Film Score Monthly
Screen Archives Entertainment 250 Golden and Silver Age Classics on CD from 1996-2013! Exclusive distribution by SCREEN ARCHIVES ENTERTAINMENT.
Sky Fighter King Kong: The Deluxe Edition (2CD) Body Heat Friends of Eddie Coyle/Three Days of the Condor, The It's Alive Ben-Hur Frantic Nightwatch/Killer by Night Gremlins
Forgot Login?
Search Archives
Film Score Friday
Latest Edition
Previous Edition
Archive Edition
The Aisle Seat
Latest Edition
Previous Edition
Archive Edition
View Mode
Regular | Headlines
All times are PT (Pacific Time), U.S.A.
Site Map
Visits since
February 5, 2001:
© 2021 Film Score Monthly.
All Rights Reserved.
Return to Articles

Intrada has announced two brand-new expanded score releases from A-list composers: a two-disc version of Jerry Goldsmith's score (one of his last) for director Rod Lurie's underrated military prison drama THE LAST CASTLE, featuring the full original score, alternate cues, source cues and the original CD sequencing; and James Horner's music for the animated dinosaur adventure THE LAND BEFORE TIME, featuring his full score as well as his original song "If We Hold On Together," performed by Diana Ross.

Dragon's Domain has announced four new film music CDs -- the two-disc set THE ALBERT GLASSER COLLECTION VOL. 1, featuring two scores by the B-movie great, Huk! (1956) and Tokyo File 212 (1951); Chuck Cirino's score for the 1992 comedy-horror quasi-sequel MUNCHIE; John Morgan's score for the 1996 fantasy DEMON IN THE BOTTLE, directed by Oscar-winning visual effects artist Randall William Cook (the Lord of the Rings trilogy); and a remastered edition of Richard Band's orchestral score for director Stuart Gordon's H.P. Lovecraft adaptation FROM BEYOND.


The Boys: Season One - Christopher Lennertz - La-La Land
The Boys: Season Two - Christopher Lennertz - La-La Land

Devs - Geoff Barrow, Ben Salibury - Invada (import)

The Don Davis Collection, Vol. 1 - Don Davis - Dragon's Domain
Howard Blake: Ghost Stories - Howard Blake - Dragon's Domain
The Land Before Time - James Horner - Intrada Special Collection
The Last Castle - Jerry Goldsmith - Intrada Special Collection
Rawhead Rex
- Colin Towns - Silva
The Secret Garden - Dario Marianelli - Decca (import)
World Soundtrack Awards Tribute to the Film Composer
- various - Silva


Opening this week in cities where theaters are open to the public is the horror film Come Play, starring Gillian Jacobs, John Gallagher Jr. and Azhy Robertson (the little boy from Marriage Story), with a score by Roque Banos.


November 6
Babylon Berlin Vol. II - Johnny Klimek, Tom Tykwer - BMG
The Little Drummer Girl - Cho Young-Wuk - Silva (import)

Open 24 Hours - Holly Amber Church - Notefornote
Tenet - Ludwig Goransson - WaterTower
November 13

The Albert Glasser Collection vol. 1: Huk!/Tokyo File 212 - Albert Glasser - Dragon's Domain
Demon in the Bottle
- John Morgan - Dragon's Domain
From Beyond
- Richard Band - Dragon's Domain

Interstellar: Expanded Edition - Hans Zimmer - WaterTower
- Chuck Cirino - Dragon's Domain
No Time to Die - Hans Zimmer - Decca
November 20
Dark: Cycle 3 - Ben Frost - Invada (import)
The Trial of the Chicago 7 - Daniel Pemberton - Varese Sarabande
December 11
Jay Sebring...Cutting to the Truth - Jeff Beal - Noteforenote
January 15
Nine Days - Antonio Pinto - Warner (import)
January 22
Film Music 1976-2020 - Brian Eno - Astralwerks

