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Intrada has announced next week's two new CDs, both expanded releases of hit scores by top composers.

THE HUNT FOR RED OCTOBER, the first of novelist Tom Clancy's "techno-thrillers" about CIA analyst Jack Ryan, was given an ideal film adaptation in 1990, with Sean Connery and Alec Baldwin leading a superb cast under the direction of John McTiernan working at the top of his game. The beloved Basil Poledouris had his greatest box-office success with the film, with a score mixing orchestra and electronics and featuring one of his most memorable themes, the "Hymnn to Red October." The original MCA CD featured only 30 minutes of music, while the Intrada CD features the complete score. The liner notes detail the history of the film's making as well as the creation of the score, featuring quotes from the late composer along with material from contemporary interviews with music mixer Tim Boyle and Poledouris's agent, Richard Kraft.

Director Ron Howard followed up his romantic comedy hit Splash with the surprise sci-fi smash COCOON, which earned Oscars for its visual effects and for Don Ameche's charming supporting performance. The warm symphonic score, incorporating original Big Band-style music, was composed by James Horner, the first of seven films he would score for Howard (including Oscar-nominated scores for Apollo 13 and A Beautiful Mind), and while Intrada is the third label to release Cocoon on CD, this is the first release to expand the score beyond the original LP tracks.

On November 12, Intrada will release the score for the latest Marvel 3D superhero adventure, THOR: THE DARK WORLD, with Chris Hemsworth, Natalie Portman, Tom Hiddleston, Kat Dennings, Idris Elba, Stellan Skarsgard and Anthony Hopkins reprising their roles from the 2011 hit. Carter Burwell was orginally announced to score the film, but the final composer on the project is Brian Tyler, who is having the best year of his career so far with 2013's top grosser, Iron Man Three, as well as the sleeper hit Now You See Me.

The latest CD announced by Kritzerland, already sold out from the label, pairs two previously unreleased scores by jazz legend Dave Grusin. Warren Beatty made his directorial debut with his 1978 remake of the fantasy classic Here Comes Mr. Jordan, HEAVEN CAN WAIT. Beatty co-wrote, co-directed (with Buck Henry) and starred as a football player who dies before his time and is returned to Earth in the body of a wealthy man, only to meet the woman of his dreams (Julie Christie). The film was Beatty's biggest box-office success and earned multiple Oscar nominations, including Best Picture, Supporting Actor (Jack Warden) and Supporting Actress (Dyan Cannon), winning for its Art Direction. Grusin received his very first Oscar nomination for his charming but very brief score. The CD will also include unused cues from Grusin's score, and paired with Heaven is another romantic charmer from the composer, the 1984 period drama RACING WITH THE MOON, written by Steve Kloves (The Fabulous Baker Boys, seven Harry Potter films), directed by Richard Benjamin, and starring Sean Penn, Elizabeth McGovern and Nicolas Cage.

On November 19, Varese Sarabande will release a soundtrack CD for the four seasons of the acclaimed comedy series ARRESTED DEVELOPMENT, featuring songs as well as score cues by composer David Schwartz (Magic in the Water, Northern Exposure, Deadwood).

Perseverance has announced a new limited edition CD of Tangerine Dream's score for Michael Mann's feature directorial debut, the stylish 1981 heist drama THIEF. The Perseverance release will feature the previously released Tangerine Dream music as well as the Craig Safan cue that was included on the soundtrack LP but left off earlier CD releases.

Quartet has announced several upcoming releases -- Phillippe Sarde's latest collaboration with director Bertrand Tavernier, QUAY D'ORSAY; two CDs of music by Zbigniew Preisner, one featuring his score for the 2012 drama AGLAJA and the other pairing two scores, the 2007 Holocaust drama from director Claude Miller, A SECRET, and the 2008 documentary, MENACHEM & FRED; and Pino Donaggio's score for the remake of Richard Franklin's hit Australian horror film PATRICK (the original was scored by Brian May, but some countries screened it with a score by Goblin).


