Intrada has announced two new releases this week, both multi-disc, greatly expanded versions of epic adventure scores by Oscar-winning composers -- a three-disc set of Maurice Jarre's score for the lavish 1980 TV miniseries adaptation of James Clavell's SHOGUN; and a two-disc set of James Horner's score for director Wolfgang Peterson's 2004 TROY.
CDS AVAILABLE THIS WEEK
Ben-Hur (re-recording) - Miklos Rozsa - Tadlow
E.T. The Extra-Terrestrial - John Williams - La-La Land
Gaugin - Warren Ellis - Milan (import)
Jean-Michel Bernard Plays Lalo Schifrin - Lalo Schifrin - Varese Sarabande
Kingsman: The Golden Circle - Henry Jackman, Matthew Margeson - La-La Land
The Last Post - Solomon Grey - Decca (import)
Loving Vincent - Clint Mansell - Milan
Shogun - Maurice Jarre - Intrada Special Collection
Tadeo Jones 2: El Secreto Del Rey Midas - Zacarias M. de la Riva - Quartet
Troy - James Horner
Victoria - Martin Phipps, Ruth Barrett - Sony (import)
IN THEATERS TODAY
Abundant Acreage Available - Jeffrey Dean Foster
Better Watch Out - Brian Cachia
Big Sonia - Brad Anthony Laina
Blade Runner 2049 - Benjamin Wallfisch, Hans Zimmer - Score 2-CD set due Oct 20 on Epic
Brawl in Cell Block 99 - Jeff Harriott, S. Craig Zahler
Chavela - Gil Talmi
The Florida Project - Music Supervisor: Matthew Hearon-Smith
I Am Another You - Nathan Halpern, Chris Ruggiero
Maineland - Stephen Ulrich
My Little Pony - Daniel Ingram
The Osiris Child - Brian Cachia
The Pathological Optimist - Craig Richey
So B. It - Nick Urata
The Stray - Christian Davis
Trafficked - David Das
Walking Out - Ernst Reijseger
COMING SOON
October 13
Black Mirror: Nosedive - Max Richter - Deutsche Grammophon
Breathe - Nitin Sawhney - Varese Sarabande
Dorothea Lange: Grab a Hunk of Lightning - Jami Sieber, Evan Schiller - Out Front Music
The Foreigner - Cliff Martinez - Sony (import)
Geostorm - Lorne Balfe - WaterTower [CD-R]
Henry May Long - Max Richter - Deutsche Grammophon
Professor Marston and the Wonder Women - Tom Howe - Sony (import)
October 20
Anthology: Movie Themes 1974 - 1998 - John Carpenter - Sacred Bones
Blade Runner 2049 - Benjamin Wallfisch, Hans Zimmer - Epic
Earth - Alex Heffes - Edsel (import)
Jane - Philip Glass - Sony
The Mountain Between Us - Ramin Djawadi - Lakeshore
The Snowman - Marco Beltrami - Backlot
The Walking Dead - Bear McCreary - Lakeshore
Wonderstruck - Carter Burwell - Lakeshore
October 27
Battle of the Sexes - Nicholas Britell - Sony
Goodbye, Christopher Robin - Carter Burwell - Sony
Rage - Ryuichi Sakamoto - Milan
November 3
Hans Zimmer: Live in Prague - Hans Zimmer - Eagle Rock
Murder on the Orient Express - Patrick Doyle - Sony
Thank You for Your Service - Thomas Newman - Sony
Tooth and Tail - Austin Wintory - Varese Sarabande
November 10
The Film Scores and Original Orchestral Music of George Martin - George Martin - Atlas Realisations
Loveless - Evgueni Galperine, Sacha Galperine - Varese Sarabande
Mr. Robot vol. 4 - Mac Quayle - Lakeshore
November 17
All I See Is You - Marc Streitenfeld - Milan
Only the Brave - Joseph Trapanese - Varese Sarabande
Rat Film - Dan Deacon - Domino
Wonder - Marcelo Zarvos - Milan
December 15
Star Wars: The Last Jedi - John Williams - Disney
Date Unknown
Hammer Horror: Classic Themes (1958 - 1974) - various - Silva
La Cordillera - Alberto Iglesias - Quartet
L'Amant Double - Philippe Rombi - Quartet
Made in Italy - Carlo Rustichelli - Digitmovies
Scusi, Lei E Favorevole O Contrario - Piero Piccioni - Digitmovies
Wild Geese II - Roy Budd - Caldera
THIS WEEK IN FILM MUSIC HISTORY
