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Just taking a moment to wish everyone a safe and happy new year.


The Matrix Resurrections
 - Johnny Klimek, Tom Tykwer - WaterTower [CD-R]


A Journal for Jordan - Marcelo Zarvos
The Tragedy of Macbeth - Carter Burwell 


January 7 
Spider-Man: No Way Home - Michael Giacchino - Sony (import)
The Wheel of Time: The First Turn - Lorne Balfe - Milan
January 14
The Craig Safan Collection: Vol. 1
 - Craig Safan - Dragon's Domain
Masters of Horror
 - Richard Band - Dragon's Domain
No Retreat, No Surrender 2: Raging Thunder
 - David Spear - Dragon's Domain
January 21
In the Earth - Clint Mansell - Invada (import)
January 28
All Creatures Great and Small: Series 2
 - Alexandra Harwood - Silva
Without Remorse - Jonsi - Krunk  
Date Unknown
Byleth il demone dell'incesto
 - Vasco Vassil Kojucharov - Beat
Gli occhi freddi della paura
 - Ennio Morricone - Beat 
Music for Games, Film, Televsion and Concert Hall 
- Raphael Benjamin Meyer - Alhambra 
Terminal Exposure
 - Hans Zimmer - Notefornote 


December 31 - Frank Skinner born (1897)
December 31 - Gil Melle born (1931)
December 31 - Anthony Hopkins born (1937)
December 31 - Andy Summers born (1942)
December 31 - Duel in the Sun premieres in Los Angeles (1946)
December 31 - Antonio Diaz Conde died (1976)
January 1 - David Broekman died (1958)
January 1 - Shane Carruth born (1972)
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)
January 3 - Maurice Jaubert born (1900)
January 3 - George Martin born (1926)
January 3 - Van Dyke Parks born (1941)
January 3 - Recording sessions begin for Bronislau Kaper's score for Ada (1961)
January 3 - Alfred Newman begins recording his score for Nevada Smith (1966)
January 3 - Dominic Frontiere records his score for The Invaders episode “The Leeches” (1967)
January 3 - Patrick Williams records his score for The Streets of San Francisco episode “Act of Duty” (1973)
January 3 - Thomas Bangalter born (1975)
January 3 - Bernhard Kaun died (1980)
January 3 - Recording sessions begin for Hans Zimmer’s replacement score for White Fang (1991)
January 3 - Alan Silvestri begins recording his score for Reindeer Games (2000)
January 4 - Lionel Newman born (1916)
January 4 - Buddy Baker born (1918)
January 4 - Joe Renzetti born (1941)
January 4 - Recording sessions begin for Sol Kaplan’s score for The House on Telegraph Hill (1951)
January 4 - Michael Hoenig born (1952)
January 4 - Franz Waxman begins recording his score to Demetrius and the Gladiators (1954)   
January 4 - John Green begins recording his score to Raintree County (1957)
January 4 - Laurence Rosenthal begins recording his score for A Raisin in the Sun (1961)
January 4 - Angela Morley records her score for The New Adventures of Wonder Woman episode “Going, Going, Gone” (1979)
January 4 - Pino Calvi died (1989)
January 4 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “Past Prologue” (1993)
January 4 - Basil Poledouris begins recording his score for On Deadly Ground (1994)
January 5 - Leighton Lucas born (1903)
January 5 - Chris Stein born (1950)
January 5 - Jerry Fielding begins recording his score, adapted from Bizet, for The Bad News Bears (1976)
January 5 - Malcolm Seagrave died (2001)
January 5 - Elizabeth Swados died (2016)
January 6 - David Whitaker born (1931)
January 6 - Aaron Zigman born (1963)
January 6 - John Williams records his score for Nightwatch (1966)
January 6 - A.R. Rahman born (1967)
January 6 - Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “Man-Beast” (1968)
January 6 - Jerry Fielding begins recording his score for The Wild Bunch (1969)
January 6 - Jay Chattaway records his score for the Star Trek: Voyager episode “Blood Fever” (1997)
January 6 - Georgy Sviridov died (1998)
January 6 - Mario Nascimbene died (2002)