Batman: Arkham Origins - Christopher Drake - Watertower [CD-R]
Bounty Killer - Greg Edmonson - Lakeshore [CD-R]
Da Vinci's Demons - Bear McCreary - Sparks & Shadows
Doctor Who: The Snowmen/The Doctor, The Widow and the Wardrobe
- Murray Gold - Silva
Ender's Game - Steve Jablonsky - Varese Sarabande
Fruitvale Station - Ludwig Goransson - Lakeshore
Grimm - Richard Marvin -La-La Land
La Mula
- Oscar Navarro - MovieScore Media/Kronos
The Last House on the Left - David Hess - One Way Static
L'Indic/Un Ange Au Pardis/Le Complot
- Michel Magne - Music Box
Lost Place
- Adrian Sieber - MovieScore Media/Kronos
Pet Sematary - Elliot Goldenthal - La-La Land
Room 237 - Jonathan Snipes, William Hudson - Death Waltz
Zipi Y Zape Y El Club De La Canica
- Fernando Velasquez - Quartet


American Promise - Miriam Cutler
Blood Brother - Keith Kenniff, Danny Bracken, Joe Minadeo, Wytold, A.J. Hochalter
The Counselor - Daniel Pemberton - Score CD due Nov. 12 on MIlan
Haunter - Jon Joffin
Il Futuro - Carole Chaspoul, Eduardo Henriquez
Immigrant - Paul Cantelon
Jackass Presents Bad Grandpa - Sam Spiegel, Kooool G. Murder
Spinning Plates - Edward Shearmur
Torn - David Reid, Derek Bermel


October 29
All Is Lost - Alex Ebert - Community Music
Cocoon - James Horner - Intrada Special Collection
The Hunt for Red October - Basil Poledouris - Intrada Special Collection
Runner Runner - Christophe Beck - Lakeshore
November 5
Last Vegas - Mark Mothersbaugh - Varese Sarabande
Machete Kills - Carl Thiel, Robert Rodriguez - Morada
November 12
The Counselor - Daniel Pemberton - Milan
Ed Wood (expanded) - Howard Shore - Howe
Thor: The Dark World - Brian Tyler - Intrada/Disney
November 19
Arrested Development - David Schwartz - Varese Sarabande
The Book Thief - John Williams - Sony
Last Passenger - Liam Bates - MovieScore Media/Kronos
Nebraska - Mark Orton - Milan
November 26
Frozen - Christophe Beck - Disney
December 10
The Hobbit: The Desolation of Smaug - Howard Shore - Watertower
Person of Interest: Season Two - Ramin Djawadi - Varese Sarabande
Saving Mr. Banks - Thomas Newman - Disney
Date Unkno
Agalja - Zbigniew Preisner - Quartet
The Best of Silent Hill
- Akira Yamaoka - Perseverance
Che Casino Con Pierino/3 Supermen Contro Il Padrino
- Nico Fidenco - Beat
The Doll Squad - Nicholas Carras - Monstrous Movie Music
- John WIlliams - Music Box
Heaven Can Wait/Racing with the Moon - Dave Grusin - Kritzerland
The Man from the Deep River
- Daniele Patucci - Beat
Neinte Rose Per OSS 117
- Piero Piccioni - Beat
Patrick - Pino Donaggio -Quartet
Poveri Ma Bellie
- Giorgio Fabor - Digitmovies
Quay d'Orsay - Philippe Sarde - Quartet
Saladino - Angelo Francesco Lavagnino - Kronos
A Secret/Menachem & Fred - Zbigniew Preisner - Quartet
- Tangerine Dream - Perseverance
The 25th Reich
- Ricky Edwards - MovieScore Media/Krono
Un Dollaro Bucato
- Gianni Ferrio - Digitmovies
Whatever Happened to Toto Baby/The Honorables
- Armando Trovaoili - Digitmovies


October 25 - Don Banks born (1923)
October 25 - Recording sessions begin for Alex North's score to I'll Cry Tomorrow (1955)
October 25 - Bronislau Kaper begins recording his score to The Brothers Karamazov (1958)
October 25 - Alexander Courage's "Plato's Stepchildren," the last score composed for the original Star Trek series, is recorded (1968)
October 25 - David Shire begins recording his score for Max Dugan Returns (1982)
October 26 - Bob Cobert born (1924)
October 26 - Victor Schertzinger died (1941)
October 26 - Recording sessions begin for Roy Webb's score to Fixed Bayonets (1951)
October 27 - Jerry Fielding begins recording his score for The Enforcer (1976)
October 27 - Frank DeVol died (1999)
October 27 - James Newton Howard begins recording his score to Peter Pan (2003)
October 28 - Carl Davis born (1936)
October 28 - Oliver Nelson died (1975)
October 29 - Daniele Amfitheatrof born (1901)
October 29 - Neal Hefti born (1922)
October 29 - George Bassman records his score to Mail Order Bride (1963)
October 29 - David Newman begins recording his score for Throw Momma from the Train (1987)
October 29 - Paul Misraki died (1998)
October 30 - Paul J. Smith born (1906)
October 30 - Charles Fox born (1940)
October 30 - The Lion in Winter opens in New York (1968)
October 30 - Brian Easdale died (1995)
October 31 - Now Voyager opens in theaters (1942)
October 31 - Jerry Goldsmith begins recording his score for Patton (1969)
October 31 - John Williams begins recording his score to The Towering Inferno (1974)


