While much has been written on the scores for quintessential gialli such as Argento’s Deep Red (Profondo Rosso), Fulci’s film—alternately titled Seven Notes in Black and Murder to the Tune of Seven Black Notes—inherently ties a music theme to the plot itself. In effect, its alternate titles not only appropriately reference the narrative, but seven particular notes mentioned creates a sense of foreboding. The number of notes is incorporated into the recurring main theme. Each repetition then builds suspense as the film moves toward its inevitable conclusion.

In this month’s “Finding the Sacred Among the Profane” column, Film Editor Sean Woodard explores The Color Purple ’s religious themes.

For this month’s Once Upon a Time in Film Scoring column, Sean examines Elmer Bernstein’s theme for the underrated Charles Bronson Western, From Noon Till Three.

In this month’s “Finding the Sacred Among the Profane” column, Film Editor Sean Woodard explores the themes of hope and spiritual righteousness in Frank Darabont’s adaptation of the Stephen King classic, The Shawshank Redemption.

Sean explores one of the best-settling soundtracks of the 1980s, Top Gun, in this month’s Once Upon a Time in Film Scoring column.

Film Editor Sean Woodard discusses the moral dilemma in Orca for this month’s “Finding the Sacred Among the Profane” column.

Dewey Cox is “guilty as charged” in Sean Woodard’s latest Once Upon a Time in Film Scoring column.

Film Editor Sean Woodard explores the intersection of doubt and faith in The Exorcism of Emily Rose for this month’s “Finding the Sacred Among the Profane” column.

Sean Woodard examines Ennio Morricone’s score for Sergio Leone’s magnus opus, Once Upon a Time in America .

Film Editor Sean Woodard explores the gratuitous violence in Mel Gibson’s The Passion of the Christ and equates it with torture porn in his latest Finding the Sacred Among the Profane column.

Sean Woodard examines the importance of natural sound and the limited use of music in Martin Scorsese’s Silence.

Following the success of The Good, the Bad, and the Ugly (1966), Paramount Pictures offered Sergio Leone a larger budget to shoot what many believe to be his magnum opus, Once Upon a Time in the West (1968).

By mixing religious and demonic imagery with the esoteric theories of Fulcanelli (which allude to an alchemical connection to the building of gothic cathedrals) to achieve this atmosphere, Soavi raises this convoluted, somewhat nonsensical horror film into a visually arresting cult classic.

As Llewyn aimlessly goes about the week—dealing with many issues including an ailing father, losing the Gorfeins’ cat, and the question of whether he impregnated his friend’s wife, Jean—the folk music heard in the film mirrors his circumstances and daily depression.

Why would someone put his life—and soul—on the line to save a girl he’d never met before? This question forms the basis of faith in William Friedkin’s 1973 adaptation of William Peter Blatty’s The Exorcist.

Ennio Morricone has been described as the greatest film composer of all time. Affectionately referred to as “Maestro” by fans and members of the film and music industries, the prolific composer has generated over 500 scores for film and television.

Richard Donner’s The Omen (1976) remains one of the seminal religious-themed horror films to have been released in the wake of Rosemary’s Baby (Polanski 1968) and The Exorcist (Friedkin 1973), cashing in on the socio-political and religious hysteria of the 1970s.

Vincent Price perhaps played his most sadistic role in Michael Reeves’ 1968 film Witchfinder General. The film is loosely based upon the real-life figure of Matthew Hopkins, who is believed to have been responsible for the death of over 300 people accused of witchcraft in the 1640s.

When people hear the phrase “stand by me,” they’ll most likely recall the classic Ben E. King song or the 1986 Rob Reiner film which shares its name. Adapted from Stephen King’s novella The Body, the film was nominated for an Academy Award for best adapted screenplay and has been cited in multiple publications as one of the best coming-of-age dramas. It is my favorite film and one of my main influences on becoming a writer.

Lucio Fulci, affectionately known among his fans as the “Italian Godfather of Gore,” directed a wide array of genre films including spaghetti westerns and comedies, but is most remembered for his Euro Horror films. While most casual fans may recognize him as the director of Zombie 2 (1979)—a pseudo-sequel to George A. Romero’s Dawn of the Dead (1978)—and The Beyond (1981), Fulci also contributed some solid entries in the 1970s to the giallo genre, including A Lizard in a Woman’s Skin (1971) and Don’t Torture a Duckling (1972).

