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Dragon's Domain has announced three new releases: THE DAVID MICHAEL FRANK COLLECTION VOL. 1, featuring the composer's music for the Chuck Norris thriller Code of Silence, the documentary Cosmic Voyage and the corporate event Boeing 777 Rollout; the score for the 2009 horror film BASEMENT JACK, by Alan Howarth; and Chuck Cirino's scores for two horror comedies, TEENAGE EXORCIST (1991) and WITCH ACADEMY (1995). 


CDS AVAILABLE THIS WEEK

La vuelta al mundo de Willy Fog/D'Artacan y los tres Mosqueperros
 - Guido & Maurizio De Angelis - Quartet  
Parallel Mothers (Madres Paralelas)
 - Alberto Iglesias - Quartet 


IN THEATERS TODAY

Becoming Cousteau - Danny Bensi, Saunder Jurriaans
De Gaulle - Romain Troulliet
Dune - Hans Zimmer - Score CD and "Sketchbook" 2-disc set on WaterTower
The Electrical Life of Louis Wain - Arthur Sharpe
The Estate - Daniel Dombrowki
Every Last One of Them - Nima Fakhrara, Scott Hedrick
The French Dispatch - Alexandre Desplat - Score CD due Nov. 19 on ABKCO
The Harder They Fall - Jeymes Samuel
Luzzu - Jon Natchez
No Future - Jon Natchez
Ron's Gone Wrong - Henry Jackman
The Spine of Night - Peter Scartabello


COMING SOON

November 5
Basement Jack - Alan Howarth - Dragon's Domain
The David Michael Frank Collection Vol. 1 - David Michael Frank - Dragon's Domain 
Teenage Exorcist/Witch Academy - Chuck Cirino - Dragon's Domain
November 12
The Serpent - Dominick Scherrer - Svart
November 19
The French Dispatch - Alexandre Desplat - ABKCO 
The Tamarind Seed
 - John Barry - Silva
Without Remorse - Jonsi - Krunk
November 26 
The United Way
 - George Fenton - Gearbox
Date Unknown
Byleth il demone dell'incesto
- Vasco Vassil Kojucharov - Beat
Captain Scarlet and the Mysterons
- Bary Gray - Silva
Gabriel Yared: Music for Film
 - Gabriel Yared - Silva
Gli occhi freddi della paura
- Ennio Morricone - Beat 
The Hitcher
- Mark Isham - Silva
Labyrinth of Peace
 - Annette Focks - Alhambra
The Little Polar Bear
 - Nigel Clarke, Michael Csyani-Wills - Alhambra
Matalo!
 - Mario Migliardi - Beat
Musik in Dokumentar-Filmen - Hor-Reisen Zun Fremden & Unbekannten
 - Enjott Schneider - Alhambra 
Mychael Danna: Music for Film
 - Mychael Danna - Silva
Ostwind - Der Grosse Orkan
 - Annette Focks - Alhambra
Shigeru Umebayashi: Music for Film
 - Shigeru Umebayashi - Silva