ALL IS LOST - Alex Ebert

"J.C. Chandor knows what a jewel he has in Redford, and he creates an appropriately simple, transparent setting. There’s minimal digital trickery here, and no flashbacks, cutaway scenes, or dream sequences to break up the action. The musical theme -- a simple, haunting melody by Alex Ebert -- is used sparingly and effectively, with natural sound providing most of the sonic backdrop."

Dana Stevens,

"Although this is really the star's movie, credit has to go to director J.C. Chandor. His one and only other feature, 'Margin Call' was a talky (and overly sympathetic) tale of the captains of Wall Street; nothing in it suggested he could handle such a purely visual story (and one which mostly takes place on a real boat, on real water). True, he makes a few missteps. Although Alexander Ebert's score mostly works, it gets loud and obvious at one point (and the closing, end-credits song is almost laughably awful). And although Chandor has said the very last shot is designed to make you think, it's still a bit unsatisfying, whatever it is you think it means."

Stephen Whitty, Newark Star-Ledger

"Chandor set himself a challenge from the outset, with this defiantly uncommercial premise: an anonymous man, about whom we know nearly nothing, is sailing solo in the Indian Ocean. Things go badly. He has to endure. That’s it. There are no pirates, no computer-generated animals, no desert island adventure. For most of the movie, there isn’t even any dialogue. The score is spare, the action minimal. It’s just a guy. On a boat. For 107 minutes. And every one of those minutes is riveting."

Elizabeth Weitzman, New York Daily News

"At 77, Redford isn’t exactly a typical senior citizen, and Chandor doesn’t seem to have cast him in order to fashion some allegory about mortality. It’s the actor’s longstanding remoteness and self-effacement that Chandor taps into here, to superb effect. Arguably, the performance is too single-minded to achieve real greatness, but its utter lack of showmanship is precisely what the movie requires; at its best, 'All Is Lost' could almost be a documentary about survival at sea, though it’s more starkly elemental than even nature docs usually get. Alex Ebert’s score gets a tad intrusive here and there (a problem magnified by how little music there is overall), and the ending is ambiguous in that 'lady or the tiger' way that always feels overly cute (a problem magnified, at least for some, by the religious implication of one possibility)."

Mike D’Angelo, The Onion

"On every technical level, 'All Is Lost' is extraordinary; the special effects do their job of making the man seem completely isolated without ever calling attention to themselves, the music (by Alex Ebert) is used sparingly, the sound design and cinematography and editing all combine to do the extra storytelling work that would normally be covered by dialogue."

Alonso Duralde, The Wrap

"Chandor plays to Redford's strengths: his battered visage, calm determination, and detachment from the vagaries of a 'normal' existence. In return, Redford gives the performance of the latter half of his career in a role that is not just physically, but also psychologically demanding. They are both aided by sterling work from the film's cinematographer Frank G. DeMarco, who manages to create a palpable dichotomy between the vastness of the ocean and the cramped lower decks of the vessel; as well as Alex Ebert's score, which is used sparingly to beautiful effect."

Ali Arikan,

"In retrospect, 'All Is Lost' conveys fundamentally religious connotations. Fortunately, Redford never blatantly says anything about any higher being that giveth and taketh away, but one can find it there. The same force that put him in this situation has the power to take him out of it, but he's largely left to his own devices, i.e., free will. On occasion, Alex Ebert's intrusive score overstates that sentimental conceit, threatening to turn 'All Is Lost' into a preachy movie by implication. But Chandor smartly avoids an obvious buildup to the conclusion in favor of foregrounding the passage of time, creating the feeling of drifting along with the survivor, sometimes to disorienting effect."