The U.S. Food and Drug Administration (FDA) recently approved expanded medical use of an opioid-based drug. The announcement garnered much criticism from numerous healthcare professionals.

A man driving under the influence of alcohol was more threatening than Michael Myers this past Halloween after causing property damage and injuring multiple people in Visalia, CA.

The Occupational Safety and Health Association (OSHA) passed a set of revisions that may affect employees across the U.S. The provisions specifically address drug testing, workplace injuries, whistleblowing and employment termination protections.

Last week, rapper Mac Miller died of an alleged drug overdose at the age of 26. While the cause of death is still to be determined, his name appears to be the most recent addition to a long list of musicians who died of accidental overdoses. The case highlights the impact of substance abuse upon the music industry.

The University of Kansas (KU) in Lawrence has established a new center focused on addiction treatment research with the assistance of a $2 million donation.

A team of advocates from Grand Rapids, Michigan is developing the community housing project Dirt City Sanctuary (DCS) to foster a support system for people in addiction recovery.

Hawaii state officials and program directors are discussing methods to expand addiction recovery and prevention on Kauai and other islands to treat local residents. The youth population is particularly susceptible to the influence of drugs and alcohol.

The Nashville Police Department in North Carolina celebrated its second anniversary of assisting persons in addiction recovery through the Hope Initiative.

Grand Island youth programs are assisting children of parents receiving addiction treatment for substance use disorders.

To help celebrate Passover, a Jewish synagogue in Cleveland is offering an alternative to drinking wine during the holiday as a way of assisting congregants in alcohol addiction recovery.

The first two days had been a breeze, but lack of sleep eventually started catching up with Rick Eisleben as in spring 1969 he continuously spun vinyl in the broadcast booth of what was then called Radio Chapman. Somehow he made it through almost another full day as friends and colleagues “encouraged” him to stay awake — in one case by hovering over him with a Coke bottle full of water.

Noriko Shinohara could have done anything when she arrived in New York City as a 19-year-old art student. She chose to devote her life to avant-garde artist Ushio Shinohara, 22 years her senior and famous for his “boxing” paintings. Their 40-year marriage, plagued by alcoholism, an unstable lifestyle, and the sacrifices required to create their art, is chronicled in the Oscar-nominated documentary Cutie and the Boxer.

Where would we be without the wit of Johnny Carson on late-night television? The legendary chat show host visited America’s living room from 1962 to 1992, amusing the masses and keeping their eyes on the screen. Tonight, Turner Classic Movies launches Carson on TCM, a series dedicated to the best celebrity interviews Carson conducted. Each hour-long segment, which will debut on Monday nights in July, contains five interviews and will be followed by a feature film of the last interviewed actor.

To describe the music released by Los Angeles label Stones Throw Records as “eclectic” or “left-of-center” is an understatement on par with saying Kanye West has an ego. The diamond in the rough of indie record companies, Stones Throw was founded by Chris Manak (aka DJ Peanut Butter Wolf) in 1996 and has put its weight behind hip-hop, world music, and modern funk—to name just a few genres. The influential homegrown music label gets its due in Our Vinyl Weighs a Ton (This is Stones Throw Records).

It’s fun trying to look for Alfred Hitchcock in his own films. During the title sequence in North By Northwest he misses the bus and in The Birds he breezes out of a pet shop with his two dogs as Tippi Hedren enters. One of his earliest cameos was in an extended scene in his 1929 movie Blackmail. (We won’t spoil it for you but here’s a hint: He appears in the London Underground for 19 seconds.)

“MacArthur Park” has been recorded and performed by everyone from Donna Summers to Richard Harris; it even inspired a Weird Al Yankovic parody. But until now the sprawling, seven-and-a-half minute song has never been performed at its namesake venue, MacArthur Park. In honor of its 45th anniversary the tune’s composer, Grammy award-winner Jimmy Webb, will play “Macarthur Park” when he opens the Levitt Pavilion‘s free summer concert series on June 15th.

A prayer—stronger than injustice; louder than despair; quieter than ego; surer than circumstantial evidence; homier then a barred cell; more challenging than simple solutions; than more comforting than empty promises; more reassuring than doubt; more accepting than racism; more merciful than hate . . .