THIS WEEK IN FILM MUSIC HISTORY

October 22 - Joseph Kosma born (1905)
October 22 - Giorgio Gaslini born (1929)
October 22 - Ed Welch born (1947)
October 22 - Greg Hawkes born (1952)
October 22 - Hans J. Salter begins recording his score for The Far Horizons (1954)
October 22 - Miklos Rozsa begins recording his score to Bhowani Junction (1955)
October 22 - Marc Shaiman born (1959)
October 22 - Hugo Friedhofer begins recording his score to Never So Few (1959)
October 22 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "Body in the Barn" (1963)
October 22 - Nuno Malo born (1977)
October 23 - Manos Hadjidakis born (1925)
October 23 - Gary McFarland born (1933)
October 23 - Recording sessions begin for Dimitri Tiomkin’s score for Lost Horizon (1936)
October 23 - Graeme Revell born (1955)
October 23 - Jonathan Wolff born (1958)
October 23 - David Kitay born (1961)
October 23 - Duane Tatro’s score for The Invaders episode “The Prophet” is recorded (1967)
October 23 - Duane Tatro records his only Mission: Impossible score, for the episode “Ultimatum” (1972)
October 23 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “Rejoined” (1995)
October 23 - David Bell records his score for the Star Trek: Deep Space Nine episode “Treachery, Faith and the Great River” (1998)
October 23 - Paul Baillargeon records his score for the Enterprise episode “The Andorian Incident” (2001)
October 23 - Ray Ellis died (2008)
October 24 - Bill Wyman born (1936)
October 24 - Ernest Irving died (1953)
October 24 - John Frizzell born (1966)
October 24 - David Bell records his score for the Star Trek: Deep Space Nine episode “Sacrifice of Angels” (1997)
October 24 - Merl Saunders died (2008)
October 25 - Konrad Elfers born (1919)
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 - Billy Goldenberg begins recording his score for Duel (1971)
October 25 - Benny Golson records his score for the Mission: Impossible episode “Blues” (1971)
October 25 - David Shire begins recording his score for Max Dugan Returns (1982)
October 25 - Richard Hazard begins recording his score for Airplane 2: The Sequel (1982)
October 25 - Recording sessions begin for W.G. Snuffy Walden’s score for The Stand (1993)
October 25 - Recording sessions begin for Danny Elfman’s score for Good Will Hunting (1997)
October 26 - Bob Cobert born (1924)
October 26 - Jacques Loussier born (1934)
October 26 - Victor Schertzinger died (1941)
October 26 - Recording sessions begin for Roy Webb's score to Fixed Bayonets (1951)
October 26 - Curt Sobel born (1953)
October 26 - Richard La Salle records his score for the Buck Rogers in the 25th Century episode “Unchained Woman” (1979)
October 26 - Howard Shore begins recording his score for She-Devil (1989)
October 27 - Samuel Matlovsky born (1921)
October 27 - Recording sessions begin for Hugo Friedhofer's score for Ace in the Hole (1950)
October 27 - Recording sessions begin for Hugo Friedhofer’s score for The Rains of Ranchipur (1955)
October 27 - Richard Markowitz records his score for The Wild Wild West episode “The Night of the Green Terror” (1966)
October 27 - John Williams begins recording his score for Pete ‘n’ Tillie (1972)
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 27 - Jay Chattaway records his score for the Star Trek: Enterprise episode “Cold Station 12” (2004)
October 27 - Hans Werner Henze died (2012)
October 28 - Gershon Kingsley born (1922)
October 28 - Carl Davis born (1936)
October 28 - Howard Blake born (1938)
October 28 - Lalo Schifrin records his score for the Alfred Hitchcock Hour episode “Memo from Purgatory” (1964)
October 28 - Jerry Fielding records his score for the Mission: Impossible episode “The Exchange” (1968)
October 28 - Lalo Schifrin records his score for the Mission: Impossible episode “Submarine” (1969)
October 28 - Oliver Nelson died (1975)
October 28 - Artie Kane records his score for The New Adventures of Wonder Woman episode “I Do, I Do” (1977)
October 28 - Recording sessions begin for James Newton Howard’s score for Eye for an Eye (1995)
October 28 - Gil Melle died (2004)

DID THEY MENTION THE MUSIC?

I'M YOUR MAN - Tobias Wagner

"Taking inspiration from a short story by German writer Emma Braslavsky, Schrader and co-writer Jan Schomburg serve up a rich panoply of questions, answers and stray ideas. Rarely are these assembled into neat combinations, even if the script veers too far into thematic explication in the final third. There’s no clear moral or practical solution to Alma’s quandary; viewers with differing personalities and relationship histories may well reach very different conclusions, while the film’s own sweetly melancholic resolution is far from clear-cut. Schrader’s filmmaking, more fluent and less mannered than in her last feature 'Stefan Zweig: Farewell to Europe,' keeps proceedings supple but not soft, colored by Tobias Wagner’s wistful, jazz-laced score and the overcast pastels of Benedict Neuenfels’ lensing, which finds a guarded romanticism in Berlin’s severe streetscapes. (The city’s wonderful Pergamon Museum, meanwhile, gets the moody after-hours treatment it has long deserved on screen.)"
 