BENEDETTA - Anne Dudley
"But Verhoeven's new French film, his first since he made a comeback with 'Elle' in 2016, is a reminder that he is a lot more than a gleeful purveyor of sex and violence. Benedetta, for much of its running time, is a restrained, handsome, and even traditional period drama, a stately parade of elegant costumes and beautifully candle-lit stone buildings, set to a dignified orchestral score by Anne Dudley. It's a thoughtful examination of politics and organised religion, and a searing exploration of faith. The nudity and the blood-splashing are just a bonus."
Nicholas Barber,  

"For just a moment, as a particularly sepulchral stretch of Anne Dudley‘s liturgical score plays over a solemn black screen emblazoned with the words 'inspired by real events,' you might think Paul Verhoeven‘s gone and gotten serious on us, and that 'Benedetta,' his hotly lusted-after Cannes title is going to be, whisper it, tasteful. About 73 seconds later, little Benedetta, the pious, doted-upon daughter of a wealthy lord who’s on her way to become a nun, performs her first “miracle” and gets a bird to sh*t magnificently into a guy’s eye -- phew. If you imagine the guy representing Christian orthodoxy (he doesn’t, but whatever) the eye-sh*tting is a perfect metaphor for what Verhoeven is about to unleash, but it’s also a signal of exactly where his heart lies -- with bodily functions and bodily fluids: a distinctly earthy disdain for the ethereal. Sh*t, fingering, sh*t-fingering, blood, buboes, and a lot of boobs lie in store, plus a little wooden Virgin Mary statue that will be fashioned into a dildo in such a way that we can watch the Virgin’s head bobbing gently back and forth in time with the user’s orgasmic convulsions. It looks like she’s waving."
Jessica Kiang, The Playlist 

CYRANO - Bryce Dessner, Aaron Dessner

"Schmidt, demonstrating exquisite taste, commissioned songs from members of The National; brothers Bryce and Aaron Dessner wrote the music, while Matt Berninger and his wife, Carin Besser (not technically part of the band, but a longtime songwriting contributor), penned the lyrics. What’s fascinating about this experiment in cross-pollination is that anyone who’s familiar with The National will immediately recognize their handiwork, even as the numbers come across as entirely typical show tunes. Listening to Bennett sing the 'I want' ballad 'Someone To Say' in the opening sequence, you can readily imagine Berninger doing the same, several octaves lower; listening to any National album afterwards, you can suddenly picture its most sweeping, grandiose tracks as elaborate musical numbers. It’s an inspired choice."
Mike D'Angelo, The Onion AV Club

"But this 'Cyrano' is all about melody, or lack thereof (as is often the case). Co-written by Berninger and his wife Carin Besser, the unfussy lyrics add some easy zest to the kind of epistolary romance that’s often so enervating to watch on-screen, as Cyrano and the rest of the cast belt out their feelings -- almost exclusively to themselves, and not to each other. With few choruses and even fewer hooks, most of the musical numbers sound like the ramblings of a racing mind, leaving the film’s army of dancers to supply too much of the swoon and spectacle. All the same, that spectacle often proves swoon-worthy, with highlight sequences including the Broadway-accented 'I want' song that Christian and the rest of his garrison perform on a Sicilian rock fort (one of the film’s many astonishing locales), and the part where Mendelsohn storms into town on a cloud of Andrew Lloyd Webber-esque cheese guitar. Most of the ditties sound more like half-finished The National demos; Dinklage, Harrison, Bennett and the rest can carry a tune and then some, but only a cameo appearance by troubadours Glen Hansard, Sam Amidon, and Scott Folan compels the movie to serve up a meatier song. It’s an outlier in a movie that swirls together too many strong ingredients for any one of them to leave much of a taste."
David Ehrlich, IndieWire 

"Cyrano and Christian become compatriots almost instantly, as the former’s initial egotism has been sanded down, rendering him a blandly accommodating fellow. Astonishingly, Wright also glosses over the crux of the entire story: Cyrano agreeing to write Christian’s love letters to Roxanne, fusing his intelligence with Christian’s appearance. This farcical setup, freighted with the doubt and self-loathing that hounds so many of us, has been mostly condensed into one of the National’s songs. And those songs are mostly forgettable, suggesting commonplace dialogue set to Bryce and Aaron Bessner’s obsessive music. They’re certainly a poor substitute for Cyrano’s poetry and grandstanding, though one, sung by several soldiers as they face certain death at the Siege of Arras, has the cryptic poetry of the National’s studio albums."
Chuck Bowen, Slant Magazine 
"Dinklage and Bennett both appeared together in the musical workshops of Schmidt’s version, and it’s easy to recognize the natural chemistry they have on screen. The pair are also both excellent live singers, as is Harrison who’s charismatic performance is one of the film’s highlights. While most of The National’s songs are not as memorable as you’d hope (it’s hard to remember any, in particular, walking out of the theater), 'Wherever I Fall' is a genuine standout (more on that in a minute). What hinders their performances and the film itself is some atrociously clumsy dialogue that pops up at the most inopportune times. There are certainly moments where Schmidt wants you to laugh, but those are outweighed by too many lines of dialogue that are just cringeworthy."
Gregory Ellwood, The Playlist

