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Intrada has just released their brand-new re-recording of Dimitri Tiomkin's complete score for the 3D Hitchcock classic DIAL M FOR MURDER, with William Stromberg conducting the Royal Scottish National Orchestra in the label's first completed Kickstarter-aided project. Extras include an eight-minute suite from another Hitchcock/Tiomkin classic, Strangers on a Train.

Their other new Tiomkin release is PARIS UNDER THE STARS: BALLET MUSIC FOR ALBERTINA RASCH, a two-disc set featuring a new recording (with William Stromberg conducting the Slovak National Symphony Orchestra) of dance music composed by Tiomkin between 1927 and 1932, before his Hollywood scoring career.

The latest release from Caldera presents music by Andrew Dickson composed for films from legendary British director Mike Leigh -- the 1996 Best Picture nominee SECRETS & LIES, the TV movie MEANTIME, the comedy HIGH HOPES, and the drama NAKED, which earned raves for David Thewlis' breakthrough lead performance.

The Academy of Motion Picture Arts and Sciences has announced shortlists for the nominations in nine categories, including the two music categories; the credits listed may not be the final credits for nominations (the other seven shortlists are featured at the end of this column):

AVENGERS: ENDGAME – Alan Silvestri
BOMBSHELL – Theodore Shapiro
THE FAREWELL – Alex Weston
FORD V FERRARI  - Marco Beltrami, Buck Sanders
FROZEN II – Christophe Beck
JOJO RABBIT – Michael Giacchino
JOKER – Hildur Guonadottir
THE KING  - Nicholas Britell
LITTLE WOMEN  - Alexandre Desplat
MARRIAGE STORY  - Randy Newman
1917  - Thomas Newman 
PAIN AND GLORY  - Alberto Iglesias
US – Michael Abels

CATCHY SONG - The Lego Movie 2: The Second Part – Music by Jon Lajoie, Dillon Francis, James Rushent; Lyric by Jon Lajoie, Alaya High
DA BRONX - The Bronx USA – Music by Charles Fox; Lyric by Paul Williams 
DAILY BATTLES - Motherless Brooklyn – Music and Lyric by Thom Yorke
GLASGOW - Wild Rose – Music and Lyric by Mary Steenburgen, Caitlyn Smith, Kate York
A GLASS OF SOJU - Parasite – Music by Jung Jae Il; Lyric by Bong Joon-Ho
HIGH ABOVE THE WATER - Toni Morrison: The Pieces I Am – Music and Lyric by Kathryn Bostic
I CAN’T LET YOU THROW YOURSELF AWAY - Toy Story 4 – Music and Lyric by Randy Newman
(I’M GONNA) LOVE ME AGAIN – Rocketman – Music by Elton John; Lyric by Bernie Taupin
I’M STANDING WITH YOU – Breakthrough – Music and Lyric by Diane Warren 
INTO THE UNKNOWN - Frozen II – Music and Lyric by Kristen Anderson-Lopez, Robert Lopez
LETTER TO MY GODFATHER - The Black Godfather – Music by Pharrell Williams, Chad Hugo; Lyric by Pharrell Williams
NEVER TOO LATE - The Lion King – Music by Elton John; Lyric by Tim Rice
SPEECHLESS – Aladdin – Music by Alan Menken; Lyric by Benj Pasek, Justin Paul
SPIRIT - The Lion King - Music and Lyric by Timothy McKenzie, Ilya Salmanzadeh, Beyonce Knowles-Carter
STAND UP - Harriet – Music and Lyric by Joshuah Brian Campbell, Cynthia Erivo


