, The Hollywood Reporter
NICKEL BOYS - Alex Somers, Scott Alario
"It’s worth noting that the Dozier School for Boys, on which Nickel Academy is based, was only closed down in 2011. And while 'Nickel Boys' is mercifully far too experiential and self-possessed to end with a series of sobering title cards about the history it depicts, there’s a palpable sense of implication in the recurring use of film clips (Stanley Kramer’s 'The Defiant Ones' is a major point of reference) and news footage, which serve as damning reminders of culture’s selective myopia. So does the glitchy recursiveness of Alex Somers’ and Scott Alario’s unusual score, as its looping tones and squelches double time back on itself until Elwood, Turner, and all that they experienced both alone and together begin to churn into a shared essence of survival."
David Ehrlich, IndieWire
"A lawyer Hattie hires later calls the situation a classic miscarriage of justice. Elwood (now played by 'When They See Us' actor Ethan Herisse) hitches a ride with a slick, well-dressed Black man who cops accuse of stealing a car. The officer considers the baby-faced kid an accomplice and sends him to reform school. We experience all of this action in concise bursts of imagery through cinematographer Jomo Fray’s intimate subjective point of view. An orange tree coming into focus becomes a flash of television screens; becomes the brochure for the technical college sliding down the refrigerator, too heavy for even a magnet; becomes the back of a police car; becomes the pristine lawns of Nickel Boy Academy. As Elwood rolls up into his new home, a menacing and harsh tune from Scott Alario and Alex Somers’ score warns of trouble ahead."
Lovia Gyarkye, The Hollywood Reporter
NOSFERATU - Robin Carolan
"As the film progresses, Orlok reveals himself in due time and Hutter quickly goes from nonbeliever to victim. In these moments, Eggers plays his cards extremely well with his direction, inviting us to settle in a dual state of curiosity and hypervigilance. One standout sequence is Orlok’s journey to town as added cargo on a ship. Think of it as a shorter version of 'The Last Voyage of the Demeter,' but one that is far more effective at inciting shock, awe, and terror. Robin Carolan’s score is the cherry on top, fittingly haunting and nerve-wracking in all the right places."
Patrice Witherspoon, Screen Rant
"From there, it’s essentially a laundry list of amazing talents helping an already refined, elegant, but nerve-wracking movie become that much more impeccable. Jarin Blaschke’s chiaroscuro-driven cinematography is off the charts striking, Robin Carolan’s score will help raise the hairs on your neck, and the overall craft of costuming, production design, sound and editing is flawless -- one can’t remember the last time a horror movie was this artistically distinguished."
Rodrigo Perez, The Playlist
"The American auteur, crushing it in every film he makes, returns to his horror roots with an even darker vision. 'The Witch,' his debut, a parable of evil penetrating a Puritan family unit in Colonial America, gave us the demonic and meme-able Black Phillip. Nosferatu gives us just blackness, shadows to get lost in (props to cinematographer Jarin Blaschke’s noir lighting) and an undercurrent of lurking villainy that’s articulated in the film’s lulling early stretches by the jittery strings of Robin Carolan’s impressive score."
Phil de Semlyen, Time Out
"The costumes, the sets and the uncommonly elegant effects, all handsomely captured by Jarin Blaschke’s nearly colorless cinematography, combine to make 'Nosferatu' a sumptuously immersive viewing experience. Even so, the nightmare at the film’s center never quite works, as Eggers relies on amped-up music cues and unconventional editing in order to unnerve -- and even then, the underlying metaphor isn’t clear. Though 'Nosferatu' recognizes classic anxieties of sexual predation so central to vampire lore (to see Orlok bent over Thomas and later Ellen, one can hardly deny the carnal symbolism of his appetite), images of Satan worship and plague-carrying rats dilute the impact."
Peter Debruge, Variety
"The atmosphere is enhanced by the hand-in-hand elements of Damian Volpe’s heavy soundscape and Robin Carolan’s moody score, which ranges from symphonic grandeur to agitato strings, pipes and horns specific to the region at that time to queasy atonal groans."