Guy Lodge, Variety 
 
"Across the lived-in clutter and disarray of her high-rise apartment, Alma determines to keep her distance. (The outstanding production design and set decoration are fully in sync with the understated but expressive tone of the film as a whole, as is the score’s unforced mix of playful and poignant.) With fresh flowers and pastries and endless watchfulness, Tom maintains his focus on seduction. Out in the city, he embraces the chance to act 'like a person who wants things' by placing an order at a coffee shop, with gusto."
 
Sheri Linden, The Hollywood Reporter 

NO TIME TO DIE
- Hans Zimmer
 
"The film reunites Bond with the old gang of M (Ralph Fiennes), Q (Ben Whishaw), Moneypenny (Naomie Harris) and Tanner (Rory Kinnear) -- all of them shrewdly employed. But it also introduces some new buddies, including a sparky double-0, Nomi (Lashana Lynch), who has been recruited since Bond retired from MI6 at the end of 'Spectre.' It has countless references to previous Bond movies, and even finds material in Ian Fleming's novels that hasn't been used before. But it also takes its hero somewhere unusual. It piles on the grief and raises the emotional stakes, with the help of Hans Zimmer's operatic music and Linus Sandgren's warm cinematography. But it also keeps the jokes and the silliness coming: it's been decades since Bond had this many groan-worthy one-liners, and he's never had this many Oliver Hardy-style exasperated glances."
 
Nicholas Barber, BBC.com 

"So there are many greatest hits played here, including a snippet of Monty Norman’s glorious intro music. Six decades on, it’s still a kick, hearing that cross between crime jazz and surf rock play as a certain familiar tuxedoed figure spins and fires. The movie theme song is by Billie Eilish."
 
Mark Feeney, Boston Globe 

"Regardless of the plotting deficiencies and occasional pacing lags, there’s plenty here for diehard Bond fans to savor, with a frisson of excitement every time Hans Zimmer’s stirring score sneaks in a few bars of Monty Norman’s classic original Bond theme. It may not rank up there with 'Skyfall,' but it’s a moving valedictory salute to the actor who has left arguably the most indelible mark on the character since Connery."
 
David Rooney, The Hollywood Reporter 

OLD HENRY - Jordan Lehning
 
"When a trio of lawmen (or are they?) show up in search of the wounded man, Henry sends them away and Wyatt is excited by hints of darkness in his father’s past. The film rarely ventures beyond the small farm; it’s a chamber western of sorts, austere and foreboding and often as not set to the mournful strains of string compositions from Jordan Lehning."
 
Steve Pond, The Wrap

"Directing with a sure hand and an obvious love for the classics of the genre, Ponciroli plants clues throughout as to the plot’s major disclosure, all of which acquire clarity in retrospect. Making skillful use of a pensive score by Nashville-based multi-instrumentalist Jordan Lehning, full of mournful strings and notes of quiet foreboding, the director keeps the pace humming while allowing each scene room to breathe. His choreography of both the preliminary violence and the explosive final showdown is detailed and dynamic."
 
David Rooney, The Hollywood Reporter 
 
TITANE - Jim Williams

"Maybe that’s exactly what Ducournau’s movie is. But to these eyes, ravished by the retina-scorching purples and blues of Ruben Impens’ cinematography -- and also to these ears, ringing with the ominous choral chants of Jim Williams’ score -- a little self-infatuation is more than warranted. If 'Titane' is sometimes a bit too taken with its own daring, it also has a sharp, poker-faced awareness of its own absurdity. As in her splendid cannibal thriller, 'Raw,' with its artful commingling of the delicate and the grotesque, Ducournau excels at keeping contradictory themes and tones in productive tension. You will sometimes hear the grind of shifting narrative gears (along with some ingeniously repurposed pop-rock songs), but you are also borne smoothly along as the story glides from body-horror nightmare into a more subtly unnerving dramatic register."
 
Justin Chang, Los Angeles Times 
 
"Till now the film has been peculiar -- in the reptilian sympathy it evokes for its serial killing antiheroine, in its ritualistic detailing (the chanting male choirs of Jim Williams’ score lend a creepy hand there) in its splattery violence and, oh yeah, in how a car and a woman make a baby."
 
