La-La Land is releasing a remastered and expanded edition of the score that put Hans Zimmer on the map in Hollywood, the 1988 drama RAIN MAN, which earned the composer his first Oscar nomination. Scoring Driving Miss Daisy the following year made Zimmer the first composer to score two consecutive Best Picture winners (and he has since scored two more, Gladiator and 12 Years a Slave).
Mutant is releasing a two-CD set of Mick Giacchino's music for THE PENGUIN, the limited series spinoff of 2022's The Batman. They will also be releasing the score on vinyl; other recently announced vinyl score releases from the label include Companion, Deadpool & Wolverine, Hit Man, The Imaginary and Wolf Man. (Rule of thumb seems to be that Mutant releases CDs of Warners/New Line productions, such as Dune: Part Two, Furiosa, Wonka, Twisters, and The Lord of the Rings: The War of the Rohirrim, though so far that's not been the case with Companion.)
This year's Grammy winners in the film music-related categories are:
BEST SCORE SOUNDTRACK FOR VISUAL MEDIA (INCLUDES FILM AND TELEVISION)
DUNE: PART TWO - Hans Zimmer
BEST SCORE SOUNDTRACK FOR VIDEO GAMES AND OTHER INTERACTIVE MEDIA
WIZARDRY: PROVING GROUNDS OF THE MAD OVERLORD - Winifred Phillips
BEST SONG WRITTEN FOR VISUAL MEDIA
"IT NEVER WENT AWAY" from American Symphony - Jon Batiste, Dan Wilson
BEST COMPILATION SOUNDTRACK FOR VISUAL MEDIA
MAESTRO: MUSIC BY LEONARD BERNSTEIN
CDS AVAILABLE THIS WEEK
Confessoine di un Commissario di Polizia al Procuratore della Republica - Riz Ortolani - Quartet
Rain Man - Hans Zimmer - La-La Land
Tre Colonne in Cronaca - Ennio Morricone - Quartet
IN THEATERS TODAY
Armand - Ella van der Woude
Bring Them Down - Hannah Peel
Heart Eyes - Jay Wadley
Love Hurts - Dominic Lewis
Parthenope - Lele Marchitelli
Renner - Rony Barrak
When I'm Ready - Jean-Paul Wall
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
It's the Easter Beagle, Charlie Brown - Vince Guaraldi - LMFP
April 4
The Ministry of Ungentlemanly Warfare - Chris Benstead - Filmtrax
Coming Soon
Despite the Falling Snow - Rachel Portman - Kronos
A Fistful of Dollars - Ennio Morricone - Beat
Interstellar - Hans Zimmer - Waxwork
L'Esorciccio/Paolo il Freddo - Franco Godi - Beat
No Escape - Bert Shefter - Kronos
Pandemonio (Switch) - Guido & Maurizio De Angelis - Beat
The She Creature - Ronald Stein - Kronos
Stand By for Action! 2: Tunes of Danger - various - Silva
The Texas Chainsaw Massacre - Tobe Hooper, Wayne Bell - Waxwork
THIS WEEK IN FILM MUSIC HISTORY
February 7 - George Bassman born (1914)
February 7 - Marius Constant born (1925)
February 7 - Laurie Johnson born (1927)
February 7 - Alejandro Jodorowsky born (1929)
February 7 - Gottfried Huppertz died (1937)
February 7 - Frans Bak born (1958)
February 7 - David Bryan born (1962)
February 7 - Jerry Fielding begins recording orchestral cues for Demon Seed (1977)
February 7 - Ira Newborn begins recording his score for Naked Gun 33 1/3: The Final Insult (1994)
February 7 - Shirley Walker begins recording her score for Willard (2003)
February 8 - John Williams born (1932)
February 8 - Joe Raposo born (1937)
February 8 - Alan Elliott born (1964)
February 8 - Richard Markowitz records his score for The Invaders episode “Quantity: Unknown” (1967)
February 8 - Lalo Schifrin begins recording his score for Earth II (1971)
February 8 - David Bell records his score for the Star Trek: Voyager episode “Dark Frontier, Part II” (1999)
February 8 - Akira Ifukube died (2006)
February 9 - Jean Constantin born (1923)
February 9 - Barry Mann born (1939)
February 9 - Alfred Newman begins recording his score for The Counterfeit Traitor (1962)
February 9 - Gregory Tripi born (1975)
February 9 - Elvis Perkins born (1976)
February 9 - Percy Faith died (1976)
February 9 - James Horner begins recording his score for Project X (1987)
February 9 - Jean-Claude Petit begins recording his score for The Return of the Musketeers (1989)