October 6 - Stanley Myers born (1933)
October 6 - David Raksin records his score for Daisy Kenyon (1947)
October 6 - Tommy Stinson born (1966)
October 6 - Giuseppe Becce died (1973)
October 6 - James Horner begins recording his score for 48 HRS. (1982)
October 6 - William Butler born (1982)
October 6 - Nelson Riddle died (1985)
October 7 - Gabriel Yared born (1949)
October 7 - Marco Beltrami born (1968)
October 7 - Robert Drasnin records his score for the Mission: Impossible episode “The Play” (1968)
October 8 - Walter Schumann born (1913)
October 8 - Toru Takemitsu born (1930)
October 8 - Gavin Friday born (1959)
October 8 - Ralph Schuckett born (1962)
October 8 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “Consider Her Ways” (1964)
October 8 - Frank Skinner died (1968)
October 8 - Richard Markowitz records his score for the Mission: Impossible episode “Robot” (1969)
October 8 - David Bell records his score for the Star Trek: Deep Space Nine episode “Take Me Out to the Holosuite” (1998)
October 9 - Camille Saint-Saens born (1835)
October 9 - Bebo Valdes born (1918)
October 9 - Barry Gray begins recording his score for Thunderbirds Are Go (1966)
October 9 - Steve Jablonsky born (1970)
October 9 - Bill Conti begins recording his score for The Fourth War (1989)
October 10 - Giovanni Fusco born (1906)
October 10 - John Green born (1908)
October 10 - Marco Antonio Guimaraes born (1948)
October 10 - David Raksin begins recording his score for Whirlpool (1949)
October 10 - Midge Ure born (1953)
October 10 - Giant opens in New York (1956)
October 10 - Valentine McCallum born (1963)
October 10 - Andrea Morricone born (1964)
October 10 - Hawaii opens in New York (1966)
October 10 - Walter Scharf records his score for the Mission: Impossible episode “The Ransom” (1966)
October 10 - Michael Giacchino born (1967)
October 10 - Vince DiCola begins orchestral recording sessions for his Rocky IV score (1985)
October 10 - William Goldstein records his scores for the Twilight Zone episodes “The Card” and “Time and Teresa Golowitz” (1986)
October 10 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Remember Me” (1990)
October 11 - Art Blakey born (1919)
October 11 - Laura opens in New York (1944)
October 11 - Buddy Bregman begins recording his score for The Delicate Delinquent (1957)
October 11 - Michel Legrand begins recording his score for The Happy Ending (1968)
October 11 - Henry Mancini begins recording his score for The Moneychangers (1976)
October 11 - Neal Hefti died (2008)
October 12 - Ralph Vaughan Williams born (1872)
October 12 - Joseph Kosma born (1905)
October 12 - John Williams records his score for the Lost in Space episode "My Friend, Mr. Nobody" (1965)
October 12 - Gil Melle begins recording his score for The Andromeda Strain (1970)
DID THEY MENTION THE MUSIC?
ALMOST HOLY - Atticus Ross, Leopold Ross, Bobby Krlic
"Director Hoover utilizes some tricky spot-focus to draw the audience in, and the grim yet entirely appropriate score by Atticus Ross provides a perfect complement to the events unfolding onscreen. 'The Cross and the Switchblade' it’s not; this is the reality of Ukraine today, and Crocodile Gennadiy is a badass man on a mission … from God."
Marc Savlov, The Austin Chronicle
"Beginning with his rough formation of Pilgrim's Republic in 2000 and ending with Russia's military push into Ukraine in 2014, director Steve Hoover peels back multiple layers of Mokhnenko's story with artistry and acuity, assisted by a heady and propulsive score from composer Atticus Ross ('The Social Network,' 'Gone Girl')."