Jessica Kiang, The Playlist 

"A few stylistic flourishes, like the Dario Argento-style colored lighting and the ominous chanting that lends a sense of doom to Jim Williams’ score, carry over from Raw. (Williams and cinematographer Ruben Impens both worked on that film, too, so there you go.) Others are newly accentuated: The retro-kitsch needle drops gain a pulpy, Tarantinoesque resonance by being paired with scenes of extreme violence. Although this film is too inscrutable to work as a true midnight crowd-pleaser, gore hounds will appreciate one sadistic kill involving a bar stool, set to The Zombies' 'She’s Not There.'"
 
Katie Rife, The Onion AV Club 

"With 'Titane,' audiences occasionally just have to give themselves over to the movie’s demented momentum, taking whatever perverse pleasure they can from Ducournau’s willingness to push the boundaries: Alexia doesn’t stop at cutting her hair and binding her breasts, but decides to demolish her face as well, smashing it against the sink in one of the movie’s many wince-worthy moments. As if DP Ruben Impens’ velvety, high-contrast cinematography weren’t dark enough, there’s the unnerving low chanting of Jim Williams’ score to make it all sound like a Black Mass."
 
Peter Debruge, Variety 

THE NEXT TEN DAYS IN L.A.

Screenings of older films in Los Angeles-area theaters.

October 22
THE CRAFT (Graeme Revell) [Brain Dead Studios]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
JOHN LEWIS: GOOD TROUBLE (Tamar-kali) [Academy Museum]
KIKI'S DELIVERY SERVICE (Joe Hisaishi) [Academy Museum]
MY NEIGHBOR TOTORO (Joe Hisaishi) [Academy Museum]
NORTH BY NORTHEWST (Bernard Herrmann), CANYON PASSAGE [Aero]
OUT OF THE PAST (Roy Webb) [Los Feliz 3]
PERFECT BLUE (Masahiro Ikumi) [Brain Dead Studios]
RACE WITH THE DEVIL (Leonard Rosenman), THE BROTHERHOOD OF SATAN (Jaime Mendoza-Nava) [New Beverly]

October 23
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner) [Academy Museum]
BASKET CASE (Gus Russo) [Brain Dead Studios]
BLOW OUT (Pino Donaggio) [Los Feliz 3]
CHINATOWN (Jerry Goldsmith) [Los Feliz 3]
THE FLY (Howard Shore)  [Academy Museum]
THE HAPPINESS OF THE KATAKURIS (Koji Endo, Koji Makaino) [Brain Dead Studios]  
MAD MONSTER PARTY? (Maury Laws) [New Beverly]
THE MUPPET MOVIE (Paul Williams, Kenny Ascher) [Los Feliz 3]
PONYO (Joe Hisaishi) [Academy Museum]
PUPPET MASTER (Richard Band) [Brain Dead Studios]
THE RAVEN (Les Baxter) [Los Feliz 3]
THE TROUBLE WITH THE TRUTH (Sean Schafer Hennesy)

October 24
BLOW OUT (Pino Donaggio) [Los Feliz 3]
BLOW-UP (Herbie Hancock) [Los Feliz 3]
BRAM STOKER'S DRACULA (Wojciech Kilar) [Academy Museum]
DRACULA [Hollywood Legion]
FRANKENSTEIN [Hollywood Legion]
FREAKS [Los Feliz 3]
GOD TOLD ME TO (Frank Cordell) [Brain Dead Studios]
HAXAN [Brain Dead Studios]
IMPERFECT JOURNEY [Academy Museum]
MAD MONSTER PARTY? (Maury Laws) [New Beverly]
POSSESSION (Andrzej Korzynski) [Los Feliz 3]
SEVEN (Howard Shore) [New Beverly]
VERTIGO (Bernard Herrmann) [IPIC Westwood]