Eric Kohn, IndieWire

"Redford’s air of self-possession and weathered mien do seem peculiarly suited to the elemental, go-it-alone story (talk about independent film!), though he is at times restrained to a fault. Chandor’s control (except for some overbearing music) and the film’s near-absence of dialogue successfully induce a sense of contemplation about what a life well-lived might mean, even if none of that matters in the final countdown. But there remains a nagging feeling that the film’s drama may just be an efficiently executed exercise."

Nicholas Rapold, Film Comment

"Perhaps the only artificial elements here are the prominent score by Alex Ebert, which nonetheless crucially serves the material with its enveloping, never overpowering swells of emotion, and a final scene that verges on overcalculation, although Chandor finds the perfect gesture with which to bring his story to a deeply moving close."

Justin Chang, Variety

"Chandor certainly set a major technical challenge for himself here and he carries it off well; using widescreen and mostly wide-angle lenses, the shots he devised with cinematographer Frank G. DeMarco are generally tight and fluid but not in-your-face or jittery, and the editing is coherent. The general feel is one of creative resourcefulness and intelligent industry rather than radical experimentalism or creative cliff-diving. The score by Alex Ebert is quite varied, both in sound and effectiveness."

Todd McCarthy, Hollywood Reporter

CARRIE - Marco Beltrami

"Marco Beltrami’s score, however, seems lost in a knotty swirl of wind and warping-wood sound effects."

Brent Simon, Screen Daily

“And the whole picture is threaded with tonal inconsistency, and a vibe that keeps the proceedings on uneven footing. Peirce’s attempt to modulate the material leaves Moore hanging out to dry, with her wild haired portrayal often incongruous with the overall feel of the movie, and particularly Moretz’s more inward, reserved turn; the pair seem like they are acting opposite each other in two different movies. And even Marco Beltrami’s score seems non-committal, lacking the sort of knowing lyricism of Pino Donaggio’s work for De Palma, one that easily weaved its way through the knotty number of genres that influenced the director. But if none of this convinces you that ‘Carrie’ wobbles under it’s own semi-serious conceit, then perhaps the brief, random montage of dudes getting their tuxedos set to Vampire Weekend’s ‘Diane Young’  will change your mind.”

Kevin Jagernauth, IndieWIRE

“Tech package is fine but undistinguished; Steve Yedlin’s underlit widescreen images serves the picture’s attempt to conjure a mundane present-day reality but still feel a bit too nondescript, but the film would have benefited from much bolder, more extreme musical treatment than is supplied by Marco Beltrami’s score.”

Justin Chang, Variety

"The movie looks polished and is well paced, though less sparing use of Marco Beltrami’s lush score might not have been a bad idea."

David Rooney, Hollywood Reporter


"All these issues aside, there's lots of individual elements of 'Kill Your Darlings' that are easy to praise and admire. Next to the hermetically-sealed 'On the Road,' 'Darlings' at least has a big pulse. Shot by talented cinematographer Reed Morano ('Shut Up And Play The Hits,' 'For Ellen'), 'Kill Your Darlings' often looks quite beautiful. The production design is great for its shoestring budget and Nico Muhly’s score ('The Reader,' 'Margaret') is often the most beautiful and affecting element of the piece."

Rodrigo Perez, The Playlist

12 YEARS A SLAVE - Hans Zimmer

"The cinematography by Sean Bobbitt (who worked with McQueen on his previous features) is stunning; and the score by Hans Zimmer represents his best work in years, an eerie, discomfiting soundscape that buzzes like angry locusts and drums like approaching thunder."

Christopher Orr, The Atlantic

"McQueen's regular collaborators, especially cinematographer Sean Bobbitt and editor Joe Walker, help him keep ruthless focus without sentimentalising in the slightest, and find glimpses of terrible beauty in this inferno which never feel over-aestheticised. The embers of a burnt parchment winnow down to orange pinpricks swallowed by the dark, as Hans Zimmer's grave score -- perhaps his most emotive since 'The Thin Red Line,' but far more primal -- whispers a dirge."

Tim Robey, Daily Telegraph

"John Ridley’s deft, well-structured screenplay balances moments of terror with telling glances of Northup’s sad resignation. Hans Zimmer’s music underscores gently or, at times, jarringly, a symphonic suggestion of being caught in a machine."