February 9 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “One Little Ship” (1998)
February 9 - Dennis McCarthy and Kevin Kiner record their score for the Star Trek: Enterprise episode “Doctor’s Orders” (2004)
February 9 - Johann Johannsson died (2018)
February 9 - Hildur Gudnadottir wins her first Oscar, for Joker (2020)
February 10 - Larry Adler born (1914)
February 10 - Gordon Zahler born (1926)
February 10 - Jerry Goldsmith born (1929)
February 10 - Billy Goldenberg born (1936)
February 10 - Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “The Golden Man” (1981)
February 10 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “By Inferno’s Light” (1997)
February 10 - Velton Ray Bunch records his score for the Star Trek: Enterprise episode “Affliction” (2005)
February 10 - Lyle Mays died (2020)
February 11 - Yves Baudrier born (1906)
February 11 - Recording sessions begin for Leigh Harline's score for The Desert Rats (1953)
February 11 - Bernard Herrmann records his score for the Alfred Hitchcock Hour episode “Wally the Beard” (1964)
February 11 - Dave Grusin’s score for The Wild Wild West episode “The Night of the Puppeteer” is recorded (1966)
February 11 - Richard Markowitz records his score for the Mission: Impossible episode “The Bunker” (1969)
February 11 - Mike Shinoda born (1977)
February 11 - Heinz Roemheld died (1985)
February 11 - Don Davis begins recording his score for The Matrix Reloaded (2003)
February 12 - Howard Blake born (1938)
February 12 - Leo F. Forbstein died (1948)
February 12 - Bill Laswell born (1955)
February 12 - George Antheil died (1959)
February 12 - Harry Geller records his score for the Land of the Giants episode “Target: Earth” (1969)
February 12 - Benjamin Frankel died (1973)
February 12 - Lalo Schifrin begins recording his score for Sky Riders (1976)
February 12 - Bruce Broughton begins recording his score for The Rescue (1988)
February 12 - John Williams begins recording his score for A.I. Artificial Intelligence (2001)
February 12 - Dennis McCarthy begins recording his scores for the Star Trek: Voyager episodes “Workforce, Parts I & II” (2001)
February 12 - Marco Beltrami begins recording his score for Hellboy (2004)
February 12 - George Aliceson Tipton died (2016)
February 13 - Lennie Hayton born (1908)
February 13 - Erik Nordgren born (1913)
February 13 - Fred Karger born (1916)
February 13 - Nino Oliviero born (1918)
February 13 - Gerald Fried born (1928)
February 13 - Peter Gabriel born (1950)
February 13 - W.G. Snuffy Walden born (1950)
February 13 - William Axt died (1959)
February 13 - Joseph Mullendore records his score for the Lost in Space episode "Junkyard in Space" (1968)
February 13 - Fred Myrow begins recording score to Soylent Green (1973)
February 13 - Jerry Fielding begins recording his score for Funeral Home (1980)
February 13 - David Newman begins recording his score for The Sandlot (1993)
February 13 - Paul Baillargeon records his score for the Star Trek: Voyager episode “Lifesigns” (1996)
February 13 - Gregory Smith records his score for the Star Trek: Deep Space Nine episode “Honor Among Thieves” (1998)
February 13 - Brian Tyler records his score for the Enterprise episode “Canamar” (2003)
DID THEY MENTION THE MUSIC?
DEN OF THIEVES 2: PANTERA - Kevin Matley
"Much like 'Den of Thieves,' 'Pantera' gets some mileage out of not quite letting us onto what the criminals are planning: We see bits and pieces of their preparation, but part of the charm of these pictures lies in revealing the big heists as they happen onscreen. And 'Panter'a has less exposition than most heist flicks, which gives it an extra frisson of pleasant incoherence. Director Christian Gudegast lends the European locales elegance and anticipation, as his images play out against beds of shimmering electronica. Between all the shifting loyalties and the not-unconfusing shots of criminals watching other criminals, we feel distinctly unmoored, like we’ve landed on a strange, wonderful planet where everybody’s a crook."
