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CDS AVAILABLE THIS WEEK

Adios
 - Zeltia Montes - Quartet 
Alien 2 Sulla Terra 
- Guido & Maurizio DeAngelis - Beat 
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 
Un Dramma Borghese
 - Riz Ortolani - Digitmovies   
Ta La Land: City of Fear
 - Tomas Luchoro - Quartet
War in Space - Toshiaki Tsushima - Cinema-Kan (import) 


IN THEATERS TODAY

Just Mercy - Joel P. West - Score CD-R on WaterTower
Little Women - Alexandre Desplat - Score CD on Sony
1917 - Thomas Newman - Score CD on Sony
The Song of Names - Howard Shore - Score CD on Decca  
Spies in Disguise - Theodore Shapiro 


COMING SOON

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
Better Watch Out 
- Brian Cachia - Howlin' Wolf
Finis Terrae
- Christoph Zirngibl - Kronos


THIS WEEK IN FILM MUSIC HISTORY

December 27 - Oscar Levant born (1906)
December 27 - Benedetto Ghiglia born (1921)
December 27 - Victor Young begins recording his score for The Proud and Profane (1955)
December 27 - John Williams begins recording his score to The Empire Strikes Back (1979)
December 27 - Kenneth Wannberg records his score for the Twilight Zone episode “Still Life” (1985)
December 27 - Buxton Orr died (1997)
December 27 - Isaak Shvarts died (2009)
December 28 - Mischa Spoliansky born (1898)
December 28 - Captain Blood released in theaters (1935)
December 28 - Recording sessions begin for Bronislau Kaper's score to Invitation (1952)
December 28 - Richard Band born (1958)
December 28 - Alex North begins recording his score to All Fall Down (1961)
December 28 - Paul Hindemith died (1963)
December 28 - Rahman Altin born (1971)
December 28 - Max Steiner died (1971)
December 28 - Ron Jones records his score for the Star Trek: The Next Generation episode "Loud as a Whisper" (1988)
December 28 - Milton Rosen died (1994)
December 28 - Michel Michelet died (1995)
December 29 - Roman Vlad born (1919)
December 29 - Ron Goodwin begins recording his score for Submarine X-1 (1967)
December 29 - George Duning's score for the Star Trek episode "Return to Tomorrow" is recorded (1967)
December 29 - Ryan Shore born (1974)
December 29 - Wojciech Kilar died (2013)
December 30 - Dmitri Kabalevsky born (1904)
December 30 - Alfred Ralston born (1907)
December 30 - Paul Bowles born (1910)
December 30 - Ray Cook born (1936)
December 30 - Michael Nesmith born (1942)
December 30 - Harry Geller records his score for The Wild Wild West episode “The Night the Dragon Screamed” (1965)
December 30 - Richard Rodgers died (1979)
December 30 - Patrick Gowers died (2014)
December 31 - Frank Skinner born (1897)
December 31 - Gil Melle born (1935)
December 31 - Anthony Hopkins born (1937)
December 31 - Andy Summers born (1942)
December 31 - Duel in the Sun premieres in Los Angeles (1946)
January 1 - David Broekman died (1958)
January 1 - Halli Cauthery born (1976)
January 1 - Adolph Deutsch died (1980)
January 1 - David Buttolph died (1983)
January 1 - Hagood Hardy died (1997)
January 2 - Lalo Schifrin records his score for the Mission: Impossible episode “Takeover” (1970)
January 2 - Christopher Lennertz born (1972)

DID THEY MENTION THE MUSIC?

AWAY - Gints Zilbalodis
 
"An inspirational work of do-it-yourself computer animation that suggests the sky’s-the-limit potential of the medium for anyone with big ideas and a boundless amount of time on his hands (plus access to Maya or an equivalent CG super-tool), 'Away' represents more than three years of imagination and labor by 25-year-old Latvian prodigy Gints Zilbalodis, who earns every aspect of his “a film by” credit: He conceived, designed, animated and scored -- and what a score! -- this hypnotic hero’s journey, which treats Joseph Campbell’s monomyth as a kind of waking dream. The surrounding terrain can be absolutely stunning at times, especially when viewed at a distance. By contrast, the boy’s face is an inexpressive pink expanse, barely accentuated by his ever-so-slightly rosy nose and ears and floppy brown hair, the bangs of which tickle his forehead like chocolate Cheetos, or loose, leather-gloved fingers. More detail might have been nice, but it isn’t necessary. Even though the character doesn’t speak, we can get a pretty good idea of what he might be thinking from the various clues on offer: a flashback to the plane crash of which he was the sole survivor; a backpack containing a map, a canteen and an auto key of some kind; and Zilbalodis’ lovely, low-key score, which alternates between tones of anxiety and exhilaration."
 