Leah Pickett, Chicago Reader
"The makers of 'Almost Holy' make it clear -- with no care for subtlety -- what they think about their vigilante central figure, Ukrainian Pastor Gennadiy Mokhnenko. The highly stylized opening credits have the look and sound of a Batman sequel, with quick-moving images and an electronic score hammering home the urgency of what you’re about to see. Director Steve Hoover favors full frames that are mostly out of focus, making sure the charismatic Mokhnenko always remains in sharp relief. But this documentary isn’t about heroes and villains, or determining right and wrong. It’s about hope in the face of hopelessness, and what drives a man to keep trying to change the seemingly unchangeable. It’s not a sin to tell a one-sided story, Hoover seems to be arguing, when there is no other side."
Peter Hartlaub, San Francisco Chronicle
"'Almost Holy' shows Crocodile Gennadiy at work, taking us into the sewers and the mean streets of Mariupol, Ukraine. Some of the imagery is horrific, but at no time is it exploitative or used as poverty porn as in the similarly themed 'Trash' and 'Slumdog Millionaire.' Aided by an unobtrusive score by Atticus Ross ('The Social Network'), director Steve Hoover maintains a strict, naturalistic hold on the material that never telegraphs how we are supposed to feel, nor does it make its subjects into unrecognizable others. It helps that 'Almost Holy' presents this material as a series of stories Crocodile Gennadiy is telling during a speaking engagement at a women’s penitentiary. We become flies on the wall, destined to listen and learn rather than pity and feel superior."
Odie Henderson, RogerEbert.com
"Hoover blends fictional narrative and documentary tropes. Atticus Ross provides a score that recalls his work for David Fincher, informing certain sequences with a heightened dread that contrasts with the rawness of the skid-row visuals. Rough footage caught on the fly, dating back to the early 2000s, is interwoven with pristine modern images that emphasize the wideness of Mariupol’s horizons, as this bull in a China shop attempts to take stock of his city. Instances of slow motion, particularly as Mokhnenko swims in the chilly ocean, prolong our awareness of his own feelings of constriction. Occasionally, this stylization proves unnecessary, as the street-level footage, of a man attempting to rebuild his country from the ground up, speaks louder than traditional expressionism."
Chuck Bowen, Slant Magazine
"The score, by eerie electronica heavyweight Atticus Ross, adds and appropriate ambiance, but also hints at a sinister element to the proceedings. The dramatic sounds are a tad necessary; the film’s point would have easily come across with a less heavy-handed soundtrack, but Ross’ style remains impressive nonetheless."
Casey Cipriani, IndieWire
"Hoover’s style seems equally fit for a bleak documentary, suspenseful thriller, black comedy, dystopian sci-fi nightmare and grisly horror film. Those mood-swing modes are mirrored by Atticus Ross, Leopold Ross and Bobby Krlic’s eclectic score, which peaks during a shot of Gennadiy watching fireworks to the sound of a clanging industrial dirge -- a scene of beautiful, mournful end-of-the-world terror."
Nick Schager, Variety
"Inevitably, ['Almost Holy'] becomes a film about war, as the clash between Ukraine and pro-Russia rebels zeros in on Mariupol in early 2015. Trying to keep a young man out of that war, Mokhnenko offers a wise observation: 'They’ll change the world maps 50 times.' It’s one of many intimate exchanges that cinematographer John Pope frames tellingly. He’s also attuned to the larger setting, from its industrial skyline and night streets to its patches of forest. The restrained, nearly atonal score by Atticus Ross, Leopold Ross and Bobby Krlic suits the atmosphere of crimes and secrets being brought into the light, and of lives in the balance."
Sheri Linden, Hollywood Reporter
"'The Curse of Sleeping Beauty' is about a haunted house. We know this because Tom (Ethan Peck) inherits a haunted house from his uncle, a haunted house that is obviously haunted, and proceeds to ask everybody he meets whether or not they also think the house is haunted. But when realtor and secret occult investigator Jane (Natalie Hall) responds that she thinks Tom’s house might be 'supernatural,' the soundtrack suddenly stutters, all 'Dun dun duuun!' Tom -- who is having odd dreams about Sleeping Beauty and a xenomorphish chest demon; who has found a ritual altar in the house’s basement; who has just explained that the lights only work during the day; who is literally, while Jane makes this assertion, recovering from the revelation that his body cannot leave the property without his organs failing; and who has, as mentioned, already asked 327 people if they think the house is haunted -- joins the soundtrack in reacting to Jane’s incredible assertion. A moment later, he’s totally on board, but when he mentions that he thinks he might be cursed, it’s suddenly Jane who is incredulous, all, 'You think it’s a curse?'"