"Wright’s previous adaptations were sensuous affairs, rich in details, costumes and candlelight. Some of his favorite things also make it into 'Cyrano,' with one exception. It’s not that romance is missing from the movie -- after all, this is still a love story -- but Erica Schmidt’s script and the songs from the team of Bryce Dessner and Aaron Dessner (The National) manage to interrupt the characters’ feelings for ill-timed and rather forgettable interludes. There’s a cheesy rock song intended for the villain and a heavy piano ballad to capture Cyrano’s hidden emotions, but just hours after the screening, I’m struggling to remember any lyrics or even a refrain. Whenever it feels like the narrative is taking off, it’s pulled off to the side for one song, and then another. Yes, it’s a musical, adapted from Schmidt’s 2018 off-Broadway production, but it shouldn’t be this dull or clunky."
Monica Castillo, The Wrap
"On those occasions when 'Cyrano de Bergerac' is performed in English, it’s often stripped of its verse or played for laughter and farce (à la 1987’s 'Roxanne'), whereas Joe Wright’s splendid new adaptation presents 'Cyrano' as 21st-century MGM musical. By enlisting Bryce and Aaron Dessner of the National to compose the songs -- lovely, wistful pop ballads for which Matt Berninger and Carin Besser supplied the lyrics -- 'Cyrano' restores the show’s sense of poetry. At the same time, Wright, back on form and evidently reinvigorated by the pandemic, once again displays the kind of radical creativity that made early-career stunners 'Pride and Prejudice' and 'Atonement' so electrifying in their time."
Peter Debruge, Variety

"This is (thankfully) not an all-singing musical like the recent 'Annette.' The songs by Bryce and Aaron Dessner, with lyrics by Matt Berninger and Carin Besser, never overwhelm the humor or the drama. Some of the songs are likable, and some are forgettable. Fortunately, the magnetic Bennett has a lovely singing voice that helps to sock the romantic ballads home. Dinklage once again confirms his charisma, vigor and versatility. Some of the best musical numbers do not involve the main characters. The always reliable Ben Mendelsohn, as the villainous De Guiche, delivers a musical manifesto that is quite compelling. The best song of all consists of a series of letters written by soldiers on the eve of battle."
Stephen Farber, The Hollywood Reporter 

THE FIRST WAVE - H. Scott Salinas, Jon Batiste

"We may only have so much need or patience for more COVID documentaries at this point, but in a sub-genre so far defined by Wiseman-esque acts of witnessing and how the hell did this happen? postmortems, 'The First Wave' is such a valuable addition because of its body-shaking wallop. While H. Scott Salinas and Jon Batiste’s morose string score helps set the mood, Heineman doesn’t have to belabor the point in order to move his audience. On the contrary, he only has to hold his gaze -- to refocus our attention on the human toll this virus took on us, and reiterate why it’s possibly even more dangerous now that so many people are tempted to think about it in the past tense or as someone else’s problem."
David Ehrlich, IndieWire 
"Punctuating the main drama are a few well-placed shots of New York’s empty streets or socially distanced grocery customers lining up to shop: the way we were, less than two years ago. Whether in these brief interludes or the main drama in the hospital and on the homefront, there isn’t a wasted or uninvolving image in the footage that Heineman and his fellow cinematographers have gathered. And all of it is assembled with an assured momentum by editors Francisco Bello, Matthew Heineman, Gabriel Rhodes and David Zieff, the inner music of the visuals matched by H. Scott Salinas and Jon Batiste’s subtly stirring score."
Sheri Linden, The Hollywood Reporter 
HOUSE OF GUCCI - Harry Gregson-Williams
"Harry Gregson-Williams score effectively takes us down the plot’s dark pathways, but the needle-drops tend to be both on the nose and anachronistic. Costume designer Janty Yates does a great job of making Patrizia always stand out the tiniest bit, in all the wrong ways; for all the discussion about how the Gucci family were relatively new money,   they always know how to dress the aristocratic part to cover for their humble origins."
Alonso Duralde, The Wrap 