October 25
CURE (Gary Ashiya) [Los Feliz 3]
DON'T GO IN THE HOUSE (Richard Einhorn), DON'T GO IN THE WOODS (H. Kingley Thurber) [New Beverly]
PHANTASM (Fred Myrow, Malcolm Seagrave) [Alamo Drafthouse]
POSSESSION (Andrzej Korzynski) [Los Feliz 3]
TEZA (Viyay Iyer, Jorga Mesfin) [Academy Museum]
THE WIND RISES (Joe Hisaishi) [Academy Museum]

October 26
BRAM STOKER'S DRACULA (Wojciech Kilar) [Brain Dead Studios]
CARRIE (Pino Donaggio) [New Beverly]
DIABOLIQUE (Georges Van Parys) [Los Feliz 3]
NAUSICAA OF THE VALLEY OF THE WIND (Joe Hisaishi) [Academy Museum]
A NIGHTMARE ON ELM STREET (Charles Bernstein) [Alamo Drafthouse]
POSSESSION (Andrzej Korzynski) [Los Feliz 3]
THIRST (Cho Young-Wuk) [Brain Dead Studios] 

October 27
CACHE [Los Feliz 3]
CARRIE (Pino Donaggio) [New Beverly]
DAUGHTERS OF THE DUST (John Barnes) [Academy Museum]
POSSESSION (Andrzej Korzynski) [Los Feliz 3]
VERTIGO (Bernard Herrmann) [IPIC Westwood]

October 28
BELLY (Stephen Cullo) [Academy Museum]
BLUE VELVET (Angelo Badalamenti) [Los Feliz 3]
THE LEOPARD MAN (Roy Webb), SHADOW OF A DOUBT (Dimitri Tiomkin) [Aero] 
THE RAGE: CARRIE 2 (Danny B. Harvey), PET SEMATARY TWO (Mark Governor) [New Beverly]
RED ROAD (Glenn Gregory) [Los Feliz 3]
THE WAY OF THE DRAGON (Joseph Koo) [Academy Museum]

October 29
ATTACK THE BLOCK (Steven Price) [New Beverly]
BLUE VELVET (Angelo Badalamenti) [Los Feliz 3]
DEF BY TEMPTATION (Paul Laurence) [Los Feliz 3]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
THE LEOPARD MAN (Roy Webb) [Los Feliz 3]
NIGHTBREED (Danny Elfman) [Brain Dead Studios]
NORTH BY NORTHWEST (Bernard Herrmann) [Los Feliz 3]
REBECCA (Franz Waxman), I WALKED WITH A ZOMBIE (Roy Webb) [Aero]

October 30
BEETLEJUICE (Danny Elfman) [New Beverly]
THE BOOK OF LIFE (Gustavo Santaolalla) [Academy Museum]
CASTLE IN THE SKY (Joe Hisaishi) [Academy Museum]
CURE (Gary Ashiya) [Aero]
CURSE OF THE DEMON (Clifton Parker), THE BIRDS (Remi Gassman, Oskar Sala, Bernard Herrmann) [Aero]
HI, MOM (Eric Kaz) [Los Feliz 3]
LET THE RIGHT ONE IN (Johan Soderqvist) [Brain Dead Studios]
MUNSTER, GO HOME (Jack Marshall) [Los Feliz 3]
PAN'S LABYRINTH (Javier Navarrete) [Academy Museum]
SHAUN OF THE DEAD (Daniel Mudford, Pete Woodhead) [New Beverly]
SHOCKPROOF (George Duning) [Los Feliz 3]
THE SIXTH SENSE (James Newton Howard) [Academy Museum]
TAXI DRIVER (Bernard Herrmann) [Los Feliz 3]
ZOMBIE (Giorgio Tucci, Fabio Frizzi) [Brain Dead Studios]

October 31
BEETLEJUICE (Danny Elfman) [New Beverly]
CREEPSHOW (John Harrison) [Los Feliz 3]
DRAG ME TO HELL (Christopher Young) [Brain Dead Studios]
THE EXORCIST [Los Feliz 3]
GET OUT (Michael Abels) [Academy Museum]
HALLOWEEN (John Carpenter) [Alamo Drafthouse]
THE HAUNTING (Humphrey Searle) [Los Feliz 3]
HOCUS POCUS (John Debney) [Academy Museum]
POSSESSION (Andrzej Korzynski)  [Los Feliz 3]
PSYCHO (Bernard Herrmann), CAT PEOPLE (Roy Webb) [Aero]
SCREAM (Marco Beltrami) [Alamo Drafthouse]