Date Unknown
The Haunting of Bly Manor - The Newton Brothers - Intrada
John Williams in Vienna [CD/BluRay]
- John Williams - Deutsche Grammophon

A Suitable Boy - Alex Heffes, Anoushka Shankar - Silva


October 30 - Paul J. Smith born (1906)
October 30 - Irving Szathmary born (1907)
October 30 - Teo Macero born (1925)
October 30 - Charles Fox born (1940)
October 30 - The Lion in Winter opens in New York (1968)
October 30 - Brian Easdale died (1995)
October 30 - Paul Ferris died (1995)
October 30 - Paul Baillargeon records his score for the Star Trek: Deep Space Nine episode “Little Green Men” (1995)
October 30 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Year of Hell, Part II” (1997)
October 30 - Dennis McCarthy records his score for the Enterprise episode “Breaking the Ice” (2001)
October 31 - Venedikt Pushkov born (1896)
October 31 - Now, Voyager opens in theaters (1942)
October 31 - Spellbound opens in New York (1945)
October 31 - Johnny Marr born (1963)
October 31 - Robert Drasnin records his score for the Lost in Space episode "West of Mars" (1966)
October 31 - Adam Schlesinger born (1967)
October 31 - Jerry Goldsmith begins recording his score for Patton (1969)
October 31 - John Williams begins recording his score to The Towering Inferno (1974)
October 31 - Ian Hultquist born (1985)
October 31 - The Mission is released in the United States (1986)
October 31 - Joseph Liebman died (2001)
October 31 - Ian Fraser died (2014)
November 1 - John Scott born (1930)
November 1 - Roger Kellaway born (1939)
November 1 - David Foster born (1949)
November 1 - Lolita Ritmanis born (1962)
November 1 - Jerry Fielding records his first Mission: Impossible score, for the episode “The Council” (1967)
November 1 - Leighton Lucas died (1982)
November 1 - Jack Nitzsche begins recording the orchestral passages for his Jewel of the Nile score (1985)
November 1 - Louis Barron died (1989)
November 2 - Harold Faberman born (1929)
November 2 - Keith Emerson born (1944)
November 2 - Gary Yershon born (1954)
November 2 - Bernard Herrmann begins recording his score for Journey to the Center of the Earth (1959)
November 2 - k.d. lang born (1961)
November 2 - Felice Lattuada died (1962)
November 2 - Joseph Mullendore's score for the Star Trek episode "The Conscience of the King" is recorded (1966)
November 2 - Alexander Courage records his score for the Lost in Space episode "A Day at the Zoo" (1967)
November 2 - Gary McFarland died (1971)
November 2 - Mort Shuman died (1991)
November 2 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Once More Into the Breach” (1998)
November 3 - John Barry born (1933)
November 3 - Hal Hartley born (1959)
November 3 - Richard Markowitz records his score for The Wild Wild West episode “The Night That Terror Stalked the Town” (1965)
November 3 - Daniel Pemberton born (1977)
November 3 - Olafur Arnalds born (1986)
November 3 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Price" (1989)
November 3 - Jerry Bock died (2010)
November 4 - Laurence Rosenthal born (1926)
November 4 - John Charles born (1940)
November 4 - Craig Safan records his score for the Twilight Zone episode “Teacher’s Aide” (1985)
November 4 - Velton Ray Bunch records his score for the Star Trek: Enterprise episode “The Augments” (2004)
November 5 - Joseph Liebman born (1911)
November 5 - Elmer Bernstein begins recording his score for Fear Strikes Out (1956)
November 5 - Jonny Greenwood born (1971)
November 5 - Michel Legrand begins recording his score for The Mountain Man (1979)
November 5 - Les Baxter begins recording his score for The Beast Within (1981)
November 5 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Battle" (1987)
November 5 - James Newton Howard begins recording his score for Grand Canyon (1991)
November 5 - Dennis McCarthy records his score for the Enterprise episode “The Communicator” (2002)
November 5 - Jay Chattaway records his score for the Star Trek: Enterprise episode “North Star” (2003)


AN AMERICAN PICKLE - Michael Giacchino (themes), Nami Melumad (score)

"Directed by Brandon Trost, the cinematographer from Rogen’s previous films ('This is the End,' 'Neighbors,' 'The Interview'), 'An American Pickle' isn’t visually stunning per se, but it is well shot and very careful about its particular tone, a mix of absurdism and more thoughtful subjects about the human condition. There’s a terrific score by Nami Melumad which saturates the film with a subtle, but meaningful dolor that reflects the movie’s ideas about trauma, pain, suffering, and hardship."