David Rooney, The Hollywood Reporter
OH, CANADA - Phosphorescent (Matthew Houck)
"A decade since breakout album 'Muchacho,' Schrader taps singer-songwriter Phosphorescent to score Oh, Canada. It gives the film a nice ’70s energy, similar to when singer-songwriters like Kris Kristofferson would score films with original tracks. It’s not the most timely or hip choice of artist, but no one faults boomer filmmakers for that, especially when his compatriots are still putting Creedence Clearwater Revival over Vietnam footage."
Caleb Hammond, Collider
"It’s easy to see why Schrader might have been drawn to this material. Beyond the intimations of mortality that come naturally with aging, the director had a health scare a couple of years ago, which he discussed openly at the time. Banks himself, a friend of Schrader’s (and the author of the novel upon which he based one of his most-loved films, 1997’s 'Affliction'), passed away in early 2023. All of which presumably fed into the idea of making a film about a dying filmmaker’s testimonial. But while 'Oh, Canada' is narratively bleak, it’s stylistically quite light on its feet, almost airy. The constant cutting among timelines gives the 91 minute picture a pleasant momentum, while songs by the country-folk singer Matthew Houck (a.k.a. Phosphorescent) add a lyrical quality to Fife’s wanderings. (The effect is reminiscent of the Michael Been songs the director used generously in 1992’s oddball crime drama 'Light Sleeper,' perhaps his greatest film.) 'Oh, Canada' might be a movie that was conceived in the long dark night of the soul, but it moves towards brightness and possibility. Whether that brightness actually represents Canada or what we call 'the undiscovered country' is up for debate. Either way, it’s as if a great weight has been lifted from both its subject’s and its maker’s shoulders."
Bilge Ebiri, New York
"In another disorienting layer which Shrader has added, we also hear voiceover narration of Leonard’s adult son, Cornell (Zack Schaffer) who Leonard abandoned when the boy was three. These scenes are stitched together with a soundtrack emphasizing mournful folk-country laments, mostly from American singer-songwriter Mathew Houk."
Liam Lacey, Original Cin
"One of Leonard's sins turns out to be that he's a snob who mocks Malcolm and Diane as 'Mr. and Mrs. Ken Burns of Canada.' ('We won an Oscar,' Diane mumbles in defense.) Othersie, the familial wreckage Leonard caused is unconscionable but sadly not that uncommon -- and also not that impactful with the gentle acoustic-guitar score constantly making apologies on his behalf."
Amy Nicholson, Los Angeles Times
"As a Hendrix-like version of the anthem that gives the film its title fades into a twee, gentle acoustic rendition, tied to the Rosebud-like final gasp of a dying man, the declaration of what Canada means to Fife remains mostly oblique. This is clearly Schrader’s way of celebrating not only the novel but the writer himself (1997’s 'Affliction' was also based on a Banks book), who also succumbed to the ravages of cancer. Just as cancer corrupts normal cells, Fife’s remembrances are themselves contradictory half-truths. Yet despite attempts to elevate the source material, Schrader’s telling falls flat, floundering in its attempts to translate literary looseness into a coherent, or even engaging, work of cinema. 'Oh, Canada' feels less a deep rumination at the last moments of an artist’s life, and more the confused ramblings of an irascible, self-important character surrounded by sycophants unable to stand up to his unreasonable demands."
Jason Gorber, AV Club
"Easily the least sensationalist entry in Schrader’s oeuvre, 'Oh, Canada' contains absolutely no violence. It’s not without death, obviously, but the strategy that Schrader has so often used of letting things escalate to an explosive finale (it’s the only flaw in his otherwise perfect 'First Reformed') won’t fly here. This film works better going out on a whimper. It’s also bolstered nicely by a series of mellow songs from Phosphorescent (aka Matthew Houck)."
Peter Debruge, Variety
"As Leonard mulls over recollections that may or may not be entirely true, the film shifts somewhat randomly between color and black-and-white, and changes up aspect ratios from Malcolm’s tightly framed 'Interrotron' shot to a more expansive view of the past. (Andrew Wonder was the cinematographer.) Those interludes from the late ‘60s and ‘70s are nicely enhanced by delicate indie folk songs written and performed by Matthew Houck, who records as Phosphorescent."