"If her treatment kicks up more questions than answers, at least the experience brings Blair closer to her viewers. Fleit finds dark humor in some of the film’s more upsetting sections because Blair does, too. When the actress unpacks her various burial options after a particularly painful first round of chemo, Fleit folds in a slightly kicky score and -- as if she can hear it -- soon Blair is laughing through her tears."
Kate Erbland, IndieWire 
"But because Fleit has captured so many powerful and enlightening moments, it makes you wish she hadn’t relied so heavily on music to punctuate them. When Blair is goofing around with a cane in the hospital corridors, for example, a jaunty tune accompanies her strut. Conversely, an inspiring melody swells as Blair comes to a conclusion about what matters in life, or her newfound drive to make others suffering like her feel less alone. The emotions conveyed in these scenes have to compete with the score, with creates a distraction and drains them of their impact."
Christy Lemire, 

LUZZU - Jon Natchez
"The measured urgency in the movement of cinematographer Léo Lefèvre’s camera mimics that of the working-class hero’s plight to provide for his family. Postcard-ready vistas of Malta glide around gritty, much less flattering images of its underbelly, all submerged in Jon Natchez’s enrapturing score. Conflicted, Jesmark ponders whether to hold on to his identity or retire his father’s moving heirloom for the sake of survival in the tide of globalization."
Carlos Aguilar, Los Angeles Times 

"Thanks to cinematographer Casey Stolberg and composer Patrick Stump (as well as brief animation and ’70s-era title cards), the film has an aesthetic verve that serves its momentum well, and its supporting players -- notably Bryant as Mary’s sibling and Matt Shively as Mark’s best friend, along with cameos from Lea Thompson, Gillian Jacobs, Joe Lo Truglio and Steve Little -- help keep the action energized throughout. Similarly inspired is the movie’s playful critique of millennials and their supposedly enlightened attitudes about gender and sex, which manifests itself through the inevitable turmoil wrought by Mark and Mary’s myriad bedroom romps. As the couple’s experience suggests, every generation is destined to learn similar lessons about the difficulty of having things both ways, and the preeminent happiness that comes from being together with the one you truly adore."
Nick Schager, Variety 
THE POWER OF THE DOG - Jonny Greenwood
"Speaking of the music, 'The Power of the Dog' contains some of the best use of music in a movie this year. Jonny Greenwood’s work underlines and emphasizes many of the actions playing out on-screen. String compositions twist and turn as sharply as the movie’s plot, like a jagged undercurrent pulling our emotions in certain directions. The sounds of sweet violins sour, while softer notes swell into intense waves. The changes are quick, a nod to the tense dynamics between the brothers, the widow, and her son. Many of the songs use plucked strings to create an air of uneasy anticipation, as if cantering into danger. Rows of violins join in to heighten this uneasy feeling, almost awakening our fight or flight response. The music doesn't stray too far from the prototypical Western sound yet adds these extra layers of foreboding throughout."
Monica Castillo,

"Ari Wegner’s richly high-gloss cinematography and Jonny Greenwood’s unusually conventional score contribute to what can feel like an overly staid package. But the rattling interpersonal tensions and lack of simple emotional payoffs point to something more complicated. Campion is concerned more with the pensive give and take between restless characters than story here. Still, she pulls the tragic conclusion together with a sharp dramatic reveal that builds on clues she carefully seeded earlier with all the elan of an ace Agatha Christie acolyte. 'The Power of the Dog' is hardly a mystery, though, given the almost comically perverse way that it ends with the committing rather than the solving of a crime."
Chris Barsanti, Slant Magazine
"'The Power of the Dog' is an eerie film. Cinematographer Ari Wegner ('Lady Macbeth,' 'Zola') relies on long lenses to capture the rolling hills in as much detail as the foregrounded characters for awe-inspiring, philosophical compositions. And Jonny Greenwood’s enrapturing score is downright sinister. The events take place in an isolated portion of Montana, where the West is still a robust mythology. Cars are widespread in the cities, but not here. Judges and lawmen are never seen. All that counts out here are the long hours men work, the homosocial bonds they share, and what they can teach each other about life, women, and cattle.
Robert Daniels, Polygon