Rodrigo Perez, The Playlist

"A deportation trial with heavy-handed comedy bits is too sloppy to work, even within this film's whimsical logic. But it does yield an old-country interlude and a lovely conclusion that reinforces the values of faith and family literally pickled into Herschel and passed down across a century. In that sense, 'An American Pickle,' for all its silliness, is uncommonly spiritual for a mainstream comedy. That aspect is amplified by the strains of klezmer in Nami Melumad's score, with original themes by Michael Giacchino."

David Rooney, The Hollywood Reporter

AMULET - Sarah Angliss

"Around the midway mark, we’re told through a scene between Magda and Tomaz that love is a sacrifice, and that the act of romance is nothing if not an offering at the altar of that sacrifice. 'I told myself, if I freed you, I would have a right to be happy again,' Tomaz eventually tells Magda. But his sacrifice is little more than selfish self-flagellation; there’s a world of difference between an act of contrition and an appeal for absolution, one which reveals not only the heart of a person’s intent but of their character. Amulet elevates these themes of repentance and sin through deft editing, strong performances, and a chilling score. It’s an evocative, confident debut, recalling the metaphorical horror of Jennifer Kent’s 'The Babadook' or Babak Anvari’s 'Under The Shadow,' even as it announces the arrival of a singular new voice."

Tousssaint Egan, The Onion AV Club

"'Amulet' may recall some other out-there auteurist horror opuses, from Zanussi’s 'Possession' to two other striking recent debut features, the Brit 'Possum' and German-Austrian 'Hagazussa.' But it has a feel all its own, with a range of imaginative conceptual and technical strategies each deployed by DP Laura Bellingham, production designer Francesca Massariol, editor Alastair Reid and composer Sarah Angliss. If the highly worked aesthetic package sometimes risks mannerism for its own sake, these accomplished, often near-abstract individual elements mostly mesh in a way that marks Garai as a filmmaker with a sensibility that’s fully formed on arrival."

Dennis Harvey, Variety

"Thrill-hungry genre consumers may grow impatient with the deliberate pacing and the woozy oscillation between troubled past and sinister present. But discerning aficionados will go for the textured atmosphere and the playful appropriation of the conventions of Italian giallo and vintage Euro gore. There's impressive craft on display, from the bespoke creature effects to the insidious gaze and insinuating angles of DP Laura Bellingham's stealthy camera; from Nick Baldock's penetrating soundscape to the ambient dread and shivering woodwinds of Sarah Angliss' score and the tricky time shifts of Alastair Reid's editing."

David Rooney, The Hollywood Reporter

THE KISSING BOOTH 2 - Patrick Kurst

"Composer Patrick Kirst broadens a few of his original themes, immersing fans back among the characters and their world. His score is a snuggly sound-alike for a younger-skewing Nancy Meyers film, romantically charged and saccharine-tinged with a heightened dose of hijinks. Cinematographer Anastas N. Michos also doesn’t change much in terms of the expected aesthetics, lighting characters such that they radiate glowing halos no matter where they are. Editor Paul Millspaugh doubles down on the first feature’s fast cuts, delivering rapid-fire sequencing where shots don’t last much longer than a few seconds, mimicking our protagonist’s frenzied mindset."

Courtney Howard, Variety


"To the extent that 'Psychomagic' works, it’s because we never quite know where these encounters might end up. Set to an ominous score by Jodorowsky’s son Adan, the movie drifts into jarring new territory every few minutes. Yes, there’s a gross factor in watching women painting with their own menstrual blood, but the portraiture they create yields some of the most striking imagery found throughout Jodorowsky’s career."