Director Kleber Mendonça Filho’s (Aquarias) latest film (co-directed with Juliano Dornellos) is a meditation on the socio-political state in Brazil, the importance of community, and the effects of violence. Shortlisted for Brazil’s official entry for best foreign language film for the 2020 Academy Awards, Bacurau has garnered acclaim from audiences and critics alike since its premiere at Cannes, where it tied for a Jury Prize.

High Tension director Alexandre Aja’s latest film is an efficient, lean thriller.

Godzilla: King of the Monsters delivers on the action with plenty of kaiju fighting. Godzilla going thermonuclear and Mothra are worth the price of admission. However, its human element becomes lost due to a nonsensical plot and cardboard-thin characters.

At its best, it reminds us why his music holds a special place in our hearts. I hope the Academy is listening; Taron Egerton deserves an Oscar for portraying my musical hero.

The latest entry in the series goes deeper and reminds us that honor and integrity are not synonymous with morality and friendship.

Jordan Peele’s follow-up to Get Out is a film we all don’t know we need to see until we actually see it.

Sam Elliott gives his all as aging WWII veteran Calvin Barr. Barr’s secret assassinations of Hitler and Bigfoot serve as mere bookends to this quiet and moving character study about how his duty to country resulted in loss and regret.

When crime films such as The Godfather and Goodfellas serve as the benchmark for quality crime dramas, it can be daunting for other genre efforts to follow.

If The Revenant qualifies for “nature porn,” then First Man is the logical extension of Blade Runner 2049: “Ryan Gosling Porn—in Space!” When the camera isn’t focused on Gosling’s helmeted face, it’s on CGI constructions that suck the life out of this zero-gravity biopic.

After giving us the genre-bending Cabin in the Woods, Drew Goddard takes a stab at the neo-noir with Bad Times at the El Royale. Although elaborate in its narrative setup, the film falters from time to time.

The Old Man & the Gun is a good ol’ yarn, the type your grandfather would tell. This laidback, romantic affair about an aging bank robber possesses a myth-like quality.

As with The Secret of Kells and Song of the Sea, Golden Globe-nominee The Breadwinner boasts simplistically breathtaking animation. But its true beauty lies in the heart of its story.

Unconcerned with genre, Hostiles instead grapples with the enormity of Western Expansion. Scott Cooper’s methodical character study finds Captain Joseph Blocker (Christian Bale) tasked with returning a cancer-ridden Cheyenne Chief (Wes Studi) back to his people’s valley in Montana.

Watching Andrew Haigh’s sublime 45 Years felt like viewing a film from the late Ingmar Bergman. The film shares the same probing psychological examination and tense emotional drama with a majority of the Swedish director’s works, but Haigh’s picture departs through its sensitivity to its subject and characters, as well as its distinct visual style. Centered on the week leading up to Kate and Geoffrey Mercer’s (Charlotte Rampling and Tom Courtenay) 45th wedding anniversary, the narrative focuses

A contender for the Best Foreign Language Film Oscar, László Nemes’ debut feature, Son of Saul, is a harrowing philosophical tale that reminds us that the horrors of the past are still ever present. Photographed entirely with a 40mm lens in the Academy ratio (1.37:1), the film opens with an out-of-focus long shot; after a few moments, blurry people approach the camera and the long-shot becomes an extreme close-up. This method has been done before in a different manner by the late Sergio Leone fo

There’s a story Professor Terence Fletcher (J.K. Simmons in an Oscar-worthy role) tells freshman Andrew Neyman (Miles Teller) during his first semester at a music conservatory that becomes the motif for Damien Chazelle’s film, “Whiplash.” It’s the legend of how jazz drummer Jo Jones threw a cymbal at a young Charlie Parker for making a mistake. The story goes Charlie Parker learned from the humiliation and came back a year later and became arguably the best jazz trumpeter of all time. Fletcher

Film editor Sean Woodard shares an engaging conversation with author Troy Howarth about his latest book on giallo cinema.