Peter Debruge, Variety 

"Beyond the above-mentioned references, another work that comes to mind is Michael Dudok de Wit’s very Miyazaki-influenced 2016 feature 'The Red Turtle,' which, like this movie, was a dialogue-less affair set on an island populated by strange creatures. The latter film, which premiered in Cannes, was the kind of contemplative work that puts you more in a mood than it grips you with its thrilling story. Likewise, 'Away' plunges the viewer into something close to a meditative state, with Zilbalodis’ inspired self-composed score creating rushes of transfixing intensity."
 
Jordan Mintzer, The Hollywood Reporter 
 
FLOWER - Joseph Stephens
 
"Featuring a vibrant soundtrack (Angel Olsen, Jamie xx, I Monster) and score by Joseph Stephens ('Eastbound and Down') the pulsing, daydreamy electro pop of 'Flower' further fuels its romantic, lively, floating-on-air feeling. Perhaps most eye-catching is the film’s loose, raw, hand-held filmmaking. Imbuing the film with vivacious energy and yet never too flashy, this verve nearly matches Deutch’s own off-the-charts swagger. Further impressive is the 180 it marks for its director. Winkler’s last film, the underrated 'Ceremony,' was Wes Anderson-and Paul Thomas Anderson-influenced with sharp whip pans, long tracking shots and hyper-controlled and designed camera movement. Winkler demonstrates his versatility by crafting a freeform and wild movie that could easily be mistaken for the work of a completely different filmmaker."
 
Rodrigo Perez, The Playlist 

"'Flower' is cloying, simplistic, clueless, and indifferent to most of the suffering that it chronicles. It only comes alive in a handful of dramatic showpiece moments that are likely the reason the actors signed on to do the movie (Scott and Hahn win Best in Show), but these are unfortunately hamstrung by intrusive underscoring that seems meant to take the sting out of a movie that needs all the sting can get. Deutch overplays Erica as a wisecracking femme tomboy, telegraphing every 'outrageous' line and cheeky reaction, pushing her right up to the edge of caricature in a borderline-Nicolas-Cage-like way, as if trying to force the movie to become the bad-taste comedy-drama that it probably needed to be in order to succeed. It's a bold play that doesn't work, but it's more compelling than anything the script or direction can offer."
 
Matt Zoller Seitz, RogerEbert.com 

GRINGO - Christophe Beck
 
"Featuring a fittingly shallow funk-lite score by Christophe Beck, 'Gringo,' is ultimately like a Taco Bell version of the ‘90s crime genre; tasteless, cheaply made and just as inauthentic."
 
Rodrigo Perez, The Playlist 

HELL ON THE BORDER  - Sid De La Cruz
 
"In the overly long and convoluted plot, Reeves sets out with Charlie Storm (Ron Perlman) in pursuit of outlaw Frank Dozier (Grillo), who taunts the lawmen with bloody trophies. Their journey offers Reeves and Storm the opportunity to bond and for Reeves to speak to his life experiences of slavery and racism. At the center, Gyasi is an oasis of stillness and solemnity in a naturalistic performance, but the surrounding action never hangs together in anything authentic, especially with the unnecessarily flowery script and laughably heightened score."
 
Los Angeles Times [critic uncredited] 
 
I SEE YOU - William Arcane
 
"This isn’t a supernatural film, though, and Devon Graye’s script ultimately ties together 'I See You''s disparate threads -- family drama, crime thriller, home-invasion horror -- by grounding them in the perils and traumas of the real world. Under the direction of Adam Randall, the film’s tone is extremely eerie, with creeping camera movements, striking imagery, abrupt edits, and a delicately sinister score by William Arcane. They all help to elevate the domestic drama at the story’s core and make it much more compelling than it might otherwise be."
 