Eric Kohn, IndieWire

RADIOACTIVE - Evgueni Galperine, Sacha Galperine

"Still, even setting aside 'Radioactive''s sensual proclivities, the biopic suffers from a languid and dull pace. The film’s score -- based around theremins and synths -- is an alien and risky gambit on the part of 'Persepolis' filmmaker Satrapi. This experiment, unlike Curie’s, isn’t a success. Instead, 'Radioactive' desperately depends upon Pike to deliver, a burden she carries with ease. Playing a woman with repressed trauma -- Marie’s mother died when she was a child -- her acidic barbs arrive with sharp and staccato-like precision."

Robert Daniels, The Playlist

"But 'Radioactive' is a nervous, itchy movie -- while Anthony Dod Mantle’s cinematography is moody and beautiful, composers Evgueni and Sacha Galperine get all spacey and Philip Glassy, and Satrapi keeps flashing forward to 1957 (radiation treatment for cancer) or 1945 (the first atomic bomb dropped on Hiroshima) or 1986 (the Chernobyl disaster)."

Steve Pond, The Wrap

"Of course, there’s nothing wrong with playing fast and loose with history or just making stuff up. Plenty of great movies do. The problem with films like 'Radioactive' is that they neither fulfill the biography’s basic duty of elucidating the life and times of the subject nor offer a compelling artistic vision or drama as a substitute for the hard facts. Satrapi strains to make the movie aesthetically interesting by deploying an intermittently Space Age score, color coding, and a sequence in which Marie imagines Pierre’s coffin being carried away by glowing, Loïe Fuller-inspired figures who look like haute couture interpretations of Halloween decor. But this high-end kitsch can’t cover up another conventionally dull biopic that begins with someone looking back on their entire life and ends with a very long slideshow of onscreen text."

Ignatiy Vishnevetsky, The Onion AV Club

"The Curies were, on average, a short-lived household thanks to their family business of fiddling with radiation. Visitors who want to see Marie’s original laboratory books must wear protective clothing, for their own safety. At first, Marie and Pierre were unaware of the dangers of, say, cuddling with a neon green vial in bed at night, an otherworldly shot of color in a Paris that’s otherwise naturalistically muddy and dim. (Though cinematographer Anthony Dod Mantle does get to dabble in a picturesque tinge of silvery mercury tinting, plus a daguerreotype blur that rounds the edge of the frame -- a mix of old and new that pairs well with composers Evgueni Galperine and Sacha Galperine’s score of skittering bleeps and bloops.)"

Amy Nicholson, Variety

THE RENTAL - Danny Bensi, Saunder Jurriaans

"Franco further builds tension through Danny Bensi and Saunder Jurriaans’ biting score and Kyle Reiter’s patient editing. Cinematographer Christian Sprenger uses low-key lighting to demonstrate the characters’ unawareness, but the effect feels too on-the-nose. Costume design and production decorators also add not-so-subtle odes to horror’s past, like the reliance on a particular shade of orange ('The Shining') and the property’s lamps ('The Exorcist'). As a director, Franco also understands composition, employing a deep depth of field to show the group’s slow fracturing."

Robert Daniels, Polygon

"At the very beginning of 'The Rental,' actor Dave Franco’s feature directorial debut, the screen is filled with shots of a lovely coastline and a striking resort house nestled in the woods overlooking the sea. But right about the time a viewer might start thinking, 'How beautiful,' a couple of bars of Danny Bensi and Saunder Jurriaans’ doomy, foreboding music remind us that beauty and pleasure are not on Franco’s agenda."