Drunk Monkeys staff writer Sean Woodard had the opportunity to speak with horror film and folklore expert Mikel J. Koven to coincide with Sean’s film column on Lucio Fulci’s Don’t Torture a Duckling. Mikel J. Koven is senior lecturer on Film Studies at the University of Worcester in the U.K. and author of La Dolce Morte: Vernacular Cinema and the Italian Giallo Film and Film, Folklore, and Urban Legends. Join us as we delve into the macabre territory of the Italian Giallo genre.

Drunk Monkeys had the opportunity to speak with Kathryn Prescott about her recent short film, “Dear You.” Prescott is known for her work in film and television, notably appearing in Skins, 24:Legacy, Finding Carter, and most recently in AMC’s The Son. “Dear You” has a strong emotional impact despite its 4-minute running time.

Drunk Monkeys staff writer Sean Woodard had the opportunity to speak with author Pam Jones in conjunction with his review of her latest book, Andermatt County: Two Parables. A native of Connecticut, Jones studied Creative Writing at Hampshire College. She now lives in Texas, where the fictional Andermatt County of her work is located.

Troy Howarth’s third volume in the So Deadly, So Perverse series is a tome of information for film aficionados. Whereas the first two entries focused on familiar Italian Giallo films, the third one gives equal devotion to other lesser known entries and homages from different countries.

Veering into uncanny, humorous, and philosophically engaging realms, Gristle is akin to The Outer Limits with its varied subject matter. Although you may not be able to fully relate to every scenario or character, you cannot help but marvel at the assured storytelling on display.

Erica Hoffmeister’s first collection of prose poetry, Roots Grew Wild , manages to achieve what most other themed chapbooks fail to do: tell a complete story arc with lucid imagery and unforced pathos.

Jones manages to tap into the nostalgia of video stores and moviegoing without veering into sentimentality. Her penchant for developing engaging characters is also on full display, including its title character—who gives Shirley Temple and Audrey Hepburn a run for their money.

Jeffrey C. Isaac, professor of Indiana University, Bloomington, and former editor of Perspectives on Politics, has a series of essays and opinion pieces called #AgainstTrump: Notes from Year One. In one respect, the American public have heard many of his arguments elsewhere. But as an artifact of its time, perhaps readers can see how journalists like himself who were labeled “enemies of the people” used their resources and writing abilities to document this important era of American history.

Biggers does an exemplary job of unpacking concepts and historical events and presenting them in an easily digestible way for the general reader. But I was still confounded by his intended audience. While the tone of the book is fairly objective — especially when presenting historical events or influential figures — its overall slant would most likely appeal to those who are more of a politically and socially liberal persuasion.

But amid all the covers of classics your mother should know, there are a few musical gifts hidden deep within the Christmas tree boughs if anyone wishes to search for them. One of those songs is Jim Croce’s “It Doesn’t Have to Be That Way.” It remains one of my favorite songs he composed. Recorded in 1973, the song serves as the closing track of Croce’s Life and Times album. The record, which also contained the No. 1 U.S. Billboard Hot 100 hit “Bad, Bad Leroy Brown,” proved to be one of the singer-songwriter’s most commercially successful.

Pam Jones’s Andermatt County: Two Parables revives the Southern Gothic tradition. The collection’s Ye Shall Be As Gods and Happy Birthday, Dear Bitsy are narrative and thematic polar opposites, but complement each other well.

MY MATERNAL GRANDFATHER, whom I call Tata, tells me stories about his days as a fruit picker on a crew with Japanese, Mexicans, Filipinos, and displaced Oklahomans from the Dust Bowl who labored from sunup to sundown. Tata would get blisters on his hands from planting acres of small trees and hoeing crop lines, and he’d get paid six cents per box of oranges picked. With the money earned, he’d go to the picture show to watch a Western double feature. When I hear these stories, I feel as if Tata’

Horrible Imaginings presents Spanish director Jorge Grau’s 1974 zombie film, The Living Dead at Manchester Morgue (Let Sleeping Corpses Lie). When a cop investigates the murder of a woman’s estranged husband, he suspects a couple visiting the English countryside are responsible. Unbeknownst to him, a new radioactive device that serves as an alternative to pesticide being used by farmers is raising the dead . . . and they have a ravenous appetite for human flesh!

New German Cinema pioneer Wim Wenders (Wings of Desire) brings his keen eye for landscape to the American Southwest in Paris, Texas.