Mark Abraham, Paste Magazine
EDDIE THE EAGLE - Matthew Margeson
"Fletcher does a brilliant job blending Eddie’s rather goofy behavior with the intensity of the sport. Matthew Margeson whipped up a fantastic synth-heavy score that suits the 80s setting and also gives the film an especially jovial feel, which is right in line with Eddie’s cheerful disposition. However, that never stops Fletcher from reminding the viewer how dangerous ski jumping is. Not only do we see quite a few vicious crashes, a number of which involve and injure Eddie, but there are also plenty of shots of monstrous ramps that’ll make you queasy even when the slopes are silent and no one’s going down them."
Perri Nemiroff, Collider
"The first tip is the score. In the early scenes of Dexter Fletcher’s 'Eddie the Eagle,' which portray young Eddie Edwards dreaming of Olympic gold and injuring himself in a variety of homemade 'training' situations, Matthew Margeson’s music is so twinkly, so faux-inspirational, that it’s either a) terrible, or b) a very clever satire of twinkly, faux-inspirational sports movie scores. But then the cheesy synthesizers and hollow drum machines kick in, and Margeson’s intention becomes clear -- as does the movie’s. 'Eddie the Eagle,' which is set in the run-up to and during the 1988 Calgary Olympics, isn’t just a dramatization of those games’ underdog story. It’s a carefully constructed throwback, looking and sounding and playing like a movie not only set in the late ‘80s, but made then as well."
Jason Bailey, Flavorwire
"The ski footage isn’t going to make anyone forget 'Downhill Racer,' but cinematographer George Richmond ('Kingsman: The Secret Service') does allow us to teeter on the edge of Eddie’s skis as he makes his way from the 15m jump to the 40m to the 70m to -- in competition in Calgary, no less -- the vertiginous 90m. All of this is set to Matthew Margeson’s aggressively 1980s-flavored score of synth and drum machines, which sounds like a collaboration between Vangelis and Tangerine Dream, all stuffed into the same pair of parachute pants."
Alonso Duralde, The Wrap
"Another good and familiar song juices up the big finale with poppy synth tones, too, but that one will remain unspoiled. The score, which features quite a few cues done in a faithful and exemplary ’80s-synth style, hints at the finale song choice a few times so you probably won’t be surprised by that one either. The score will quite possibly power private training montages for film nerds in the future, too."
Russ Fischer, IndieWire
"The film is an enjoyable blast of '80s cheese, from its embrace of the era's fashions to the synth-heavy score to the training montages that recall the goofiest moments of the 'Rocky' franchise. These characteristics won't be a plus to everyone, but for those who enjoy the earnestness of the homage, they should work beautifully."
Todd VanDer Werff, Vox
"Jackman and Egerton have reasonable comic chemistry, but the film has them dutifully repeating the same paces: Eddie falls, Bronson grumbles; Bronson coaches while grumbling, Eddie improves. It’s all set to a very synthy ’80s score, which matches the neon ski parkas of the era nicely."
Sara Stewart, New York Post
SACRIFICE - Benedikt Brydern
"Cinematographer David Grennan gives a functional aesthetic that makes 'Sacrifice' look like a genuine movie, despite many other elements rebelling against this qualification. Because of its direction, the style ends there: when it ventures for an iconic split-diopter shot à la Orson Welles or Hitchcock fanboy Brian de Palma, a scowling man in the left background has no sinister effect while Mitchell, on the other side of the screen and also in the focus, tries to feign uneasiness. The overall vision is so empty that a score by Benedikt Brydern can only provide instructions as to how a scene like a car chase is meant to be thrilling, or its resulting ball of fire a tragedy. To be fair with Dowling, the rushed quality of 'Sacrifice' is suspicious. No right-minded director would choose this film’s opening credit sequence, which through smoke and overly menacing strings foreshadows key props like big pieces to a very easy puzzle. The same goes for the final shot, which concludes with an abrupt fade to black. And nearly every scene in between has an abbreviated quality, making its delivery of information all the more lifeless."