Joe Neumaier, New York Daily News

"Long before Samuel Bass (Brad Pitt), a Canadian carpenter and abolitionist, arrives on the scene, just in time to remind us, virtuously though not fallaciously, that the freedom of blacks from slavery wouldn't have been possible without great risk on the part of whites, '12 Years a Slave' has announced itself as a compromised vision. The film's immaculate score, by Hans Zimmer, and sound design, so thick with thunder, wind, the chirping of crickets, hammers beating nails into wood, whips tearing black bodies to shreds, work in tandem to strongly convey the bucolic, sinister atmosphere of the antebellum South. And yet, Solomon almost appears deaf to the world. This is because the film practically treats him as passive observer to a litany of horrors that exist primarily for our own learning."

Ed Gonzalez, Slant Magazine

"McQueen teases out the lunacy of it all via Ejiofor's barely veiled amazement and a radical score by 'Inception''s tuba-blaster Hans Zimmer, who uses synthesizers and percussive clangs to connote strangeness."

Joshua Rothkopf, Time Out

"But the real driving forces are the deeply insightful script by John Ridley and the austere, formalist direction of Steve McQueen ('Hunger'). The movie's painterly beauty (the cinematography is by Sean Bobbitt) and highly effective use of sound -- not just Hans Zimmer's ominous score but the ghastly noises of human suffering -- will stay with you for days."

Rafer Guzman, Newsday

"In retelling the harrowing true story of Solomon Northup (Chiwetel Ejiofor), a free black man kidnapped and sold into the plantation system circa 1841, McQueen meets the atrocities of the era head-on. His unblinking gaze settles not only on oozing lacerations -- the barbaric handiwork of the overseers -- but also on the dehumanizing spectacle of people trotted out like cattle, of children torn from the arms of their screaming mothers, and of a slaver forcing himself, in the dead of terrible night, upon his 'property.' Viewers who avert their eyes won’t escape, as hearing the sickening slap of leather against skin, invariably accompanied by a bellow of pain, is just as disturbing as seeing it. If there was any doubt that this is a horror movie, Hans Zimmer’s score pounds and roars with dread -- the appropriate soundtrack for the madness of history."

A.A. Dowd, The Onion

"Underscoring the cruelty -- so commonplace that, in one disturbing scene, workers go about their daily routine as our hero struggles for hours dangling on his tippy-toes while trying not to succumb to the noose around his neck -- is the aptly unsettling and sometimes discordant soundtrack by Hans Zimmer, reminiscent of his own strong work on 'Inception' but to much different effect."

Susan Wloszczyna,

"As he did in the films 'Hunger' and 'Shame' (also starring Fassbender), McQueen doesn’t go in for a lot of flash edits or self-conscious visual flourishes to put viewers at ease; rather, he invites the audience to sit with him as he gazes, amazed, at man’s inhumanity to man, an unnerving encounter that in this case is heightened by a percussive, adamantly non-period musical score by Hans Zimmer. Whether the filmmaker is holding his camera on Northup as he struggles on his tiptoes, his neck caught in a lynching noose, while the life of the plantation deliberately goes on behind him, or an excruciatingly protracted whipping scene, the net effect is less an indictment of slavery than a far more nuanced portrait of the violence, intimacy, obsession and constant psychological contortions that defined its most toxic enmeshments."

Ann Hornaday, Washington Post

"There are echoes of the paranoid urgency and claustrophobic McQueen memorably built around a single setting in 'Hunger,' but 'Slave' carries them to a grander emotional scale. As Northup is thrust on to a boat with other frantic new captures, Hans Zimmer's pulsating score compliments an intense montage of whispered exchanges between Northup and the other prisoners. The strength of the images shot by cinematographer Sean Bobbitt ('The Place Beyond the Pines'), first glimpsed in the prologue, provide an intricate clash of colors -- from the sharp blues of the surrounding ocean to the murky shadows of the ship's belly."

Eric Kohn, IndieWIRE

"When it comes time to bestow awards, voters tend to prefer characters who suffer to those who abuse, and yet, this actorly transformation may be Fassbender’s most courageous yet, tapping into a place of righteous superiority that reminds just how scary such racism can be. In many respects, “12 Years a Slave” works like a horror movie, beginning with a “Saw”-style abduction and proceeding through subsequent circles of hell, the tension amplified by a score that blends chain-gang clanging with those same foghorn blasts Hans Zimmer used in 'Inception.' As captured by cinematographer Sean Bobbitt, however, a rare beauty suffuses even the most infernal situations."

Peter Debruge, Variety

"Hans Zimmer’s score combines with occasional religious music sung by the slaves to provide effective backgrounding, but students of the composer’s work will quickly realize that the main chord progression here is almost precisely the same as the central one he used on what may be his greatest soundtrack, that for 'Inception.'"