"But Rose’s love of the piano is snuffed out, along with her spirit, as Phil’s quietly domineering presence spreads through the house like a toxic vapor, filling its dim, cavernous spaces until they feel as vast and unsettled as the surrounding prairies. In one sense, Campion, worthy winner of the director prize at the recent Venice International Film Festival, turns the conventions of her presumed genre inside out. 'The Power of the Dog' is a psychological thriller in the guise of a western, and possibly a love story in the guise of a psychological thriller. Everything about it, from the spare, enveloping details of Grant Major’s production design to the nerve-shredding dissonances of Jonny Greenwood’s score, directs our focus inward."
Justin Chang, Los Angeles Times 
"On an evening when the last rays of sunlight leave shadow puppets on the mountainsides and Jonny Greenwood’s lush score hangs particularly uneasy in the air, Phil takes George and the rest of his posse to the Red Mill restaurant where he makes life miserable for the widowed proprietress (Kirsten Dunst as Rose), and burns one of the paper flowers that her gentle teenage son Peter (Kodi Smit-McPhee) places on the dinner tables for decoration. You can only imagine Phil’s juvenile peevishness when his brother marries Rose not long thereafter, and Peter -- prim and surgical, with a lisp -- becomes the rough-and-tumble cowboy’s step-nephew."
David Ehrlich, IndieWire 

"Those shrieks are matched -- and sometimes, deviously guided -- by Jonny Greenwood’s string-and-horn-heavy, shrewdly sneaky atonal score as we follow Phil Burbank, the stony-faced man’s man in question. Benedict Cumberbatch plays him with heart-shattering command, precision, and for quite some time, a sense of terrorizing intimidation -- a volatile combination that routinely feels on the verge of exploding. Phil is your bona fide cowboy -- a hardnosed cattle rancher with brains and brawn, someone who can skin and castrate a cow with such nonchalant ease that you will need a moment or two to catch up with the ferocity you’ve just witnessed on the other side of his unyielding casualness. Cinematographer Ari Wegner captures the details of Phil’s backbreaking routine lavishly here. A DP who’s been consistently leaving a magnetic impression in the recent years, lensing fuming rhythms, fiery vistas, and vibrant contemporary environs across the likes of 'Lady Macbeth,' 'True History of the Kelly Gang,' and 'Zola,' Wegner seamlessly complements Campion’s touch, advancing the film’s womanly gaze on deceptively masculine themes."
Tomris Laffly, The Playlist 

"But the clumsiness in the film’s approach to its subject matter is propped up by the compelling performances across the board -- notably from Cumberbatch, whose embodiment of a gruff and grubby rancher is at first sort of laughably unbelievable in relation to the performances that have defined the Englishman’s career. But it is, perhaps, because of this very contrast to his past roles that Cumberbatch manages to fit into the character of Phil so acutely, carrying with him an inherent awkwardness and unrest in his own skin despite the terror that he strikes in the heart of someone like Rose. He’s matched by the chilling score, composed by the inimitable Johnny Greenwood ('The Master,' 'Phantom Thread'), and impeccable cinematography from Ari Wegner ('Zola,' 'The True History of the Kelly Gang'), which form a perfect union of tension, intimacy and isolation in a film where the sound of every slice, snip and click evokes the same distressing sensation regardless of the source. In this way, the film becomes far more compelling through its sheer technical mesmerism than through its depiction of repression -- all in spite of the relative distance kept from the characters (and the lackluster arc of poor Rose, who Dunst still personifies achingly)."
Brianna Zigler, Paste Magazine 

"The mounting dread embedded in the narrative and enhanced by the increasingly agitated strings of Jonny Greenwood’s atmospheric score -- which is right up there with the Radiohead musician’s powerful work on 'There Will Be Blood' -- seems to have set the story on an inevitable trajectory toward sorrow. But Campion keeps shifting expectations, even after Peter comes to stay on his summer break, giving Phil a new target for his cunning psychological assaults."
David Rooney, The Hollywood Reporter 

"Having as much film and behind-the-scenes footage as the filmmakers possess and then deciding at semi-arbitrary times to manipulate the imagery with jittery freeze-frames and digitally simulated melted celluloid is a choice. The press notes helpfully refer to these choices and many others -- all accompanied by an aggressive musical score -- as 'kaleidoscopic documentary collage,' which borders on triply redundant. Which makes it a completely appropriate description."
Daniel Fienberg, The Hollywood Reporter