Nick Allen, RogerEbert.com
TRIPLE 9 - Atticus Ross, Leopold Ross, Claudia Sarne, Bobby Krlic
"Fine support comes from 'Breaking Bad'’s Aaron Paul, 'The Walking Dead'’s Norman Reedus and Clifton Collins Jr as the other shifty, sweaty gang members, but it’s Winslet who is the revelation as the menacing mafia madam -- her lines dipped in pure poison. Edited with verve and cut to a nervy score by a collective led by Atticus Ross, the result reinvigorates the heist sub-genre with a huge shot of adrenaline. It’ll leave you buzzing."
James Mottram, The List
"Happily the absence of Hillcoat’s usual musical collaborator and/or scribe Nick Cave ('Triple 9' is the first of Hillcoat’s six movies not to feature Cave in some capacity) isn’t too keenly felt, thanks to a tough noir screenplay by Matt Cook and an electronic score buzzing with dread, courtesy of an Atticus Ross-led compositional foursome. The sun-fried photography by Nicolas Karakatsanis, a Michaël R. Roskam and Matthias Schoenaerts regular, similarly adds to the queasy hardboiled atmosphere. Karakatsanis’ images are flecked with neon -- the sickly pink of exploding anti-theft dye, the canary yellow of the paint tossed on cops when they’re trapped in a bad neighborhood -- like graffiti splashed on the screen."
Brogan Morris, Paste Magazine
"The audience may sympathize with Marcus' choice. Although Chris is the center of the story, he does verge on the superfluous. Played by Affleck in a more naturalistic mode than his amusingly retro turn in the recent 'The Finest Hours,' the good cop is kind of a bore. The potential menace to Chris doesn't propel the action. Neither does the convoluted plot, devised by scripter Matt Cook under the apparent influence of Michael Mann and Quentin Tarantino. Instead, Hillcoat relies on clipped editing, prowling cameras and an electro-throb score composed by a team that includes Atticus Ross."
Mark Jenkins, NPR
"For all its intersecting subplots, 'Triple 9' fares best when it shifts into pure feet-on-pavement, finger-on-trigger action mode: Besides the first set piece -- amplified by the grungy blare of the music, co-composed by frequent Trent Reznor collaborator Atticus Ross -- there’s a chaotic, bullets-flying chase that Hillcoat films with some of the same handheld frenzy that Joe Carnahan brought to 'Narc.' Elsewhere, the director ratchets up the suspense, as during a creeping ambush in a pitch-black, shuttered project building. (None too subtly does 'Triple 9' drench its characters in heavily symbolic shadow, even beginning with a conversation so shrouded in darkness that it’s hard to tell who’s talking.)"
A.A. Dowd, The Onion AV Club
"Taking excellent advantage of his Atlanta locations, the director stages action and conflict with a blurry mean-streets verisimilitude, propelled by Nicolas Karakatsanis’ active handheld lensing and Dylan Tichenor’s switchblade editing, and backed by a propulsive wall-of-sound score credited to four composers (the busy Atticus Ross and his wife, Claudia Sarne, and brother, Leopold, plus the British musician Bobby Krlic). Some of the most unnerving sequences find Hillcoat guiding his cops silently through a dim tenement building, or into a warren of empty corridors where danger may lurk behind every corner. The result is a film that conveys the eerie sense of lying in wait for all its characters, and the paranoia is infectious, with at least two scenes certain to have viewers checking their car backseats upon exiting the theater."
Justin Chang, Variety
"Driven by an ominous, pulsating electronic score that enshrouds the proceedings with a doom-laden low-lying cloud that never lifts, the film achieves instant viewer immersion with a 10-minute action sequence that must have tied up traffic in the city for several days. Led by cop and former Special Forces ace Michael (Chiwetel Ejiofor), a gang comprising police and/or ex-military (Anthony Mackie, Aaron Paul, Clifton Collins Jr. and Norman Reedus) pulls off a bank job that spirals into a battle on a crowded freeway that gets very messy. Even though the audience has no investment in the characters or the outcome at this early stage, the muscular opening certainly triggers curiosity about the dynamics driving such an audacious and intricately planned heist."