Big Bad Mama II
 - Chuck Cirino - Dragon's Domain 
Dial M for Murder [re-recording] - Dimitri Tiomkin - Intrada
The Great Train Robbery
 - Jerry Goldsmith - Quartet 
The Italian Job: 50th Anniversary Expanded Edition
 - Quincy Jones - Quartet 
Just Mercy - Joel P. West - WaterTower [CD-R]
The Karate Kid: The 35th Anniversary - Bill Conti - La-La Land 
Madame White Snake
 - Ikuma Dan - Cinema-Kan (import)
Matthias & Maxime - Jean-Michel Blais - Mercury
Musiche Da Film Ennio Morricone
 - Ennio Morricone - Universal (import) 
Naked/Meantime/High Hopes/Secrets & Lies
- Andrew Dickson - Caldera
Nevada Smith: The Paramount Westerns Collection - Daniele Amfitheatrof, Johnny Douglas, Paul Dunlap, Alfred Newman, David Raksin, Nelson Riddle, Walter Scharf, Harry Sukman, Franz Waxman, Roy Webb, Victor Young - La-La Land  
1917 - Thomas Newman - Sony
Paris Under the Stars: Ballet Music for Albertina Rasch - Dimitri Tiomkin - Intrada
The Paul Chihara Collection, vol. 3
 - Paul Chihara - Dragon's Domain
Pedro Almodovar and Alberto Iglesias: Film Music Collection
 - Alberto Iglesias - Quartet
Santa Claus [re-release]
 - Henry Mancini - Quartet 
The Song of Names 
- Howard Shore - Decca 
Star Wars: The Rise of Skywalker
 - John Williams - Disney
Stargate: 25th Anniversary Expanded
 - David Arnold - La-La Land 
Those Daring Young Men in Their Jaunty Jalopies 
- Ron Goodwin - Quartet
Tie Me Up! Tie Me Down!
 - Ennio Morricone - Quartet 


Cats - Andrew Lloyd Webber - Song CD on Republic
Heavy Water - Colin Stauber
Invisible Life - Benedikt Schiefer
Kaddish - Egor Romanenko
Star Wars: The Rise of Skywalker - John Williams - Score CD on Disney


December 27
War in Space
 - Toshiaki Tsushima - Cinema-Kan (import)
January 10
The Addams Family - Mychael Danna, Jeff Danna - Lakeshore
January 17
Bliss - Steve Moore - Relapse (import)
Go Fish - George Streicher - Notefornote  
The Musical Anthology of His Dark Materials - Lorne Balfe - Silva
January 24
Anne with an E
 - Amin Bhatia, Ari Posner - Varese Sarabande
I Lost My Body - Dan Levy - Lakeshore
February 21
At Eternity's Gate - Tatiana Lisovskaya - Filmtrax (import)
Date Unknown
 - Zeltia Montes - Quartet
Alien 2 Sulla Terra 
- Guido & Maurizio DeAngelis - Beat
Better Watch Out
- Brian Cachia - Howlin' Wolf
Cari Mostri del Mare
 - Carlo Savina - Kronos
Gege Bellavita
 - Riz Ortolani - Digitmovies
I Fratelli Corsi
 - Angelo Francesco Lavagnino - Kronos
I Ladri Della Notte 
- Ennio Morricone - Beat
Il Disordine
 - Mario Nascimbene - Kronos
Il Segno Del Coyote
 - Francesco DeMasi - Beat
Jesus de Nazaret
 - Alejandro Karo - Kronos
Legado en los Huesos
 - Fernando Velazquez - Quartet
Lilly's Bewitched Christmas
 - Anne-Kathrin Dern - Kronos
Lucio Fulci's Gates of Hell Trilogy
 - Fabio Frizzi, Walter Rizzati - Beat
Noah Land
 - Leon Gurvitch - Kronos
Sette Contro La Morte
 - Carlo Rustichelli - Saimel
Seven Worlds, One Planet
 - Hans Zimmer, Jacob Shea - Silva
Ta La Land: City of Fear - Tomas Luchoro - Quartet
Un Dramma Borghese
 - Riz Ortolani - Digitmovies  