David Rooney, The Hollywood Reporter
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
January 31
THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD (Nick Cave, Warren Ellis) [BrainDead Studios]
BOB & CAROL & TED & ALICE (Quincy Jones) [Vista]
DEVIL AND THE DEEP, THE CHEAT [New Beverly]
ESCAPE FROM NEW YORK (John Carpenter, Alan Howarth) [BrainDead Studios]
THE FALL (Krishna Levy) [Vidiots]
GIRLS TOWN (Guru [Los Feliz 3]
GRINDHOUSE: DEATH PROOF [New Beverly]
INLAND EMPIRE (David Lynch) [Aero]
L.A. STORY (Peter Rodgers Melnick) [Vidiots]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse]
MY NEIGHBOR TOTORO (Joe Hisaishi) [Vidiots]
NIGHT RAIDERS (Moniker) [Academy Museum]
O BROTHER, WHERE ART THOU? (Carter Burwell) [Nuart]
PICNIC AT HANGING ROCK (Bruce Smeaton) [Egyptian]
POPSTAR: NEVER STOP NEVER STOPPING (Matthew Compton) [Alamo Drafthouse]
SEVEN (Howard Shore) [Alamo Drafthouse]
SNATCH (John Murphy) [New Beverly]
UP AND DOWN, SHIPWRECKED ON ROUTE D17 (Patrice Moullet) [UCLA/Hammer]
WILD AT HEART (Angelo Badalamenti) [Los Feliz 3]
February 1
BALLET [Los Feliz 3]
BOB & CAROL & TED & ALICE (Quincy Jones) [Vista]
THE CABLE GUY (John Ottman) [Vista]
CITY LIGHTS (Charles Chaplin) [lOS fELIZ 3]
COMING TO AMERICA (Nile Rodgers) [Alamo Drafthouse]
DEATH'S GLAMOUR (Patrice Moullet) [UCLA/Hammer]
DRACULA [Los Feliz 3]
ETERNAL SUNSHINE OF THE SPOTLESS MIND (Jon Brion) [Alamo Drafthouse]
FIST OF THE NORTH STAR (Katsuhisa Hattori) [New Beverly]
I AM LEGEND (James Newton Howard) [Vidiots]
INSIDE MAN (Terence Blanchard) [Vidiots]
THE JACKIE ROBINSON STORY (Herschel Burke Gilbert) [Vidiots]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse]
THE MATRIX (Don Davis) [New Beverly]
THE PARENT TRAP (Paul Smith) [New Beverly]
THE PRINCESS AND THE FROG (Randy Newman) [Academy Musuem]
ROBOT DREAMS (Alfonso de Vilallonga) [Los Feliz 3]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SEVEN (Howard Shore) [Alamo Drafthouse]
SPACKED OUT [BrainDead Studios]
SPRING (Jimmy Lavalle) [Alamo Drafthouse]
SUNSET BLVD. (Franz Waxman) [Egyptian]
TEKNOLUST (Klaus Badelt, Mark Tschanz) [BrainDead Studios]
WILD AT HEART (Angelo Badalamenti) [Egyptian]
WINNIE THE POOH (Henry Jackman) [Vidiots]
WORLD ON A WIRE (Gottfried Hungsberg) [Academy Museum]
February 2
AKIRA (Shoji Yamashiro) [Academy Museum]
THE APARTMENT (Adolph Deutsch) [Egyptian]
BLUE (Simon Fisher-Turner) [BrainDead Studios]
BLUE CRUSH (Paul Haslinger) [Vidiots]
BREATHLESS (Martial Solal) [Los Feliz 3]
THE CABLE GUY (John Ottman) [Vista]
COMING TO AMERICA (Nile Rodgers) [Alamo Drafthouse]
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [IPIC Pasadena]
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [IPIC Westwood]
ERASERHEAD (Peter Ivers) [Egyptian]
ETERNAL SUNSHINE OF THE SPOTLESS MIND (Jon Brion) [Alamo Drafthouse]