From legendary Italian horror master Lucio Fulci comes the ultimate classic of supernatural terror, The Beyond!

American Genre Film Archive presents The Wizard of Gore, a magic-themed offering from splatter master Herschell Gordon Lewis. Montag the Magnificent is a reluctant magician whose grisly stage mutilations become real just hours after the audience leaves the theater. As the mesmerist’s illusions become bloody reality, spellbound audience member Sherry (Judy Cler) gets him on her daytime TV show, Housewives’ Coffee Break. When Montag agrees, he stares into the camera and hypnotizes the viewing aud

Cult director Teruo Ishii (Blind Woman’s Curse, Orgies of Edo) presents a nightmarish tale drawn from the fevered imagination of Japan’s celebrated pioneer of ero-guro (“erotic grotesque”) literature, Edogawa Rampo.

Actor/producer/writer Carlos Gallardo – the original star of filmmaker Robert Rodriguez’ landmark independent film El Mariachi (as well as that film’s co-producer), and co-star and co-producer of Rodriguez’ 1995 action-packed follow-up Desperado – joins us in person May 5th at 8pm with Desperado!

In the history of countries, there are some events that impact and change their destination and sometimes the world. These events are brought about by men and women whose actions change the course of that nation, redefining the essentials, culture and its foundations for decades, centuries and in some cases millenniums.

“All right, All right, All right.” What better way to start the Summer off than by celebrating 1993’s classic Dazed and Confused on the big screen! This is our Volunteer of the Month pick by way of the amazing Isyss Columbus!

You asked for it, and we listened! Los Angeles Arts Society strikes again with 2016’s Japanese epic Shin Godzilla, making landfall at The Frida Cinema on Friday, June 7th!

On Saturday, June 29, celebrate Independence Day this year with an annual favorite — the screening of a 4k restoration of director Peter Hunt’s delightful musical! Based on the 1969 Tony award-winning musical, this 1972 film adaptation features many of the actors reprising their original Broadway roles.

The Frida Cinema is honored to present a brand new 4K restoration of Spike Lee’s potent 1989 comedy-drama Do The Right Thing in time for its 30th anniversary!

With little more than his tremulous voice and quirky observations, Byrne takes viewers on a tour through the small town of Virgil, Texas, in the days leading up to its sesquicentennial Celebration of Specialness.

Our team uses a functional, integrative approach that focuses on the whole person, not just a single symptom. Dr. Kristi Vaughan is a Certified Functional Medicine Practitioner who holds certificates in nutrition and applied kinesiology. Dr. Michael Pierce specializes in chiropractic services with a specialty national board certification in neurology.

[Co-written with Robert Hayek] Drug rehabilitation is the process of undergoing a treatment that can involve a combination of therapies and medications that can help people recover from an addiction.

An uncompromising auteur who is often cited as a genius and one of the best filmmakers of our time, while still remaining one of cinema’s most polarizing visionaries, David Lynch is a four-time Oscar nominee and two-time Cannes award-winner whose enigmatic work in film, music, and television have achieved both cult and critical acclaim.

We are pleased to announce that director Derek Nguyen and director Timothy Linh Bui will be joining us in person for a Q&A following our 8pm screening of The Housemaid (Cô Haû Gaí), the buzzed-about new tale of horror from IFC Midnights (The Babadook)!

Although many know him as a filmmaker, Clive Barker’s bizarre and terrifying screen worlds began with his writing. Here are stories inspired by the first three volumes of Barker’s iconic short story series . Get comfortable, turn all the lights on, and know that you’re probably not sleeping tonight.

Cassie stood on the top of the overpass scanning the desolation before her.  Yellowed grass and dust and cracked asphalt—the same in every direction.  The wind picked up, rustled her short-cropped hair.  Dust blew in her face, making her clear blue eyes water.  She squinted to see in the failing light.  The intersection of highway and overpass created a crossroads, but from what she could see, there was nothing in either direction.

Checking herself in the mirror. Valerie straightened her dress—it was two-years-old, but still practical for the rare social occasion. Exhausted from work and running errands, she hadn’t had much time to change but she tried to look the best she could. Roy had called two days ago. He was flying in for business and wanted to take her out for a night on the town. This afternoon she had made arrangements. Her hotel manager allowed her to book a room for the night at a discount price. She got it ju