Steve Pond, The Wrap

"Before long, a little bag of drugs and a soak in the hot tub are precipitating the story's turn toward disaster. (Think 'Sliver' plus 'Shallow Grave' multiplied by 'Halloween.') Franco doesn't try to blow your mind, and that's OK; the sense of sleek, controlled craftsmanship is satisfying enough. There are a few well-deployed red herrings and jump scares; solid work from DP Christian Sprenger, who makes particularly evocative use of insidious long shots; a nerve-wracking, quietly propulsive score by Danny Bensi and Saunder Jurriaans; and a deftly staged and edited climax that takes full advantage of the location's interior and exterior spaces."

Jon Frosch, The Hollywood Reporter

THE SECRET GARDEN - Dario Marianelli

"It is in the boundlessness of this world that Mary gets to know the members of her new squad one by one. The dynamics are complex -- even the doggie infuses the tale with a significant twist -- and Thorne balances out all the moving pieces carefully, with the aid of a simple yet sweet score by Dario Marianelli. Throughout the film’s compact running time that capably shuffles dark gothic interiors with bright outdoors, the trio grow individually and heal in a visceral sense with a little help from one another under the protective wing of the garden. Ultimately, 'The Secret Garden,' as it always has, aims to open a gate for kids, a passage to a rejuvenating place that both validates and soothes adolescent fears too scary to handle unaccompanied. This essential version does exactly that when big minds trapped in little bodies might need it the most."

Tomris Laffly,

"The garden stands in contrast to Misselthwaite Manor, which has been filmed, by the British television director Marc Munden, as if it were the world’s most lavishly oversize and art-directed doll house. The walls are shabby-chic blue, with paintings of gardens on them, and even the lighting is blue; when Mary strolls through the hallways, hearing cries and whispers, we seem to be trapped in some weirdly decorous and aestheticized 'Conjuring' sequel. Munden has worked on prestigious series like 'Utopia' and 'National Treasure,' but the way he directs 'The Secret Garden' it always feels like he’s selling you something. The film has two modes: eyes lit with wonder as the fairy-dust music sparkles and swells, and overly moody haunted-house trepidation."

Owen Gleiberman, Variety

"This handsome new film comes from David Heyman's Heyday banner, the British company whose output includes the 'Harry Potter,' 'Fantastic Beasts' and 'Paddington' franchises. Directed by Marc Munden, whose background is primarily in British television ('National Treasure,' 'The Crimson Petal and the White'), its storytelling could be more fluid. But the key themes come through strongly and the first-rate visual design and indestructible charm of the story keep it captivating. If composer Dario Marianelli's rich orchestral score seems lathered on a bit thickly, well, at least it's pretty."

David Rooney, The Hollywood Reporter


"'She Dies Tomorrow”' ultimately becomes less of a linear survival story than a scattershot look at mental disarray. Seimetz collects the pieces into a mesmerizing audiovisual tapestry that includes a jittery score by Mondo Boys. Cinematographer Jay Keitel’s crisp nighttime imagery captures ominous shadows and neon-lit interiors alike, not to mention the occasional red-and-blue stroboscopic mayhem that dips into Gaspar Noé territory as Amy loses touch with the world around her. For viewers who aren’t prone to epileptic seizures, that destabilizing effect allows 'She Dies Tomorrow' to enter its own plane of heightened logic, where every new encounter registers as a disturbing punchline about the anxiety that haunts us all."

Eric Kohn, IndieWire

"Seimetz keeps this contagious conviction mysterious and abstract. It’s visually depicted by strobing neon lights and shifting molecular abstractions (beautifully shot by Jay Keitel), and aurally represented by a titanic throbbing that sounds like atonal techno build stripped bare (courtesy of the Mondo Boys). When people are overcome by the conviction, they have a psychotropic moment with it that magnetizes them to the screen where it typically remains on our side of the camera as its luminescence fills the room."