THE UNFORGIVABLE - Hans Zimmer, David Fleming
"Still, a tightly-drawn Bullock is fully in tune with Ruth’s pain, making her extreme introversion an evident side effect of trauma rather than personality. Because Ruth keeps so much inside, Fingscheidt uses every element to create a sensory connection between this difficult character and the audience. The score, from Hans Zimmer and David Fleming, takes us part of the way there."
Elizabeth Weitzman, The Wrap 

"Others, like the plot strand devoted to the dead sheriff’s large adult sons -- who get mixed up in their own domestic mishegoss while waiting on the sidelines -- are more immediately understandable. The fallout from their father’s murder is meant to make Frick and Frack a bit more sympathetic (and their anger more justified), but their shared thematic purpose is overwhelmed by the narrative threat they pose. A better film might have slowed down to measure these characters for their emotional armor, and lament the vulnerabilities they expose themselves to as it’s peeled off in the wake of Ruth’s release, but these men are largely reduced to ominous shots of them creeping on Ruth from a distance and thinking bad thoughts. They’re human manifestations of David Fleming and Hans Zimmer’s ultra-generic thriller score -- needless, needling reminders that this film’s tangled knot of a story will turn violent by the time it’s done."
David Ehrlich, IndieWire 

"There’s a sense that the film is attempting to navigate a sort of Atom Egoyan-like exploration of the ripple effects of trauma but it stumbles over a mishmash of a screenplay -- the clumsy fragmentary flashbacks, the rushed climax and time-jumping, cross-cutting wind-up -- none of which are improved by David Fleming and Hans Zimmer’s generic thriller score."
Liam Lacey, Original Cin


Screenings of older films in Los Angeles-area theaters.

December 31
PHANTOM THREAD (Jonny Greenwood) [New Beverly]
WHEN HARRY MET SALLY (Marc Shaiman) [Alamo Drafthouse]

January 1
THE APARTMENT (Adolph Deutsch) [Alamo Drafthouse]
GREASE [New Beverly]
THE HUDSUCKER PROXY (Carter Burwell) [Los Feliz 3]
NIGHT OF THE COMET (David Richard Campbell) [Los Feliz 3]
PHANTOM THREAD (Jonny Greenwood) [Aero]
ROSEMARY'S BABY (Christopher Komeda) [Los Feliz 3]
STRANGE DAYS (Graeme Revell) [Los Feliz 3]
WINGED MIGRATION (Bruno Coulais) [Academy Museum]

January 2
THE AWFUL TRUTH (Ben Oakland) [Academy Museum]
GET CRAZY (Michael Boddicker), ROCK 'N' ROLL HIGH SCHOOL [New Beverly]
GREASE [New Beverly]
HOLIDAY [Los Feliz 3]
LAWRENCE OF ARABIA (Maurice Jarre) [Aero]
REDS (Stephen Sondheim, Dave Gruisin) [Los Feliz 3]
RIVER'S EDGE (Jurgen Knieper) [Los Feliz 3]
TARZAN TRIUMPHS (Paul Sawtell) [Academy Museum]

January 3
CHASING CORAL (Saul Simon MacWilliams, Dan Romer) [Academy Museum]
CREEPERS (Simon Boswell, Goblin) [Los Feliz 3]
HANGMEN ALSO DIE! (Hanns Eisler) [Academy Museum]
THE LAST MOVIE [Los Feliz 3]
VIOLET (Vum) [New Beverly]

January 4
THE AMERICAN FRIEND (Jurgen Knieper) [Los Feliz 3]
BATTLESHIP POTEMKIN (Edmund Meisel) [Academy Museum]
DOLORES (Mark Kilian) [Academy Museum]
THE HARDER THEY COME (Jimmy Cliff, Desmond Dekker) [Los Feliz 3]
MANK (Trent Reznor, Atticus Ross), CITIZEN KANE (Bernard Herrmann) [New Beverly]

January 5
BLUE VELVET (Angelo Badlamenti) [Los Feliz 3]
EASY RIDER [Los Feliz 3]
DOUBLE INDEMNITY (Miklos Rozsa) [Academy Museum]
MANK (Trent Reznor, Atticus Ross), CITIZEN KANE (Bernard Herrmann) [New Beverly]