Henry Stewart, Slant Magazine 
 
"This is the work of director Adam Randall, who is more of a poor salesman with this script from Devon Graye than an inventive storyteller. Randall has a comical bounty of drone shots that swoop around locations and sometimes look they’re going to crash into the Harper house; Philipp Blaubach's score [sic; Blaubach was the cinematographer, not the composer] emphasizes the importance of every one of the script’s ominous visuals, and sounds like a steel mill in space. 'I See You' loves to use these components to tease that a supernatural force might be lurking in the shadows, and then abruptly cut -- like it does right before wielding its title card. But it doesn’t build promise that Something Scary is happening, so much as pile on a very tedious atmosphere."
 
Nick Allen, RogerEbert.com
 
"Strong performances down the line provide psychological credibility to an astute overall package that manages to eke considerable sinister atmosphere from any number of perfectly pleasant locations in the greater Cleveland, Ohio area. A particular plus is William Arcane’s unsettling score."
 
Dennis Harvey, Variety 

PACIFIC RIM: UPRISING - Lorne Balfe

"'Pacific Rim Uprising' has zero emotional pull. The musical score by Lorne Balfe ('The Hurricane Heist') keeps telling us that something exciting is happening when the images beg otherwise. There are no stakes here, just lots of robots and then dinosaurs who rise up out of the sea and place their large feet down onto pavement that rises up as random people run away and try to escape. The main imagery in this movie is of large office buildings falling down neatly or getting clawed or scooped from the middle by these ugly and uninteresting monsters. If that’s your thing, step right up."
 
Dan Callahan, The Wrap 
 
"While Lorne Balfe’s score provides requisite bombast, what resounds loudest about 'Pacific Rim Uprising' is its lack of adventurousness, to the point that it neuters its genre-splicing conceit’s weirdest ideas -- such as the metaphysical 'drift' that binds the minds of Jaeger pilots, which here serves as just a tossed-off means of dispensing expository backstory. At least DeKnight is shrewd enough to make one of his mortal characters the true harbinger of doom (albeit one with a sketchy motivation). In the end, however, that individual’s apocalyptic scheming is less distressing than the film’s paint-by-numbers approach to franchise construction, replete with a formulaic promise of future installments that, on the basis of this entry, feels mostly like wishful thinking."
 
Nick Schager, Variety 
 
7 DAYS IN ENTEBBE - Rodrigo Amarante
 
"'7 Days in Entebbe' wisely brings on technical collaborators that have served its director well in the past, including cinematographer Lula Carvalho, editor Daniel Rezende and composer Rodrigo Amarante. A great deal of dramatic responsibility falls to Rezende and his arrangement of the film’s climax, which crosscuts between rescue operation Thunderbolt and a dance performance introduced at the film’s outset. The piece, which involves the performers removing their Orthodox wardrobe to the tune of 'Echad Mi Yodea,' is meant to symbolize the challenge of escaping one’s ideological trappings. The device -- an addition acknowledged to be fabricated by the director in his press appearances -- is transparent but effective."
 
Bradley Warren, The Playlist

"A distinct air of staleness permeates the whole enterprise -- even the palette is brown as an old biscuit, and Rodrigo Amarante’s minimal score is so politely low in the mix that it’s hardly even there. Brühl brings his usual earnestness to a role that’s already too earnest, and a shark-eyed Pike somehow fares even worse, with a flashback love interest doing little to add color to her waxen character. She is also cursed with the film’s very worst scene where she wanders in a daze into the airport terminal, and phones her boyfriend long-distance, monologuing somnolently into a broken payphone."
 
Jessica Kiang, Variety 

THE STRANGERS: PREY AT NIGHT - Adrian Johnston
 
"Part of what made 'The Strangers' seem so singular is because it was just that: singular. Like the killers at the film’s end, it just sort rode off into the sunset without a hint of when or if it might return. 'The Strangers: Prey At Night' undoes that, and though it doesn’t come close to touching the original, it’s not the years-late embarrassment it might have been. That’s in part because it aims much lower than its predecessor. From the first notes of Adrian Johnston’s John Carpenter-inspired score to the retro font used for the title card, 'Prey At Night' sets itself up as an homage to classic slasher films, and mostly does right by its inspirations."
 