Luke Hicks, The Playlist

"'She Dies Tomorrow' isn’t really a horror movie in any conventional sense, though there is tension inherent in the inevitable rising of the sun the following morning. That being said, Seimetz also plays with bold stylistic touches often seen in horror movies, like dramatic, saturated flashes of rainbow-hued strobe lights and bombastic musical cues that cut off so suddenly that a snort of laughter may involuntarily escape your lips as you watch. But while there are moments when the balloon cathartically pops, the predominant effect is anxiety that builds to numbness, to the point that Michelle Rodriguez intoning about death next to a swimming pool slowly filling with blood seems about right for the situation."

Katie Rife, The Onion AV Club

"In an unnerving closeup, tears roll down from her glassy blue eyes smeared with yesterday’s runny makeup. Somehow convinced she would be living her final day on earth, Amy starts to browse sites for a cremation urn. Then in a chaotic sequence, she wonders whether her remains could be turned into a leather jacket, puts on a heavily-beaded frock (perhaps wearing her favorite dress for the last time?), guzzles wine and plays 'Lacrimosa' from Mozart’s 'Requiem' -- or rather, a more bombastic but equally sorrowful cover of it by Mondo Boys -- on a loop, navigating piles of moving boxes in her newly bought home. In short, she prepares for what she knows is coming, first with fear, then with acceptance and resignation."

Tomris Laffly, Variety

SUMMERLAND - Volker Bertelmann

"Set against the disparate backdrops of a charming country village and the lingering horror of war (late in the film, Alice and Frank’s sense of London’s destruction is undone by a shocking visit), 'Summerland' still strikes a soothing balance. While Alice’s interest in magic is rooted mostly in undermining it, Swale’s gentle creation allows for the possibility of magic -- or, at the very least, good things -- to work their way into even the worst of times. A whimsical score from Volker Bertelmann aids immeasurably in that feeling, and even when the film leans toward predictability, the sense of reality melding into fantasy aids in digesting some of the film’s bigger risks."

Kate Erbland, IndieWire

"Swale, who also wrote the screenplay, lets these picturesque qualities carry the movie, occasionally deploying twinkly music and slow-mo to tell us that what we are looking at is as pretty as it seems. Homophobia is addressed briefly and racism doesn’t seem to be factor. The above-average cast of adult and child actors has its charming moments, but once the plot enters the tearjerker cliché phase, it becomes clear that what we are being offered is a nostalgia that’s no different from the kind that extolls more conservative values. It’s less a new coat of paint than a varnish."

Ignatiy Vishnevetsky, The Onion AV Club

"Race is never once mentioned or even alluded to, and the depiction of same-sex passion tops out at a giggly afternoon swim and a very chastely shot kiss in which the mouths are artfully obscured. Further petted by Volker Bertelmann’s tasteful, old-fashioned score -- classical with comical flourishes when the mood, never very heavy, needs lightening -- 'Summerland' could not possibly offend anyone, except those expecting a more forthright evocation of the joys and challenges of being a woman in love with another woman in early 20th century Britain."

Jessica Kiang, Variety

"Inattention to her mail causes her to miss a letter about fostering a young London evacuee displaced by the air raids and by his parents' involvement in the war effort. So when Frank (Lucas Bond) arrives on her doorstep Alice reluctantly agrees to keep him for a week, only until alternative arrangements can be made. But even without the insistent tinkling of Volker Bertelmann's syrupy score, it would be a safe bet that Alice's frosty demeanor is destined to melt."

David Rooney, The Hollywood Reporter


"For a category of filmmaking where the craft is often utilitarian at best, the footage is unusually well-shot by DPs Gabriel Goodenough and Jeffrey Johnson. Under Sam Lipman’s lightly intriguing, noodling score, nighttime cityscapes give Manila the seedy buzz of a dystopian sci-fi, and even the talking-head interviews have a certain nervy, noirish sheen. Diaz assembles her wealth of material cleverly, skipping between Ressa and dela Rosa; between eye-opening interviews with Rappler journalists and archive footage of Duterte individually targeting rising Rappler star Pia Ranada; between a female opposition politician standing for election and Duterte’s chief women lieutenants -- his daughter Sara, now a mayor, and pop-star blogger 'Mocha' Uson, who serves in his administration and has been nicknamed the 'Queen of Fake News.'"