January 6
THE HARDER THEY COME (Jimmy Cliff, Desmond Dekker) [Los Feliz 3]
MANK (Trent Reznor, Atticus Ross), CITIZEN KANE (Bernard Herrmann) [New Beverly]
NORMA RAE (David Shire) [Academy Museum]
OUT OF THE BLUE (Tom Lavin) [Aero]
RED ROCK WEST (William Olvis) [Los Feliz 3]
ROSA BLANCA (WHITE ROSE) (Raul Lavista) [Academy Museum]

January 7
AMERICAN GRAFFITI [Alamo Drafthouse]
BLUE VELVET (Angelo Badlamenti) [Los Feliz 3]
CAR WASH (Norman Whitfield) [Alamo Drafthouse]
ENEMY (Danny Bensi, Saunder Jurriaans) [Los Feliz 3]
FANTASTIC MR. FOX (Alexandre Desplat) [Academy Museum]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3]
PERSONA (Lars Johan Werle) [Los Feliz 3]
PULP FICTION [New Beverly]
2001: A SPACE ODYSSEY [Aero]

January 8
AMERICAN GRAFFITI [Alamo Drafthouse]
ARRIVAL (Johann Johannsson), BLADE RUNNER 2049 (Benjamin Wallfisch, Hans Zimmer) [Aero]
EARTHQUAKE (John Williams) [Los Feliz 3]
GUMMO [Los Feliz 3]
LA DIOSA ARODILLADA (THE KNEELING GODDESS) (Rodolfo Halffter) [Academy Museum]
LA OTRA (THE OTHER ONE) (Raul Lavista) [Academy Museum]
LASSIE COME HOME (Daniele Amfitheatrof) [Academy Museum]
THE MUPPETS TAKE MANHATTAN (Jeff Moss, Ralph Burns) [New Beverly]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3]
SOYLENT GREEN (Fred Myrow) [Alamo Drafthouse]
THE WAY OF THE DRAGON (Joseph Koo) [Academy Museum]

January 9
CAR WASH (Norman Whitfield) [Alamo Drafthouse]
THE MUPPETS TAKE MANHATTAN (Jeff Moss, Ralph Burns) [New Beverly]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3] 
REBECCA (Franz Waxman) [Academy Museum]
WEST SIDE STORY (Leonard Bernstein, Saul Chaplin, Jonny Green, Sid Ramin, Irwin Kostal) [Aero]


La Cage Aux Folles III (Morricone), Star Wars: The Last Jedi (Williams), Follies (Sondheim), Symphony #7/Coriolan Overture/Egmont Overture (Beethoven), Christmas Album (Burl Ives), Lassie Come Home: The Canine Cinema Collection (various), Dead Ringer (Previn), Heaven Can Wait/Racing with the Moon (Grusin), California Suite (Bolling), The Birdcage (various), Primary Colors (Cooder), The General/Seven Chances/Steamboat Bill Jr. (Bolling), The General (Hisaishi), Black Snake Moan (Bomar, various), The Caveman's Valentine (Blanchard), Mother and Child (Shearmur), Leonor (Morricone), Second Thoughts/The Night Visitor (Mancini), Gaby, a True Story (Jarre), The Abdication (Rota), Iceman (Smeaton), Bopha! (Horner), The Heart Is a Lonely Hunter (Grusin), Kajillionaire (Mosseri), The Son of Kong/The Most Dangerous Game (Steiner), Mighty Joe Young and Other Ray Harryhausen Animation Classics (Webb, various), King Kong vs. Godzilla (Ifukube), King Kong Escapes (Ifukube)

Read: There Was a Little Girl, by Ed McBain (aka Evan Hunter, aka Salvatore Lombino)

Seen: Nayak (The Hero), Monkey Business [1931], Duck Soup

Watched: Swing Time; Star Trek ("Metamorphosis"); Star Trek: Lower Decks ("Cupid's Errant Arrow"); Penny Dreadful: City of Angels ("Day of the Dead"); Behind the Candelabra; The Orville ("Into the Fold"); Arrested Development ("Best Man for the Gob")

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June 3
Curtis Mayfield born (1942)
Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “The Jem’Hadar” (1994)
Gail Kubik begins recording his score for The Desperate Hours (1955)
Jerry Goldsmith begins recording his score for Small Soldiers (1998)
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