GET OUT (Michael Abels) [Academy Museum]
GROUNDHOG DAY (George Fenton) [Alamo Drafthouse]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse]
PAPER MOON [Vidiots]
THE PARENT TRAP (Paul Smith) [New Beverly]
PEPPERMINT SODA (Yves Simon) [BrainDead Studios]
A PLACE IN THE SUN (Franz Waxman) [lOS fELIZ 3]
THE RUGRATS MOVIE (Mark Mothersbaugh) [Los Feliz 3]
SOUL (Trent Reznor, Atticus Ross, Jon Batiste) [Vidiots]
WEST SIDE STORY (Leonard Bernstein, Saul Chaplin, Johnny Green, Sid Ramin, Irwin Kostal) [New Beverly]
February 3
CANDYMAN (Philip Glass) [Alamo Drafthouse]
ETERNAL SUNSHINE OF THE SPOTLESS MIND (Jon Brion) [Alamo Drafthouse]
GIRLS TOWN (Guru) [Los Feliz 3]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse]
POPSTAR: NEVER STOP NEVER STOPPING (Matthew Compton) [Alamo Drafthouse]
RICHARD PRYOR: LIVE IN CONCERT, EDDIE MURPHY: RAW [New Beverly]
THE RUNNING MAN (Harold Faltermeyer) [Culver]
SEVEN (Howard Shore) [Alamo Drafthouse]
SLEEP DEALER (tomandandy) [Academy Museum]
TWO-MINUTE WARNING (Charles Fox) [Los Feliz 3]
THE UMBRELLAS OF CHERBOURG (Michel Legrand) [Vidiots]
February 4
ACTION JACKSON (Herbie Hancock, Michael Kamen) [Vidiots]
BROADWAY BILL, PLATINUM BLONDE [New Beverly]
ETERNAL SUNSHINE OF THE SPOTLESS MIND (Jon Brion) [Alamo Drafthouse]
THE LIGHTHOUSE (Mark Korven) [Los Feliz 3]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse]
NORTH BY NORTHWEST (Bernard Herrmann) [New Beverly]
POPSTAR: NEVER STOP NEVER STOPPING (Matthew Compton) [Alamo Drafthouse]
SEVEN (Howard Shore) [Alamo Drafthouse]
February 5
BROADWAY BILL, PLATINUM BLONDE [New Beverly]
BROKEN FLOWERS (Mulatu Astatke) [BrainDead Studios]
DAS BOOT (Klaus Doldinger) [Academy Museum]
ETERNAL SUNSHINE OF THE SPOTLESS MIND (Jon Brion) [Alamo Drafthouse]
FRIDAY THE 13TH PART III (Harry Manfredini) [Alamo Drafthouse]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse]
MULHOLLAND DRIVE (Angelo Badalamenti) [Vidiots]
THE NORTHMAN (Robin Carolan, Sebastian Gainsborough) [Los Feliz 3]
POPSTAR: NEVER STOP NEVER STOPPING (Matthew Compton) [Alamo Drafthouse]
THAT DARN CAT (Bob Brunner) [New Beverly]
February 6
THE DOOM GENERATION (Dan Gatto) [Egyptian]
THE WITCH (Mark Korven) [Los Feliz 3]
YOU WERE NEVER REALLY HERE (Jonny Greenwood) [Egyptian]
February 7
ALTERED STATES (John Corigliano) [BrainDead Studios]
BURN AFTER READING (Carter Burwell) [BrainDead Studios]
CRY-BABY (Patrick Williams) [New Beverly]
DJANGO UNCHAINED [New Beverly]
ERASERHEAD (Peter Ivers) [Egyptian]
ETERNAL SUNSHINE OF THE SPOTLESS MIND (Jon Brion) [Nuart]
THE GOLDEN CHILD (Michel Colombier) [Alamo Drafthouse]
LA JETEE, MEMENTO (David Julyan) [Academy Museum]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [Alamo Drafthouse]
THE LOST BOYS (Thomas Newman), SILVER BULLET (Jay Chattaway) [New Beverly]