Keith Phipps, Uproxx 
 
"A sequel to 2008’s spooky 'The Strangers' in baby-doll masks alone, director Johannes Roberts’s generic slasher film flaunts a deep nostalgia for John Carpenter’s 'Halloween' and 'Christine,' but scant ideas of its own. It desperately wants you to pretend that these fog-laden midnight streets -- perfect for chase scenes involving relentless knife-wielding nuts and a terrified teenage girl (TV actor Bailee Madison, who really should learn how to flee without panting so loudly) -- are as fresh as a daisy. As for composer Adrian Johnston’s seesawing synthesizer score, Carpenter’s lawyers will be in touch directly. In a moment when horror movies like 'Get Out' and the forthcoming 'Hereditary' earn praise for their adventurousness, these retro scares feel especially out of touch."
 
Joshua Rothkopf, Time Out New York  
 
WHEN LAMBS BECOME LIONS - West Dylan Thordson
 
"The degree of candor afforded by the central characters prove extraordinary as the documentary captures many intimate moments, both personal and professional. Toward the end of the film, Asan is seen breaking down in tears, overwhelmed by the pressures he faces on a daily basis. Indeed, there are times when the doc has an almost scripted, narrative feel, enhanced by the atmospheric lensing and West Dylan Thordson's emotive music score. One of the most powerful scenes features X and Lukas excitedly happening upon a herd of some 50 elephants, including adults and babies, slowly walking across the African plain in all their majesty."
 
Frank Scheck, The Hollywood Reporter 

A WRINKLE IN TIME - Ramin Djawadi
 
"The early scenes of 'A Wrinkle in Time' -- before we’re introduced to the 'tesseract' and the spatial-temporal bounding begins -- are relatively grounded, but only compared to what follows. They still have a trace of that theme-park-Disney wooziness, along with a score by 'Game of Throne''s [sic] Ramin Djawadi that’s off in the ether before the first astral being lands. That being -- 'Mrs. Whatsit' -- is played by Reese Witherspoon, whose frilly gown is meant to look as if the character had invaded a high-school theater department’s costume room, but whose acting is less intentionally high-schoolish. Things pick up with the next entity, Mindy Kaling’s dreamy 'Mrs. Who,' who spouts quotations from Rumi and Lin-Manuel Miranda before a giant pall descends on the movie in the form of Oprah Winfrey as 'Mrs. Which.' When Winfrey’s Mrs. Which first shows up, she’s several sizes larger than her co-entities, which is symbolically apt."
 
David Edelstein, New York  

"Which is one of 'Wrinkle''s biggest issues: the performances are virtually all loud and strident, pitched with the energy of people in a Broadway musical trying to make sure their smiles still play for the ticketholders in the nosebleed section. Everything about the film operates at the same intense fever pitch: the glistening score urgently batters the audience in every direction, the colors are eye-bleedingly bright, and the emotions are big enough to play on the tiniest phone screen. This is a big, big movie, full of shouted lines and exclamation points. And that perpetually works against the intended personal qualities of the story, which is theoretically as much about one girl navigating her own self-loathing as it is about a huge, symbolic battle between good and evil."
 
Tasha Robinson, The Verge 

"Let this be a warning: Keep your expectations in check, and you might be pleasantly surprised. Despite such bold choices as casting Oprah Winfrey as an all-wise celestial being and rejecting the antiquated assumption that the lead characters ought to be white, 'A Wrinkle in Time' is wildly uneven, weirdly suspenseless and tonally all over the place, relying on wall-to-wall music to supply the missing emotional connection and trowel over huge plot holes...That’s the risk of any science-fiction adaptation, of course, seeing as how cinema replaces the most evocative descriptions with concrete images. Except in this case, a bad sound mix and over-reliance on music drowns out a good deal of the film’s dialogue. At the same time, the design aspects of the film are so consistently distracting that we risk losing sight of its best ideas -- not just literary, but also a color-blind agenda that has the potential to change the landscape entirely."
 
Peter Debruge, Variety

THE NEXT TEN DAYS IN L.A.