December 20 - Aaron Copland begins recording his score to The Heiress (1948)
December 20 - Cyril Mockrdige records his score for the Lost in Space episode "The Questing Beast" (1966)
December 20 - Alex North begins recording his score to The Devil's Brigade (1967)
December 20 - Jerry Goldsmith begins recording his score for The Red Pony (1972)
December 20 - Ned Washington died (1976)
December 20 - Jerry Goldsmith records his score for the Amazing Stories episode "Boo!" (1985)
December 20 - Richard Hazard died (2000)
December 20 - David Bell records his score for the Enterprise episode “Dawn” (2002)
December 20 - Arlon Ober died (2004)
December 21 - Derek Scott born (1921)
December 21 - Franco Micalizzi born (1939)
December 21 - Frank Zappa born (1940)
December 21 - Recording sessions begin for Miklos Rozsa’s score to The Man in Half Moon Street (1943)
December 21 - David Michael Frank born (1948)
December 21 - Matthieu Chabrol born (1956) 
December 21 - Miklos Rozsa begins recording his score for Something of Value (1956)
December 21 - Eric Coates died (1957)
December 21 - Goldfinger opens in New York (1964)
December 21 - Thunderball opens in New York (1965)
December 21 - Frank Cordell begins recording his score to Mosquito Squadron (1968)
December 21 - Barry DeVorzon begins recording his score for The Warriors (1978)
December 21 - Waldemar Kazanecki died (1991)
December 21 - Dominic Frontiere died (2017)
December 22 - Alfi Kabiljo born (1935)
December 22 - Guido De Angelis born (1944)
December 22 - Miklos Rozsa begins recording his score to Tribute to a Bad Man (1955)
December 22 - Fred Steiner's scores for the Star Trek episodes "By Any Other Name" and "The Omega Glory" are recorded (1967)
December 22 - Gordon Zahler died (1975)
December 22 - James Horner begins recording his score for Honey, I Shrunk the Kids (1988) 
December 22 - Joe Strummer died (2002)
December 23 - Georg Haentzschel born (1907)
December 23 - Ross Edwards born (1943)
December 23 - Daniele Amfitheatrof begins recording his score for Devil's Doorway (1949)
December 23 - Elmer Bernstein begins recording his replacement score to Saddle the Wind (1957)
December 23 - The 7th Voyage of Sinbad opens in New York (1958)
December 23 - Corey Allen Jackson born (1968)
December 23 - Walter Greene died (1983)
December 23 - Jeff Alexander died (1989)
December 24 - Franz Waxman born (1906)
December 24 - Carlo Rustichelli born (1916)
December 24 - Mike Curb born (1944)
December 24 - Recording sessions begin for Hugo Friedhofer’s score for Bride of Vengeance (1948)
December 24 - Ray Colcord born (1949)
December 24 - Bernard Herrmann begins recording his score for It’s Alive (1973)
December 24 - Bernard Herrmann died (1975)
December 24 - Richard Rodney Bennett died (2012)
December 25 - Nathaniel Shilkret born (1895)
December 25 - Pete Rugolo born (1915)
December 25 - To Kill a Mockingbird opens in Los Angeles (1962)
December 25 - Christian Henson born (1971)
December 25 - Charles Chaplin died (1977)
December 25 - James Brown died (2006)
December 26 - Albert Sendrey born (1911)
December 26 - Ira Newborn born (1949)
December 26 - Bernard Herrmann begins recording his score for 5 Fingers (1951)
December 26 - Stephen Graziano born (1954)
December 26 - Curtis Mayfield died (1999)


AGE OUT  (aka FRIDAY'S CHILD) - Colin Stetson
"Still, as with 'The Better Angels,' Edwards’ new movie is magnificently impressionistic, with Colin Stetson’s rhythmic score and Jeff Bierman’s sun-dappled cinematography making Richie’s life seem as wondrous as it is hard. This kid may not be another Abe Lincoln, but he has a lot of heart, beating just below his crusty surface."
Noel Murray, Los Angeles Times 

"But ultimately, 'Friday’s Child' is about a boy who’s never shared his life with anyone, not his best frenemy, and likely not a rich girl named Joan (Imogen Poots) who invites him home but seals off her own problems. Richie and Joan randomly meet on the street and say goodbye, expecting not to see each other again. Until Joan’s second appearance, 'Friday’s Child' feels so loose that characters could disappear without affecting the plot. Their romance flogs the movie toward a series of implausible coincidences that stall out in a final stretch that’s just a mashup of pretty nature photography, indulgent saxophone solos, strobe lights, sobbing and the sense that Edwards expects emotions out of this nonverbal dazzle. Yet none of these shots linger -- unlike an image of Richie at work next to a crushing machine: As the gears flatten cardboard boxes, 'Friday’s Child' recalls kids like Richie himself, fragile objects who lack the support to withstand relentless pressure."
Amy Nicholson, Variety 