Jessica Kiang, Variety


Heard: La Cage Aux Folles (Morricone), Caged!: The Dark Side of Max Steiner (Steiner), Air Force One (Goldsmith), Mary Queen of Scots (Richter), The Ghost and Mrs. Muir (Herrmann), The Jerry Goldsmith Songbook (Goldsmith), Lust, Caution (Desplat), Mandy (Johannsson), A Gentleman's Guide to Love & Murder (Lutvak), A Tale of Love and Darkness (Britell), Candide Overture/Facsimile Ballet/Fancy Free Ballet/On the Town Three Dance Pieces (Bernstein), Outlander: Season 4 (McCreary), Bananarama (Bananarama), Avengers: Endgame (Silvestri), The Return (Marianelli), Fantastic Beasts: The Crimes of Grindelwald (Howard), Fires Within (Jarre), Colette (Ades), Corleone (Morricone), The Rebirth of Id (Kouneva), Holocaust (Gould), Swashbuckler (Addison), Jack Frost (Rabin), On Dangerous Ground (Herrmann), Obsession (Herrmann), JAG (Broughton/Bramson), Megan Leavey (Isham), The Band's Visit (Yazbek), If Beale Street Could Talk (Britell), The Henry Brant Collection Vol. 2 (Brant), Missing Link (Burwell), Gordon (Barenaked Ladies), Space Center Houston (Spear), Blood Diamond (Howard), Concert Works (Jarre), The World Is Not Enough (Arnold), Gone With the Wind [1972 cast] (Rome), Scenes for Orchestra et al (Kubik), My Golden Days/La forete (Hetzel), The Day the Earth Stood Still (Herrmann)

Read: The Locked Room, by Maj Sjowall and Per Wahloo

Seen: Nope. Nothing. I envy my friend/co-worker who has gone to drive-ins to see several new releases, though I can't say that's the format I'm most eager to view The Trial of the Chicago 7 or the new Sofia Coppola film in. (Even though I grew up in an era when drive-in theaters were still popular and easy to find, I have never actually been to one. It's one of those things that I'd like to do for the experience but not because it's how I'd actually like a movie; sort of the way I went to a professional baseball game with co-workers several years back, even though I don't follow sports at all, just for the experience of seeing a professional sports event.) I am making a list of all the films that have been released on streaming platforms during the pandemic that I still hope to see in the theater someday. As you might expect, it is a long list and only getting longer.

Watched: Voodoo Island; Space: 1999 ("War Games"), The Kennel Murder Case; Star Trek: Discovery ("Magic to Make the Sanest Man Go Mad"); The Balloonatic [1923]; Masters of Sex ("Parallax")

Return to Articles Author Profile
Comments (1):Log in or register to post your own comments
I geatly enjoyed TRIAL OF THE CHICAGO 7 though I'm not a huge fan of Sorkin and the film has some questionable Spielbergian flourishes that might be a legacy of that director's involvement. It reminded me of the great anti-establishment films of the '70s that have gone out of favor since the critical establishment became part of The Establishment (in recent years, other worthy films in this sub-genre have been routinely sneered at).

Film Score Monthly Online
Bear Has the Power
Bernstein and Friedhofer in Conversation, Part 1
The Machine in High Gear
Gordon's Chance
Sustain Pedal to the Metal
Amie Untamed
Scored to the Max
He's the Mann
The Imaginary Museum of Film Music: Redux
Score Restore: Lionheart, Part 2
Ear of the Month Contest: Hugo Friedhofer
Today in Film Score History:
August 3
Alfred Schnittke died (1998)
David Buttolph born (1902)
Ira Newborn begins recording his score for The Naked Gun: From the Files of Police Squad! (1988)
Louis Gruenberg born (1884)
Robert Emmett Dolan born (1906)
Warren Barker died (2006)
FSMO Featured Video
Video Archive • Audio Archive
© 2021 Film Score Monthly. All Rights Reserved...