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 27
THE AWFUL TRUTH (Ben Oakland), THEODORA GOES WILD (Morris Stoloff) [Cinematheque: Aero]
THE EXORCIST [Nuart]
LET THE RIGHT ONE IN (Johan Soderqvist) [New Beverly]
RESERVOIR DOGS [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]

December 30
BRAZIL (Michael Kamen) [New Beverly]
GOLDFINGER (John Barry) [Laemmle Royal]
THE POSEIDON ADVENTURE (John Williams), BEYOND THE POSEIDON ADVENTURE (Jerry Fielding) [New Beverly]

December 31
THE POSEIDON ADVENTURE (John Williams), BEYOND THE POSEIDON ADVENTURE (Jerry Fielding) [New Beverly]

January 1
IT HAPPENED ONE NIGHT [New Beverly]
A NIGHT AT THE OPERA (Herbert Stothart), A NIGHT IN CASABLANCA (Werner Janssen) [Cinematheque: Aero]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart), WILLY WONKA AND THE CHOCOLATE FACTORY (Leslie Bricusse, Walter Scharf) [New Beverly]

January 2
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart), WILLY WONKA AND THE CHOCOLATE FACTORY (Leslie Bricusse, Walter Scharf) [New Beverly]

January 3
CHRISTINE (John Carpenter, Alan Howarth) [Vista]
DEMONS (Claudio Simonetti) [New Beverly]
DJANGO UNCHAINED [New Beverly]
LADY BIRD (Jon Brion) [Cinematheque: Egyptian]
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Nuart]
SAFE IN HELL (Leo F. Forbstein), PARTY HUSBAND (David Mendoza) [UCLA]

January 4
CARRIE (Pino Donaggio) [Vista]
42ND STREET (Harry Warren, Leo F. Forbstein), GOLD DIGGERS OF 1933 (Harry Warren, Leo F. Forbstein) [UCLA]
MEAN STREETS [New Beverly]
MY NEIGHBOR TOTORO (Joe Hisaishi) [New Beverly]
SPIDER-MAN: INTO THE SPIDER-VERSE (Daniel Pemberton) [Vista]

January 5
MY NEIGHBOR TOTORO (Joe Hisaishi) [New Beverly]


THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY

Heard: Ben-Hur: Tadlow re-recording (Rozsa), Arrow: Season 3 (Neely), Instant Family (Andrews), It (Wallfisch), La Banda J & S, Cronaca Criminale Del Far West (Morricone), Spooks: The Greater Good (Lewis), Dial M for Murder (Tiomkin), Rebel in the Rye (McCreary)

Read: Self-Defense, by Jonathan Kellerman

Seen: The Bishop's Wife; Black Christmas [2019]; What She Said: The Art of Pauline Kael; Star Wars: The Rise of Skywalker; Portrait of a Lady on Fire; The Apollo; Invisible Life; Cats; Richard Jewell; A Hidden Life; Jumanji: The Next Level; 1917; Duck Soup; Horse Feathers; Little Women [2019]; Just Mercy

Watched: Mystery Science Theater 3000 ("Mac and Me," "Atlantic Rim," "Lords of the Deep," "The Day Time Ended")

I just started watching the most recent (and possibly final) season of Mystery Science Theater 3000 on Blu-Ray, which begins with the infamous E.T. ripoff Mac and Me, scored by Alan Silvestri. One early remark from the 'bots during an especially lively Silvestri cue should strike a chord (no pun intended) with film score fans:

"I want to see the movie the composer thought he was scoring."

The next film in the MST3K set, Atlantic Rim, is of course a Pacific Rim imitation (to put it politely) produced by The Asylum, the noted makers of "mockbusters" like Transmorphers. This was the first Asylum film I'd ever seen -- I spend most of my free time seeing films in theaters, so watching direct-to-video releases is a low priority in my life -- and I found it deeply depressing. In general, I find the shot-on-video B-movies of the modern age much less enjoyable than the B-films of the 50s, 60s and 70s, but there's something almost soul-destroying about Atlantic Rim, which was reinforced when I watched the next film in the MST3K set, Lords of the Deep.

Lords of the Deep was a Roger Corman-produced (he even has a cameo) attempt to climb onto the underwater sci-fi bandwagon (I'm sure there's a mixed metaphor there somewhere) of 1989, a year that saw the release of Deepstar Six, Leviathan and The Abyss. Lords of the Deep is in no way good, but it has charm. There's something about the earnestness of the acting, the sets, the miniature and puppet effects that, silly and forgettable as the film is, make the viewer feel like the people who made it actually cared about it. (And since it's a Corman genre film from the '80s, it has some Horner music, a brief cue from Humanoids from the Deep).