Bilge Ebiri, New York
"More noticeable is the strange emotional tenor of the movie as it goes along. In certain scenes, Butler teases a certain anguished soulfulness out of the vulgar Big Nick, and as the movie goes on, he acquires a mysterious wistfulness, perhaps thinking of a new life he might start with Jovanna (Evin Ahmad), another member of Donnie’s crew. But as the characters become more entangled, their reasons for doing anything become abstracted, and 'Pantera' itself starts to resemble the work of alt-universe auteurs like Tyler Perry or Zack Snyder, where behaviors are guided by some invisible copy-of-a-copy rule set rather than anything immediately recognizable from the real world. If Gudegast is indeed aiming for Michael Mann, as some contemplative shots and a synth-y score suggest, he’s arguably missed the mark wider than ever. If he’s hoping to chart his own territory, well, 'Pantera' spends a lot of time in the wilderness -- before teasing another sequel, of course, where surprise will be even harder to come by."
Jesse Hassenger, Paste Magazine
THE GIRL WITH THE NEEDLE - Frederikke Hoffmeier
"Events slowly and quietly become horrific in 'The Girl with The Needle,' but it’s not as if a viewer is unprepared -- every element of the film works in Machiavellian harmony to create an atmosphere saturated in dread. Shot in extra-bleak black and white and set to Frederikke Hoffmeier’s anxiety-provoking score, the film tells a devastating tale -- that is nonetheless mesmerizing to experience."
Liz Braun, Original Cin
"Women in these types of pictures are often brutally punished for daring to display autonomy. 'The Girl with the Needle' is not another entry into this canon. Rather, it is curious about the characters forged by crushing, patriarchy-inflicted disappointments. Indeed, it sides with those characters with imaginative framing. This comes through in an ambient atonal soundtrack by Frederikke Hoffmeier that lifts the dirty backstreets of Copenhagen into the realm of modern folklore."
Sophie Monks Kaufman, IndieWire
"Von Horn’s approach in 'The Girl with the Needle' is nearly suffocating. Yes, it’s gorgeously shot by Michael Dymek, but nearly every frame feels soaked in menace. It creates a tension similar to a horror film in that we await each new narrative turn with the dread that this story can’t possibly end happily. And Von Horn leans into that genre tone, particularly in a score by Frederikke Hoffmeier and sound design that’s dissonant, almost an electronic score of hums and screeches more than traditional compositions. He also returns to images of distorted faces -- not just Karoline’s husband, who was disfigured in WWI, but a prologue that includes faces projected over each other and the way shadows cast on Karoline’s face as she discovers the truth. All of these people are disfigured, even if some are only so on the inside."
Brian Tallerico, RogerEbert.com
PRESENCE - Zack Ryan
"Serving as a sharp contrast to the postmodern cinematography is the score by Zack Ryan, a lush old-fashioned soundtrack that feels deeply inspired by the empathic orchestral tracks of Bernard Hermann. There’s not a lot of it, but the cues that do come in are perfectly timed. Meanwhile, the sound design team deserves a lot of credit for creating a whole sonic dimension to the house, one that really captures what it means to live in a place, and know the way the footsteps in one room can echo in another. The result is a mise en scène that aches with life — all too fitting, given the emphasis on death."
Liz Shannon Miller, Consequence
"As the ghost increasingly makes itself known, 'Presence''s narrative unfolds. In a chilling and claustrophobic scene within Chloe’s bedroom closet, we witness her direct gaze into the camera, a haunting look in her eyes as though she can see what is there. Soderbergh’s unique approach to limited perspective involves treating the camera as its own character with personality, especially evident when the ghost begins to exhibit fear and anger. The unpredictability of the spirit remains captivating and heightens the film’s sense of unease. Another highlight is Zack Ryan’s vintage-inspired piano horror score, which further develops the unsettling atmosphere."