Todd McCarthy, Hollywood Reporter


Screenings of older films, at the following L.A. movie theaters: AMPASAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianLACMANew Beverly, NuartSilent Movie Theater and UCLA.

October 25
AMERICAN BEAUTY (Thomas Newman) [Arclight Hollywood]
THE GLEANERS AND I (Joanna Bruzdowicz, Isabelle Olivier) [LACMA]
HE KNOWS YOU'RE ALONE (Alexander Peskanov, Mark Pescanov), PSYCHO II (Jerry Goldsmith) [New Beverly]
A NIGHTMARE ON ELM STREET (Charles Bernstein) [Nuart]
THE NINTH CONFIGURATION (Barry DeVorzon), FAT CITY (Marvin Hamlisch) [Cinematheque: Aero]
TALES FROM THE CRYPT: DEMON KNIGHT (Edward Shearmur) [Cinematheque: Egyptian]

October 26
AMITYVILLE II: THE POSSESSION (Leonard Rosenman), KINGDOM OF THE SPIDERS (Igo Kantor), THE FLY (Howard Shore), HELL HIGH (Chris Hyams-Hart, RIch Macar), THE CAR (Leonard Rosenman), THE SENTINEL (Gil Melle) [Cinemathqeue: Aero]
THE BEACHES OF AGNES (Joanna Bruzdowicz, Stephane Vilar) [LACMA]
THE EVIL DEAD (Joseph LoDuca) [Silent Movie Theater]
HE KNOWS YOU'RE ALONE (Alexander Peskanov, Mark Pescanov), PSYCHO II (Jerry Goldsmith) [New Beverly]
NIGHTBREED (Danny Elfman) [Cinematheque: Egyptian]

October 27
HOW THE WEST WAS WON (Alfred Newman) [Arclight Hollywood]
IT'S A MAD MAD MAD MAD WORLD (Ernest Gold) [Arclight Hollywood]
METROPOLIS [Silent Movie Theater]
MYSTERY OF THE WAX MUSEUM, DR. CYCLOPS (Ernst Toch, Gerard Carbonara, Albert Hay Malotte) [New Beverly]
THE TOWN THAT DREADED SUNDOWN (Jaime Mendoza-Nava) [Silent Movie Theater]
WITCHFINDER GENERAL (Paul Ferris) [Silent Movie Theater]

October 28
EATEN ALIVE (Wayne Bell, Tobe Hooper) [Silent Movie Theater]
MIDORI (J.A. Shiza) [Silent Movie Theater]
MYSTERY OF THE WAX MUSEUM, DR. CYCLOPS (Ernst Toch, Gerard Carbonara, Albert Hay Malotte) [New Beverly]
PSYCHO (Bernard Herrmann) [Arclight Sherman Oaks]
STORIES WE TELL (Jonathan Goldsmith) [Cinematheque: Aero]

October 29
ENDANGERED SPECIES (Gary Wright) [Silent Movie Theater]
LOGAN'S RUN (Jerry Goldsmith) [Arclight Hollywood]
ROSEMARY'S BABY (Christopher Komeda) [Cinematheque: Egyptian]

October 30
THE BROTHERHOOD OF SATAN (Jaime Mendoza-Nava) [New Beverly]
EYES WITHOUT A FACE (Maurice Jarre) [New Beverly]
THE SHINING (Wendy Carlos, Rachel Elkind) [Arclight Hollywood]

October 31
CHOPPING MALL (Chuck Cirino) [Silent Movie Theater]
NOSFERATU [Cinematheque: Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE TINGLER (Von Dexter) [Silent Movie Theater]

November 1
AMERICAN PSYCHO (John Cale) [Nuart]
CISCO PIKE [Silent Movie Theater]
THE VISITOR (Franco Micallizzi) [Silent Movie Theater]
WHY DO FOOLS FALL IN LOVE? (Stephen James Taylor) [UCLA]

November 2
PAT GARRETT AND BILLY THE KID (Bob Dylan) [Silent Movie Theater]
THE VISITOR (Franco Micallizzi) [Silent Movie Theater]

November 3
A NIGHTMARE ON ELM STREET (Charles Bernstein) [Arclight Hollywood]
PAT GARRETT AND BILLY THE KID (Bob Dylan) [Silent Movie Theater]
THE VISITOR (Franco Micallizzi) [Silent Movie Theater]

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