Todd McCarthy, Hollywood Reporter
UNDER THE GUN - Brian Tyler
"But for all its surface sobriety, 'Under The Gun' only takes balance so far. When a voice from the anti-gun-control side is heard, a dissenting voice follows. When a housewife in Temple, Texas -- who proudly carries a rifle wherever she goes about her business in town -- expresses skepticism toward the possibility of people getting shot in supermarkets, the film immediately presents the case of Gabrielle Giffords, who was a member of Congress when she survived an assassination attempt at a Safeway in Tucson in 2011, and still deals with some paralysis as a result. Same with members of the Virginia Citizens Defense League who express fears that the government will take away their guns as a result of restrictive legislation. Right away, Soechtig and Couric bring in an expert to roundly debunk their claim. On the filmmaking front, Soechtig isn’t above the occasional easy joke, either: A sequence of footage from a gun show in Richmond, Virginia, is ironically scored to Léo Delibes’ romantic 'Flower Duet.' And Brian Tyler’s score is used to excessively underline emotion, injecting action-movie-like menace in sequences meant to condemn the NRA, and laying on the twinkly major-key keyboards in more triumphant moments."
Kenji Fujishima, The Onion AV Club
"Indeed, between the classically shot and conducted interviews, expert soundbites, slick presentation of contextual history, score that appropriately alternates between menacing and mournful, and of course Couric’s involvement, the film most strongly resembles a supersized episode of '60 Minutes.' Though it has some room for arguments from both sides, the level-headed film isn’t in any way balanced politically. Clearly, it never could be, though the feature -- unlike Moore’s -- is too respectful to suggest that, for example, it might take the death of one’s own child to immediately understand the importance of stricter gun-control measures."
Boyd van Hoeij, Hollywood Reporter
WHAT WE BECOME - Martin Pederson
"Has the massive success of 'The Walking Dead' franchise started to impact international indie horror? It certainly feels that way while one is watching the Danish zombie flick, 'What We Become.' In fact, the name was even used for a volume of the Robert Kirkman graphic novel on which the AMC show is based. And the film has undeniable echoes of the spin-off, 'Fear the Walking Dead,' in the way it tries to capture the early days of the end of the world. Perhaps this is why the overfamiliarity of Bo Mikkelsen’s film can be frustrating. There are large chunks of 'What We Become' that feel like something we’ve seen before, a repeat of the AMC series perhaps, and just when it’s getting interesting, it ends, almost like it’s a pilot for a new series. There are enough elements that work -- camera framing in the third act, use of score, the lead performance -- that it’s worth a look for serious zombie fans (a group in which I would be a card-carrying member if someone took the time to print cards), but the film doesn't transcends its genre like the best."
Brian Tallerico, RogerEbert.com
ZOOTOPIA - Michael Giacchino
"Bogo and a lot of other male beasts -- hippo, rhino and elephant -- in this nation want to stop Judy's ambitions at meter maid. Luckily, Mayor Lionheart (J.K. Simmons) has begun a new mammal-inclusion initiative. Judy puts on a brave face. But first day she's scammed by Nick Wilde (Jason Bateman), a fast-talking fox happily possessed of Bateman's delicious comic snark. Still, this odd couple makes a dynamite team when it's crisis time. (Come on, you knew it was coming from the first notes of Michael Giacchino’s noirish score.) Predators revert to nature and go on snarling, violent attacks. Animals go missing. And Judy and Nick find a research facility that jails predators that have 'gone savage.' Impressionable tots may hide their eyes."
Peter Travers, Rolling Stone
"The deeper they go, the more 'Zootopia' comes to resemble such vintage noirs as 'Chinatown' and 'L.A. Confidential,' from its increasingly shadowy look to Michael Giacchino’s jazzy lounge-music score. Disney has been down this road before with 'Who Framed Roger Rabbit,' although this time, there’s not a single human character to be found, while the adult-skewing jokes (mostly references to other movies) aren’t nearly so inappropriate for kids. Genre-wise, the film couldn’t be farther from the terrain of 'Frozen' and other Disney princess movies, though it plays directly to the studio’s strengths, behind the scenes (we may not see every corner of Zootopia, but we know it’s been mapped out and conceptualized) and on screen, where the endearingly designed ensemble gives the animators plenty to work with."