Jamie Arena, Paste Magazine
"There’s a reason why the ghost is haunting this family. As Lisa senses, the spirit is 'trying to figure you out -- it’s trying to figure itself out.' Once that mystery is solved, the ghost is free to leave the house with a soar of dramatic orchestration. The resolution left me with more questions than answers. As this rather thin plot shrugged off my shoulders, I found myself thinking not about this fictional family but about my own insatiability as a movie-goer -- of the drive to peer in on other people’s lives. There will always be new things to see and learn. I suspect that’s the same reason Soderbergh keeps running around with his camera."
Amy Nicholson, Los Angeles Times
"It’s an invigorating feeling to know early on in a movie that you’re in confident hands, and Steven Soderbergh conveys that assurance instantaneously in the opening moments of 'Presence.' Shooting under his usual DP pseudonym of Peter Andrews, the director guides his subjective camera into every corner of a handsome old two-story house in a leafy suburb, darting through some spaces and sneaking in close for a longer look at others. The gentle piano score doesn’t exactly hint at menace, but we know something is a little off in this desirable property, which stands empty and is about to be shown to prospective buyers. What happens from there on out should be left to the viewer to discover, but Zack Ryan’s richly atmospheric music steadily builds in intensity, taking on the flavor of an old-school horror score. Meanwhile, new information comes via an external character, who may or may not be legit, as Soderbergh and Koepp tighten the screws all the way through a twisty reveal (the one point at which the script risks unraveling), followed by a gasp-inducing climactic shock and its shattered aftermath, which is the only time the camera ever leaves the house."
David Rooney, The Hollywood Reporter
ROSE - Aurélie Saada
"Saada, who also composed the film’s music and sings songs in Hebrew, Arabic, Yiddish and Italian on its soundtrack, has a knack for capturing the sensual pleasures of being alive. The dinner tables are filled to the edge with the most delicious-looking food, drinks overflowing, and conversation overlapping. Every apartment has art, photographs, books, and trinkets that offer viewers a glimpse into the characters’ personalities and inner lives. Saada’s lively music gives each scene a distinct rhythm. As Rose embraces these pleasures, her wardrobe reflects her growth. By the end of the film, she’s wearing the gorgeous sea foam green caftan featured in the film’s poster and high heels, her hair done just right to showcase her beautiful Mallen streak."
Marya E. Gates, RogerEbert.com
SUITABLE FLESH - Steve Moore
"What would a horror film be without an anxiety-inducing score? This cinematic element goes hand-in-hand in making a story spooky, and 'Suitable Flesh' also excels in this department. The score is cleverly woven by Steve Moore, and it is very subtle at the beginning of the film when Elizabeth is introduced. Elizabeth's life at the office and alongside her husband Edward (played by Jonathon Schaech) is untethered by distress. And yet, Moore captures the transition in Elizabeth's routine after Asa shows up by making the score unnerving. The progression to a darker melodic tone as the plot unveils helps keep the pacing of the film in check, without the score being too melodramatic. The score and editing also pair well together, especially when it comes to the body swapping. The agitated shots, showcasing the physical and mental transformations that each character undergoes whenever the spirit invades them are marked by both the frenetic editing and the roaring score. As Jack N. Gracie (responsible for the editing) rapidly focuses on eyes rolling, fingers flexing, and backs arching, the body swapping scenes are made better by how well they match Moore's score."
Isabella Soares, Collider
"That forward momentum is on full display from the first stirrings of Steve Moore’s lusty score, which make it clear that Lynch has 'modernized' the classical -- sometimes even retro -- soul of Gordon’s work by transplanting it into the body of a seedy mid-’90s erotic thriller. An update and a throwback all at once, 'Suitable Flesh'” essentially feels like the best Skinemax movie ever made; if not for its high-wire performances, masterful De Palma homage, and galling lack of softcore nudity, this thing could’ve been a perfect late Friday night lead-in to another gripping episode of 'Emmanuelle in Space.' More than just a fun milieu for Lynch to exhume on the cheap, that tonality lends itself well to a gender-swapped adaptation about a middle-aged woman who rediscovers her own sexual power."
David Ehrlich, IndieWire
"And it's a particular kind of sexy that Lynch is going for, the salacious and sultry sensuality of the Eighties, complete with constant sax solos. Honestly, this may be the only horror film that invokes 'Red Shoe Diaries' and Cthulhu equally."