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

Heard:
The Fly/Return of the Fly (Sawtell/Shefter), The Curse of the Fly (Shefter), The Fly II (Young), The Dead Zone (Kamen), eXistenZ (Shore), The Big Boss (Thomas), Game of Death (Barry), Dragon: The Bruce Lee Story (Edelman), Enter the Dragon (Schifrin), Unbreakable (Howard), Signs (Howard), The Village (Howard), Lady in the Water (Howard), The Happening (Howard), The Last Airbender (Howard), After Earth (Howard), The Witches of Eastwick (Williams)

Read: The Judgment of Deke Hunter, by George V. Higgins

Seen: Eyes without a Face, Mad Love [1935], Lamb, The Velvet Underground, No Time to Die, Funny Boy, Alien, The Earth Dies Screaming, Calling Dr. Death, Weird Woman, The Frozen Ghost

Watched: Saboteur; Star Trek: Discovery ("Terra Firma, Part 1"); Fosse/Verdon ("Providence")

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Comments (3):Log in or register to post your own comments
Bring back the personal observations. They were enjoyable.

Bring back the personal observations. They were enjoyable.

That is exceptionally kind of you to say, but as I think I mentioned once somewhere on the Message Board, since the fall of 2005, writing for the FSM site has been a time-consuming hobby rather than an actual job, and between the time demands of my day job, and the copious number of films I am seeing in theaters, it's all I can to do supply the regular elements of the Friday columns.

That said, I really enjoyed Dune (I saw it in IMAX and will see it again in traditional scope in a week or two), though the Zimmer score left me cold; Interstellar, it wasn't.

As a lifelong 007 devotee (I was first indoctrinated into the series, thanks to one of my older brothers, with a triple-feature of Dr. No, From Russia with Love and Goldfinger in 1972 [I originally typed 1927 - I am old, but I am not THAT old]), I was disappointed by No Time to Die though I enjoyed it more the second time. The Craig Bonds never have the cheesy lows of the Moore films (Moonraker for me is the nadir of the series, followed by The Spy Who Loved Me - they both feel like imitations of Bond movies rather than attempts to make interesting new movies, though I still prefer them to the bland snooze that is Never Say Never Again, whose Fleming-esque title is the best thing about that fundamentally misguided and unnecessary movie), but like Quantum of Solace it's a bit forgettable (most of the cool stuff is in the trailer), and the big surprise at the ending did not please me - not in a Last Jedi "How dare they!" way (I'm actually a big Last Jedi fan, which makes sense since Star Wars isn't a particularly favorite franchise of mine), but more because I didn't feel the movie was good and emotionally strong enough to earn that ending.

I'm a little tired of the endless reboots (though Tom Holland's Spider-Man is my favorite, and I'm eagerly looking forward to The Batman), so I'm hoping that - considering the third act of No Time to Die makes obvious references to Fleming's You Only Live Twice - they take a similar tack when the series resumes rather than a full reboot.

A filmmaker friend of mine thinks that Bond crying over M's death in Skyfall "ruined" the series, but I've just re-read the first four Fleming books, and the Bond of the books would cry if the original, male M died - in Diamonds Are Forever, he actually compares their relationship to a marriage.

It's because you see so many movies that you've earned some authority. I try to limit myself to 2-3 (in all mediums) per week.

To see so many of them in a cinema -- when you factor in the logistics of doing so -- shows real dedication.

But I must disagree. I actually think THE SPY WHO LOVE ME is the quintessential Bond film (and I think Christopher Nolan agrees). Partly because Barbara Bach, even if she can't act, is the most gorgeous of Bond girls and her adversarial relationship with Bond is well-conceived.

And DUNE, I think, is the best movie of the year. Villeneuve makes movies that would have fitted very comfortably into the '70s and '80s. Flawed, languid, but deeply immersive: APOCALYPSE NOW, THE SHINING, BLADE RUNNER, even Lynch's DUNE.

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