Peter Debruge, Variety
"Composer Michael Giacchino, meanwhile, in his first non-Pixar animated feature assignment, delivers a typically buoyant score, playfully tossing in music cues that pay affectionate homage to Bernard Herrmann and Nino Rota."
Michael Rechtshaffen, Hollywood Reporter
THE NEXT TEN DAYS IN L.A.
Screenings of older films, at the following L.A. movie theaters: AMPAS, American Cinematheque: Aero, American Cinematheque: Egyptian, Arclight, LACMA, Laemmle, New Beverly, Nuart, Silent Movie Theater and UCLA.
October 6
ABBY (Robert O. Ragland) [Nuart]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
PAN'S LABYRINTH (Javier Navarrete), CRIMSON PEAK (Fernando Velazquez) [New Beverly]
PLUS-MINUS GERMANY, BERLIN IS IN GERMANY (Florian Appl) [UCLA]
October 7
BATTLESHIP POTEMKIN, THE MAN WITH A MOVIE CAMERA [Cinematheque: Aero]
THE CHAMP [New Beverly]
HELLRAISER (Christopher Young), RAWHEAD REX (Colin Towns) [Cinematheque: Egyptian]
October 8
THE CHAMP [New Beverly]
THE CHAMP (Dave Grusin), TOUGH ENOUGH (Michael Lloyd, Steve Wax) [New Beverly]
THE DRIVER (Michael Small) [Cinematheque: Egyptian]
EASTERN CROSS (Fred Frith), IN THE SHADOWS (Geir Jenssen) [UCLA]
METROPOLITAN (Tom Judson, Mark Suozzo) [Cinematheque: Aero]
October 9
BORN IN EAST L.A. (Lee Holdrige) [AMPAS]
DOUBLE IMPACT (Arthur Kempel) [Cinematheque: Egyptian]
October 10
ANDROID (Don Preston), CREATURE (Thomas Chase, Steve Rucker) [New Beverly]
DRACULA [LACMA]
ROSEMARY'S BABY (Christopher Komeda) [Arclight Sherman Oaks]
THE THING (Ennio Morricone) [Arclight Hollywood]
October 11
ALIEN (Jerry Goldsmith) [Arclight Hollywood]
UNCONQUERED (Victor Young), ALONG CAME JONES (Arthur Lange) [New Beverly]
WEREWOLF OF LONDON (Karl Hajos), THE WOLF MAN [New Beverly]
October 12
THE GLEANERS & I (Joanna Bruzdowicz, Isabelle Olivier), VAGABOND (Joanna Bruzdowicz) [Cinematheque: Egyptian]
THE HOST (Byung-woo Lee) [Laemmle NoHo]
UNCONQUERED (Victor Young), ALONG CAME JONES (Arthur Lange) [New Beverly]
October 13
CREEPSHOW (John Harrison) [LACMA]
FRIDAY THE 13TH (Harry Manfredini) [Arclight Hollywood]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
THE OMEN (Jerry Goldsmith), HOLOCAUST 2000 (Ennio Morricone) [New Beverly]
THE RETURN OF THE LIVING DEAD (Matt Clifford) [Nuart]
SUSPIRIA (Goblin) [Cinematheque: Aero]
October 14
ANDREI RUBLEV (Vyacheslav Ovchinnikov) [Cinematheque: Aero]
IT FOLLOWS (Disasterpiece) [New Beverly]
MAD MONSTER PARTY? (Maury Laws) [New Beverly]
THE OMEN (Jerry Goldsmith), HOLOCAUST 2000 (Ennio Morricone) [New Beverly]
October 15
COME AND SEE (O. Yanchenko) [Cinematheque: Aero]
EASY RIDER, CHASERS (Dwight Yoakam, Pete Anderson) [New Beverly]
MAD MONSTER PARTY? (Maury Laws) [New Beverly]
THE PRINCESS BRIDE (Mark Knopfler) [Arclight Culver City]
THE PRINCESS BRIDE (Mark Knopfler) [Arclight Hollywood]
THE PRINCESS BRIDE (Mark Knopfler [Arclight Santa Monica]
THE PRINCESS BRIDE (Mark Knopfler) [Arclight Sherman Oaks]
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