Richard Whittaker, The Austin Chronicle
"It’s the shagging that 'Flesh' chooses to emphasize, albeit with a rather mundane sense of kinky abandon and somewhat obvious body-double inserts for nudity. The moaning saxophone of Steve Moore’s pedestrian score, de rigueur shots of rotating overhead fan blades, and Lily Bolles’ bland production design unfortunately tamp down this story’s macabre elements while heightening its cheesy 'Body of Evidence'-grade eroticism."
Dennis Harvey, Variety
VALIANT ONE - Benjamin Backus
"The territory is familiar but the execution helps 'Valiant One' rise just a touch above the ordinary. The convincing and committed performances of Stokes, Condor and the rest of the ensemble is matched by solid action choreography and fluid widescreen photography by Daniel Stilling. Punchy tracks by rappers including Jelly Roll and Marqus Clae are neatly inserted alongside the fine orchestral score by Benjamin Backus. A fabulous old wood-fired truck used as a getaway vehicle is the jewel in the film’s armory of hi-tech U.S. weaponry and antiquated North Korean machinery."
Richard Kuipers, Variety
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
February 7
ALTERED STATES (John Corigliano) [BrainDead Studios]
ANAMOLISA (Carter Burwell) [Alamo Drafthouse]
BONES AND ALL (Trent Reznor, Atticus Ross) [Alamo Drafthouse]
BURN AFTER READING (Carter Burwell) [BrainDead Studios]
CATWOMAN (Klaus Badelt) [Vidiots]
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]
THE ROOM (Mladen Milicevic) [Landmark Westwood]
SCOTT PILGRIM VS. THE WORLD (Nigel Godrich) [Alamo Drafthouse]
SEVEN (Howard Shore) [Alamo Drafthouse]
TINKER TAILOR SOLDIER SPY (Alberto Iglesias) [Aero]
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]
DEIDRA AND LANEY ROB A TRAIN [UCLA/Hammer]
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]
RASHOMON (Fumio Hayasaka) [Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SEVEN (Howard Shore) [Alamo Drafthouse]
THE 7TH VOYAGE OF SINBAD (Bernard Herrmann) [New Beverly]
SHREK (Harry Gregson-Williams, John Powell) [Vidiots]
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]
WILD AT HEART (Angelo Badalementi) [Los Feliz 3]
February 9
ANOMALISA (Carter Burwell) [Alamo Drafthouse]
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]
KANSAS CITY, PHILADELPHIA (Howard Shore) [Aero]
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]
SEVEN (Howard Shore) [Alamo Drafthouse]
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]
February 10
ABOUT TIME (Nick Laird-Clowes) [Alamo Drafthouse]
ANOMALISA (Carter Burwell) [Alamo Drafthouse]
THE GOLDEN CHILD (Michel Colombier) [Alamo Drafthouse]
KINGS AND QUEEN (Gregoire Hetzel) [Egyptian]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [Alamo Drafthouse]
QUEEN'S HIGH (Siu-Lam Tang), ANGEL ON FIRE (Fu-Yung Chou, Ringgo Marquez) [New Beverly]
ROBOT JOX (Frederic Talgorn) [Culver]
SEVEN (Howard Shore) [Alamo Drafthouse]
SPELLBOUND (Miklos Rozsa) [Academy Museum]
TAMMY AND THE T-REX (Jack Conrad, Tony Riparetti) [Los Feliz 3]
WHITE MATERIAL (Stuart Staples) [Egyptian]
February 11
ETERNAL SUNSHINE OF THE SPOTLESS MIND [Alamo Drafthouse]
JACKIE BROWN [New Beverly]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [Alamo Drafthouse]