ANNIHILATION - Geoff Barrow, Ben Salisbury
"Featuring a hypnotic score courtesy of Portishead’s Geoff Barrow and Ben Salisbury that complements the film’s unearthly temperature, mood is crucial to the movie which is at times, freakish, disturbing and outright terrifying. Garland sets the viewer into an unsettling feeling that never recedes and the crippling anxiety only grows worse. The likening to drugs and lysergic acid is a bit of a tired cliché in reviews of feverish movies, but damn, if that’s not accurate here. 'Annihilation' is gradually, creepingly discombobulating and its perception-altering slant has the quality of liquid; the haze of what passes for reality and time feels porous and free-flowing."
Rodrigo Perez, The Playlist
"While it’s a risky move for a studio in the first place, 'Annihilation' doesn’t appear to have stemmed from the deepest pocketbooks on the Paramount lot, as the CGI effects reek of fakery. Fortunately, they’re consistent with a world filled by uncertainties, and complimented by Geoff Barrow and Ben Salibury’s moody, undulating score. The movie’s disorienting qualities stem from its unreliable narrator, Lena, who narrates the drama from an interrogation session ostensibly taking place in the aftermath of the mission. It’s a blunt, unnecessary framing device that often interrupts the moment-to-moment suspense of the expedition, but functions as a kind of narrative olive branch by Garland to frustrated viewers: 'Don’t worry,' he seems to say. 'This is definitely going somewhere.'" 
Eric Kohn, IndieWire

"The performances aren’t routine, and neither is the score by 'Ex Machina' composers Ben Salisbury and Geoff Barrow, adding an emotional complexity with its mix of heartland guitar, spooky AF strings, and submerged-sounding synths. But those whale-song-like synths recall in fits 'Arrival''s score, and by association how much better that film handled a story with open-ended questions; also, how confident you felt its mysteries were by design, and how its open-endedness encouraged the audience to range and ruminate."
Kimberley Jones, The Austin Chronicle 

CITIZEN K - Robert Logan, Ivor Guest
"While there are a lot of names, facts and intriguing assertions to absorb here, Gibney and editor Michael Palmer weave the dense narrative into a brisk, gripping and fascinatingly detailed thriller, enhanced by Robert Logan and Ivor Guest's suspenseful score."
David Rooney, The Hollywood Reporter 
THE CURED - Rory Friers, Naill Kennedy
"A tone at once mournful and urgent is skillfully struck by Freyne as director, whose modestly scaled but astute assembly is highlighted by Piers McGrail’s grungy yet handsome location shooting and a solid score from Rory Friers and Naill Kennedy."
Dennis Harvey, Variety

HALA - Mandy Hoffman
"She’s the ideal vessel for Baig’s sensitive script and soaring direction. Some of the pieces don’t quite snap into place -- a subplot with a friendly teacher is strangely fumbled, and Anna Chlumsky only has one important scene, which is egregious underuse -- but that’s mostly nitpicking. This is a confident feature debut, and Baig fills her frame with potent, loaded images (there’s a moment of Hala both kneeling and weeping on her prayer rug that will stay with me for a good, long while) and puts across a clear vision; Carolina Costa’s cinematography is both moody and naturalistic, and Mandy Hoffman’s score is an elegant and occasionally unnerving counterpoint (and a relief, considering how easy it would be to score this story with the kind of easy, push-button, 'feel this' music that’s infested indie drama as of late)."
Jason Bailey, The Playlist 

"Baig has a naturalistic touch. Aside for a few orchestral stirrings, the score is so laid-back, you’d think it was mostly silence and crickets, and the one time the cinematography draws attention to itself with a flashy camera movie, it’s just before Hala does something extremely out of character to convince herself she’s a sinner. The director, of course, adores her wholeheartedly, so much that the film drags in its last 10 minutes as though the filmmaker doesn’t want to say goodbye. No wonder 'Hala' has so much empathy for the teen and her family -- Baig, too, has a practically parental fixation on making sure her heroine turns out just fine."
Amy Nicholson, Variety 
"All of this culminates in an 18-wheeler chase that makes even less sense than the preceding scenes. But by this point, 'The Hurricane Heist' has pummeled us with so many unconvincing CG storm clouds (Will sees skulls in them because backstory) and such an overbearing score by Lorne Balfe ('12 Strong') -- which must have worn out any number of kettledrums -- that audiences will likely find themselves staring glassy-eyed or giggling maniacally."
Alonso Duralde, The Wrap 