Atlantic Rim, on the other hand, feels like no one cared at all, except to get the film made as quickly and cheaply as possible to hit video stores before Guillermo Del Toro's lavish and visually sumptuous kaiju epic hit theaters. Pacific Rim's Charlie Hunnam may not have been the most dynamic movie hero, but in Atlantic Rim, Baywatch's David Chokachi is such an extraordinarily unlikable protagonist that you wonder if his character was some sort of private joke among the filmmakers. On the other hand, his casting does give the film a small amount of mystery, as you look at him wondering, "Where have I seen him before? Who is that guy? Casper van Dien? Sean Patrick Flanery?" Seeing Dances With Wolves Oscar nominee Graham Greene in a key role is depressing enough (though at least he aquits himself with more dignity than Bradford Dillman in Lords of the Deep), but between the cheapness of the CGI combined with the overall cynicism of the film it's hard to have a good time watching it, and even the 'bots seemed defeated (they were much more inspired during Mac and Me and Lords of the Deep).

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Comments (12):Log in or register to post your own comments
Will there be a CD checklist forthcoming on year 2019?

Will there be a CD checklist forthcoming on year 2019?

Already finished, should appear on Sunday, with a new Top 40 Composer Countdown on Monday and Oscar predictions on Wednesday.

Will we get a "best/worst of 2019" movie list in January? I've always enjoyed those, and in fact would love to have a handy itemized list of them.

Will we get a "best/worst of 2019" movie list in January? I've always enjoyed those, and in fact would love to have a handy itemized list of them.

The end of year lists is always part of the Oscar predictions. Currently working on them.

I know everyone will be shocked that Cats made my worst of the year list. As I like to say, I have no idea what a good movie version of Cats would look like, but then neither does Tom Hooper. I'm only disappointed that I didn't see it on its second night when I had the chance, since I could have seen the original version with all the VFX flaws that were fixed by the time I finally saw it Tuesday.

I like to imagine that whoever it was at the lab that let the unfinished version go to theaters was a Fincher fan/crony who is still bitter that King's Speech beat Social Network for Picture and Director.

Scott, I love your top 40 composer countdown information that you provide us each year as well as your Oscar predictions. Every Friday all year round, you provide us with massive amounts of information. I've always been in awe of your ability to gather so much material related to scores and movies.

We probably all are guilty of taking your Friday reports for granted. Know you and your work are appreciated by many of us.

I like to imagine that whoever it was at the lab that let the unfinished version go to theaters was a Fincher fan/crony who is still bitter that King's Speech beat Social Network for Picture and Director.

Tyler Durden lives!

I think Cats could actually make some money if they kept the flawed version in the theaters and made a point of advertising that.

Joan, you are too kind.

As far as bringing the un-fixed version of Cats back to theaters, it's only VFX geeks like me who would get that strange pleasure from seeing an accidentally unfinished movie on the big screen.

I'm still amazed that it happened.

I'm still amazed that it happened.

I'm not. F/X houses are stretched thin with so MANY movies often requiring hundreds upon hundreds of individual shots that sub-par or even unfinished work was bound to start popping up eventually. And since a lot of these talented CG artists are being worked to the bone (often with unpaid overtime), mistakes are to be understood, especially for a who-cares? film as ghastly and misconceived as Cats.

I know everyone will be shocked that Cats made my worst of the year list.

About as shocked to find that gambling is going on at Rick's.

Can't wait for the rest.

Bradford Dillman loses his dignity in LORDS OF THE DEEP?? Say it ain't so! He's one of my favorite actors of his era, and I've always wanted to see the scarcely distributed LOTD because he stars in it.

I think he retired from the screen soon after - small wonder, most likely...

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Today in Film Score History:
January 22
Al Kasha born (1937)
Alexander Courage's score to the Star Trek pilot, "The Cage," is recorded (1965)
Ben Mink born (1951)
Billy May died (2004)
Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “The Guardians” (1981)
Christopher Palmer died (1995)
Fred Steiner records his score for The Wild Wild West episode “The Night of the Undead” (1968)
Keith Forsey born (1948)
Marc Blitzstein died (1964)
Miklos Rozsa begins recording his score for The Strange Love of Martha Ivers (1946)
Richard Markowitz begins recording his score for The Wild Wild West pilot episode “The Night of the Inferno” (1965)
Sid Ramin born (1919)
Velton Ray Bunch born (1948)
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