OUR BRAND IS CRISIS (Marcelo Zarvos) [Los Feliz 3]
SCOTT PILGRIM VS. THE WORLD (Nigel Godrich) [Alamo Drafthouse]
February 12
ETERNAL SUNSHINE OF THE SPOTLESS MIND [Alamo Drafthouse]
GRAVITY (Steven Price) [Academy Museum]
JACKIE BROWN [New Beverly]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [Alamo Drafthouse]
SCOTT PILGRIM VS. THE WORLD (Nigel Godrich) [Alamo Drafthouse]
SEVEN (Howard Shore) [Alamo Drafthouse]
SPACE IS THE PLACE (Sun Ra) [Vidiots]
SPECIES II (Edward Shearmur) [Alamo Drafthouse]
WE NEED TO TALK ABOUT KEVIN (Jonny Greenwood) [BrainDead Studios]
February 13
BRIDESMAIDS (Michael Andrews) [Alamo Drafthouse]
JACKIE BROWN [New Beverly]
MEAN GIRLS (Rolfe Kent) [Los Feliz 3]
SEX AND THE CITY (Aaron Zigman) [Los Feliz 3]
STRAWBERRY MANSION (Dan Deacon) [Academy Museum]
February 14
BEFORE SUNRISE [New Beverly]
THE BIGAMIST [UCLA/Hammer]
BROADCAST NEWS (Bill Conti) [Los Feliz 3]
CASABLANCA (Max Steiner) [Aero]
DJANGO UNCHAINED [New Beverly]
HAROLD AND MAUDE (Cat Stevens) [Vista]
I AM LOVE (John Adams) [BrainDead Studios]
IN THE MOOD FOR LOVE (Michael Galasso, Shigeru Umebayashi) [Nuart]
JENNIFER'S BODY (Theodore Shapiro, Stephen Barton) [BrainDead Studios]
PARTY GIRL (Anton Sanko) [Vidiots]
PORTRAIT OF JENNIE (Dimitri Tiomkin) [Egyptian]
WHAT'S UP, DOC? (Artie Butler), NOISES OFF (Phil Marshall) [New Beverly]
WILD AT HEART (Angelo Badalamenti) [Academy Museum]
THE YOUNG GIRLS OF ROCHEFORT (Michel Legrand) [Academy Museum]
February 15
DEVIL IN A BLUE DRESS (Elmer Bernstein) [Vidiots]
FRANK (Stephen Rennicks) [Los Feliz 3]
GONE TO EARTH (Brian Easdale) [Egyptian]
HAROLD AND MAUDE (Cat Stevens) [Vista]
THE MATRIX (Don Davis) [Academy Museum]
MEET ME IN ST. LOUIS (Ralph Blane, Hugh Martin, George Stoll) [Egytian]
THE ODD COUPLE (Neal Hefti) [Vidiots]
RASHOMON (Fumio Hayasaka) [BrainDead Studios]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SNOWPIERCER (Marco Beltrami) [BrainDead Studios]
SULLIVAN'S TRAVELS (Leo Shuken, Charles W. Bradshaw) [New Beverly]
VALENTINE (Don Davis) [New Beverly]
WHAT'S UP, DOC? (Artie Butler), NOISES OFF (Phil Marshall) [New Beverly]
February 16
BURST CITY [BrainDead Studios]
DANCER IN THE DARK (Bjork) [BrainDead Studios]
DOCTOR DOLITTLE (Richard Gibbs) [Vidiots]
THE FOUR HORSEMEN OF THE APOCALYPSE (Andre Previn) [Vidiots]
GHOST (Maurice Jarre) [Alamo Drafthouse]
GIGI (Frederick Loewe, Andre Previn [Vidiots]
NO WAY OUT (Alfred Newman) [UCLA/Hammer]
THE ODD COUPLE (Neal Hefti) [Vidiots]
SULLIVAN'S TRAVELS (Leo Shuken, Charles W. Bradshaw) [New Beverly]
WHAT'S UP, DOC? (Artie Butler), NOISES OFF (Phil Marshall) [New Beverly]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: The Magic of Naushad (Naushad); Dark City (Jones); Classical Hollywood II (Herrmann/Shire/Gold)
Read: Hocus Pocus, by Kurt Vonnegut Jr.
Seen: Elton John: Never Too Late; Devli and the Deep; The Cheat; Companion; Dog Man; World on a Wire; Kingdom of the Planet of the Apes; Love Me; The Brutalist; Black Box Diaries; No Other Land; Broadway Bill; Platinum Blonde; Porcelain War; Soundtrack to a Coup d'Etat
Watched: Kolchak: The Night Stalker ("Primal Scream"); Key & Peele ("Les Mis"); Columbo ("Mind Over Mayhem")
| 