MICKEY AND THE BEAR - Brian McOmber, Angel Deradoorian
"As the increasingly conflicted Mickey gets closer to Wyatt, she's in the disquieting position of having two emotionally unstable men in her life, Hank and Aron, who feel jealous and abandoned. Attanasio navigates the shifting alignments and growing dread in ways that are deeply unsettling, the tension heightened by Brian McOmber and Angel Deradoorian's synth score, which varies from exquisitely spare and nerve-tingly to lush and soaring. A dynamic selection of songs on the soundtrack provides spirited counterpoint. The director uses silence, too, to powerful effect."
Sheri Linden, The Hollywood Reporter 
RED SPARROW - James Newton Howard
"Every scene is defined by whispery exchanges and stern looks that often threaten to veer into camp, or boredom, but the considerable talent on display is its constant saving grace. (Aside from Lawrence and Rampling, there’s also a wistful Jeremy Irons as a Russian general, Ciaran Hinds as his dyspeptic colonel, and a klutzy Mary Louise Parker as a corrupt government insider.) The elegance of Francis Lawrence’s direction, cinematographer Jo Willems’ measured camerawork, and James Newton Howard’s ominous score adheres to a familiar set of beats, but it’s the rare big Hollywood mood piece and mostly satisfying on those terms."
Eric Kohn, IndieWire 

"Landsman’s film is enraging for all the right reasons, and more than a few wrong ones as well. It comes off as more of a puff piece than an exposé, with its gratingly upbeat score, comical editing and penchant for letting its round-up of former Enquirer employees off the hook, enabling them to paint far too flattering a picture of themselves. Their shady methods for invading the privacy of the rich and famous obviously came in handy during the O.J. Simpson trial with their publication of a picture showing the disgraced athlete in his incriminating Bruno Magli shoes, a key piece of evidence that led him to lose the civil case and cemented his guilt. Landsman portrays this breaking news item, pursued purely to sell copies, as an act of heroism on the level of the revealing Watergate interviews conducted by '60 Minutes' correspondent Mike Wallace, who was himself the subject of a documentary this year."

Matt Fagerholm,


"But Tim’s sad lot in life doesn’t excuse how little of him we get to see. Needlessly divided into chapters that promise a more ambitious narrative than Finley is prepared to tell, 'Thoroughbred' -- despite the assuredness of its telling -- comes to an abrupt end just when it seems to be searching for another gear. The movie prepares a rare feast from its limited ingredients, but when the end credits arrive with a final blast of Erik Friedlander’s wonderfully wonky score, it’s hard not to feel as though Finley has left far too much meat on the bone. After watching his tense and tightly coiled debut, here’s hoping it isn’t long before he comes back for seconds."
David Ehrlich, IndieWire 
"Like Lonergan, Finley started off as a playwright, and it shows to some extent. Most of the movie is set in Lily’s family home, with long dialogue scenes (almost exclusively two or three-handers) and a four-act (or 'Chapters,' as the title cards name them) structure. But it feels claustrophobic only in the right way. Finley smartly blocks the action, and DP Lyle Vincent ('The Bad Batch') shoots it with wandering steadicam, in a way that never makes it feel theatrical. The sense of unease is further driven by knife-edge editing by Louise Ford ('The Witch'), and terrific sound design that bleeds into the disruptive, percussive score by Erik Friedlander. If directing is in large part about picking the right collaborators, Finley’s off to a great start here."
Oliver Lyttleton, The Playlist 
"But before either of them has said a word to the other, composer Erik Friedlander’s percussive score puts us on edge, especially with his reliance on slow and steady bass drum. And cinematographer Lyle Vincent’s expert use of Steadicam to navigate the myriad hallways and grand rooms within Lily’s home makes this luxurious place feel like a maze of shadows and secrets."
Christy Lemire, 

"It’s a movie that vibrates with unease, balancing the coolness of its two leads (both superb) against a jittery percussion score by Erik Friedlander and lengthy tracking shots that wouldn’t feel out of place in 'The Shining''s Overlook Hotel. (You can call 'Thoroughbreds' a horror film, but it’s the horror of having too much money and a poorly developed sense of ethics.) Meanness has long held a cherished place in teen comedies but rarely as the motivating force of our ostensible heroes. Something about 'Thoroughbreds' feels especially right now; if you’ve been returning to 'American Psycho' lately, here’s an update."
Joshua Rothkopf, Time Out New York 