LOST HIGHWAY (Angelo Badalamenti) [Egyptian]
MEN IN BLACK (Danny Elfman) [Vidiots]
MULHOLLAND DRIVE (Angelo Badalamenti) [Los Feliz 3]
VIXEN (Igo Kantor) [Vista]
February 8
ABOUT TIME (Nick Laird-Clowes) [Alamo Drafthouse]
BIG TIME (Tom Waits) [New Beverly]
CHILDREN OF MEN (John Tavener) [BrainDead Studios]
DUNE (Toto) [Egyptian]
EX MACHINA (Ben Salisbury, Geoff Barrow) [Academy Museum]
FRIDAY AFTER NEXT (John Murphy) [Vidiots]
THE LOST BOYS (Thomas Newman), SILVER BULLET (Jay Chattaway) [New Beverly]
LOST HIGHWAY (Angelo Badalamenti) [Los Feliz 3]
NINOTCHKA (Werner R. Heymann) [Vista]
PUPPET MASTER (Richard Band) [BrainDead Studios]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE 7TH VOYAGE OF SINBAD (Bernard Herrmann) [New Beverly]
SONG OF THE SEA (Bruno Coulais) [Academy Museum]
SPACE JAM (James Newton Howard) [Egyptian]
STAR TREK II: THE WRATH OF KHAN (James Horner) [Vidiots]
THE STORY OF A THREE-DAY PASS (Melvin Van Peebles) [Vidiots]
VIXEN (Igo Kantor) [Vista]
February 9
BONES AND ALL (Trent Reznor, Atticus Ross) [Alamo Drafthouse]
THE COMEDY OF WORK [UCLA/Hammer]
FOLLOW THAT BIRD (Van Dyke Parks, Lennie Niehaus) [Vidiots]
FUNNY FACE (George Gershwin, Adolph Deutsch) [Vidiots]
JUDAS AND THE BLACK MESSIAH (Mark Isham, Craig Harris) [Academy Museum]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [Alamo Drafthouse]
THE LOST BOYS (Thomas Newman), SILVER BULLET (Jay Chattaway) [New Beverly]
MULHOLLAND DRIVE (Angelo Badalamenti) [Egyptian]
NINOTCHKA (Werner R. Heymann) [Vista]
ONCE UPON A TIME...IN HOLLYWOOD [Fine Arts]
THE PILLOW BOOK [BrainDead Studios]
PUNCH-DRUNK LOVE (Jon Brion) [Vidiots]
SHREK (Harry Gregson-Williams, John Powell) [Egyptian]
THE 7TH VOYAGE OF SINBAD (Bernard Herrmann) [New Beverly]
TETSUO: THE IRON MAN (Chu Ishikawa) [Academy Museum]
THUMBSUCKER (Tim DeLaughter) [BrainDead Studios]
TWIN PEAKS FIRE WALK WITH ME (Angelo Badalamenti) [Egyptian]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Sneakers (Horner); Classical Hollywood (various); Fortress (Talgorn); String Quartet #1 (Delerue); Demolition Man (Goldenthal); Joe 90 (Gray); RoboCop 3 (Poledouris); Judge Dredd (Silvestri); Selected Film Music (Eidelman); Hear the Music (Boswell); O Jerusalem (Endelman); Johnny Mnemonic (Fiedel, various); Escape from L.A. (Walker/Carpenter)
Read: The Warsaw Document, by Adam Hall, aks Elleston Trevor, aka Trevor Dudley-Smith
Seen: The Thrill of Brazil; Captain Blood; Over the Moon; The Color of Money; Flight Risk; Presence; Burnt Offerings; The House Where Evil Dwells; Tampopo; Big Night; The Girl with the Needle
Watched: The Knick ("Not at All Well"); Inside Amy Schumer ("Slut-Shaming"); Columbo ("Publish or Perish"); The Slient Partner
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