"Finley’s screenplay is full of sharp, exactingly timed exchanges whose rat-a-tat rhythms exert a spellbinding pull, even if the dialogue at times comes off as artificial and mannered. The film is ultimately a work of calculation, but Finley delivers its gnarly laughs and devilish little shocks with confidence and panache. Drawing heavily on Stanley Kubrick’s 'The Shining' for inspiration, Finley employs a dissonant score, thudding chapter titles, and sweeping Steadicam shots that rove through a gargantuan manse that suggests the second coming of the Overlook Hotel -- all of which work to lend 'Thoroughbreds' an atmosphere of icy dread from its opening shots."
Keith Watson, Slant Magazine
"Most of the action takes place in the mansion that Lily and Mark share with her widowed mother (Kaili Vernoff), and the patronizing, casually contemptuous way that Mark talks to his wife is genuinely gutting. But, intriguingly, Mark never says anything overtly abusive -- a lack that contributes as much to the tension as the plunky, percussive, quasi-experimental soundtrack (by Erik Friedlander, 'Oh Lucy!') and the protracted, unsettling stares that Finley gets out of Taylor-Joy and Cooke. Needless to say, both actresses are fantastically affectless while suggesting a simmering wrath or a malign curiosity under the placidity."
Inkoo Kang, The Wrap 

"In the pop of its conversation and the slimness of its cast (the film often plays like a two-hander), Thoroughbreds doesn’t disguise its theatrical origins. But there’s nothing stagy about the staging. Finley’s direction is as confident and razor-sharp as his dialogue, his camera gliding with predatory precision around every corner of Lily’s spacious suburban castle, locking on pertinent details like a hawk spotting a kill, and setting up little miniature triumphs of execution, including a set piece involving the triggering of automatic floodlights. It’s rare, furthermore, to encounter any film, let alone an economically mounted first feature, so attuned to the suggestive power of sound design. Finley does wonders with offscreen noise, building suspense sequences around the muffled whirr of an exercise machine and the delayed chirp of an instant message. At times, the sonic elements -- the incessant tap of a finger, the rhythmic drip of a faucet -- bleed into Erik Friedlander’s anxiously atonal score, a Jonny Greenwood-esque symphony of clicks, skitters, and booms."
A.A. Dowd, The Onion AV Club 
"Two collaborators in particular raise Finley’s game, giving 'Thoroughbreds' its uniquely unnerving personality: First is cinematographer Lyle Vincent ('A Girl Walks Home Alone at Night'), who shoots in widescreen, working with a relatively narrow depth of field, which allows him to subtly ease our focus precisely where he wants it (as in an outdoor lawn-chess set, shifting the power between Lily and Amanda within a single shot). The other is composer Erik Friedlander, a cellist who manipulates his instrument to achieve various atonal effects -- boinks and sproings, or else noises that sound like cats screeching and dogs barking -- which act in disconcerting counterpoint to the relatively refined visuals."
Peter Debruge, Variety 

"Thankfully, Finley isn’t only adept at writing and directing good dialogue but he also understands how images and sounds can enhance his story. The steadicam shots of talented cinematographer Lyle Vincent ('A Girl Walks Home Alone at Night') turn Mark’s mansion into an ominous place, while the menacing rumble of the rowing machine of the master of the house, which is never seen but frequently heard, is a constant reminder of Mark’s presence and of how Lily feels about her stepdad. A sparingly used and occasionally atonal score from Erik Friedlander further enhances the sense of eerie unease."
Boyd van Hoeij, The Hollywood Reporter 


Screenings of older films, at the following L.A. movie theaters: AMPASAlamo DrafthouseAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianArclightArena Cinelounge, LaemmleNew Beverly, Nuart, UCLA and Vista.   

December 20
BEETLEJUICE (Danny Elfman) [Nuart]
IT'S A WONDERFUL LIFE (Dimitri Tiomkin) [Cinematheque: Egyptian]
THE THIN MAN (William Axt), MR. SOFT TOUCH (Heinz Roemheld) [Cinematheque: Aero]
THE THING (Ennio Morricone) [New Beverly]

December 21
BACKFIRE (Daniele Amfitheatrof) [Cinematheque: Egyptian]
CHRISTMAS EVIL (Don Christensen, Joel Harris, Julia Heyward) [New Beverly]
THE EXORCIST III (Barry DeVorzon) [Cinematheque: Aero]
EYES WIDE SHUT (Jocelyn Pook) [Cinematheque: Egyptian]
THE MUPPET CHRISTMAS CAROL (Paul Williams, Miles Goodman) [New Beverly]
WHITE CHRISTMAS (Irving Berlin, Joseph J. Lilley), THE HOLLY AND THE IVY (Malcolm Arnold) [Cinematheque: Aero]

December 22
THE APARTMENT (Adolph Deutsch), TANGERINE [Cinematheque: Egyptian]
ELF (John Debney) [Cinematheque: Aero]
THE MUPPET CHRISTMAS CAROL (Paul Williams, Miles Goodman) [New Beverly]  

December 23
IT'S A WONDERFUL LIFE (Dimitri Tiomkin) [Cinematheque: Aero]
WHITE CHRISTMAS (Irving Berlin, Joseph J. Lilley), HOLIDAY AFFAIR (Roy Webb) [New Beverly]

December 24
DIE HARD (Michael Kamen), THE SILENT PARTNER (Oscar Peterson, Ken Wannberg) [New Beverly]
IT'S A WONDERFUL LIFE (Dimitri Tiomkin) [Vista]

December 25
THE HATEUL EIGHT (Ennio Morricone) [New Beverly]

December 26
HELLO, DOLLY! (Jerry Herman, Lennie Hayton, Lionel Newman) [Cinematheque: Egyptian]
HOME ALONE (John Williams), DIAL CODE SANTA CLAUS (Jean-Felix Lalanne) [New Beverly]
MR. DEEDS GOES TO TOWN (Howard Jackson), EASY LIVING (Boris Morros) [Cinematheque: Aero]

December 27
THE AWFUL TRUTH (Ben Oakland), THEODORA GOES WILD (Morris Stoloff) [Cinematheque: Aero]
LET THE RIGHT ONE IN (Johan Soderqvist) [New Beverly]
2001: A SPACE ODYSSEY [Cinematheque: Egyptian]

December 28
NINOTCHKA (Werner Heymann), HEAVEN CAN WAIT (Alfred Newman) [Cinematheque: Aero]
PHANTOM THREAD (Jonny Greenwood) [Cinematheque: Egyptian]
SILENT NIGHT, DEADLY NIGHT PART 2 (Michael Armstrong) [New Beverly]
SINGIN' IN THE RAIN (Lennie Hayton, Nacio Herb Brown) [New Beverly]

December 29
LAWRENCE OF ARABIA (Maurice Jarre) [Cinematheque: Egyptian]
SINGIN' IN THE RAIN (Lennie Hayton, Nacio Herb Brown) [New Beverly]


Heard: Seven: A Suite for Orchestra (Banks)

Read: Shock II, by Richard Matheson

Seen: Little Joe; 63 Up; The Invisible Man; Uncut Gems; Seberg; The Two Popes; 6 Underground; The Life and Death of John F. Donovan

Watched: I've spent the week watching a movie I'm writing liner notes for, so I can't tell you what it is, for obvious reasons.

American Factory
The Apollo
Apollo 11
The Biggest Little Farm 
The Cave 
The Edge of Democracy
For Sama
The Great Hack 
Knock Down the House 
Midnight Family 
One Child Nation
After Maria
Fire in Paradise
Ghosts of Sugar Land 
In the Absence 
Learning to Skateboard in a Warzone (If You’re a Girl) 
Life Overtakes Me 
The Nightcrawlers 
St. Louis Superman 
Stay Close 
Walk Run Cha-Cha 
INTERNATIONAL FEATURE FILM [formerly known as Foreign Language Film]
Atlantics (Senegal)
Beanpole (Russia)
Corpus Christi (Poland)
Honeyland (North Macedonia)
Les Misérables (France)
Pain and Glory (Spain)
The Painted Bird (Czech Republic)
Parasite (South Korea)
Those Who Remained (Hungary)
Truth and Justice (Estonia)
Dolemite Is My Name
Downton Abbey
Little Women
Maleficent: Mistress of Evil 
Once upon a Time…in Hollywood 

Dcera (Daughter)
Hair Love 
He Can’t Live without Cosmos
Hors Piste 
Mind My Min 
The Physics of Sorrow 
Uncle Thomas: Accounting for the Days
The Christmas Gift
Little Hands
Miller & Son
Nefta Football Club
The Neighbors’ Window 
A Sister
Sometimes, I Think about Dying 
Alita: Battle Angel 
Avengers: Endgame 
Captain Marvel 
Gemini Man 
The Irishman 
The Lion King 
Star Wars: The Rise of Skywalker 
Terminator: Dark Fate 
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Today in Film Score History:
May 30
Devendra Banhart born (1981)
Lalo Schifrin begins recording his score for Golden Needles (1974)
Michael Small born (1939)
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