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Intrada expects to announce two CD releases next week.

The latest release from La-La Land is a 2-disc set of music from the fourth season of the Karate Kid spinoff series COBRA KAI, scored by Leo Birenberg and Zach Robinson.

The latest release from Kritzerland features the score for the 1969 historical drama ALFRED THE GREAT, starring David Hemmings, Michael York, Prunella Ransome and Ian McKellen, with music by Raymond Leppard (Lord of the Flies, The Hotel New Hampshire).


Byleth il demone dell'incesto - Vasco Vassil Kojucharov - Beat
Cobra Kai: Season Four - Leo Birenberg, Zach Robinson - La-La Land
Spider-Man: No Way Home - Michael Giacchino - Sony (import)
The Wheel of Time: The First Turn - Lorne Balfe - Milan 


June Again - Christopher Gordon
King Car - DJ Dolores
Road to Perth - Bjear
The 355 - Tom Holkenborg 


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
Alfred the Great
- Raymond Leppard - Kritzerland
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 


January 7 - Jose Maria Vitier born (1954)
January 7 - Leigh Harline begins recording his score for The True Story of Jesse James (1957)
January 7 - Jeff Richmond born (1961)
January 7 - Alfred Newman begins recording his score for The Pleasure of His Company (1961)
January 7 - Clint Mansell born (1963)
January 7 - Jerry Goldsmith records the pilot score to The Man From U.N.C.L.E. (1964)
January 7 - Paul Sawtell records his score for the Voyage to the Bottom of the Sea episode “Eleven Days to Zero” (1964)
January 7 - Joseph Mullendore records his score for the Land of the Giants episode “Panic” (1970)
January 7 - Jeff Toyne born (1975)
January 7 - James Horner begins recording his score for Rascals and Robbers: The Secret Adventures of Tom Sawyer and Huck Finn (1982)
January 7 - David Lindup died (1992)
January 8 - Bernard Herrmann begins recording his score to On Dangerous Ground (1951)
January 8 - Bruce Broughton begins recording his score for The Boy Who Could Fly (1986)
January 8 - Ron Goodwin died (2003)
January 8 - Andrae Crouch died (2015)
January 9 - Vic Mizzy born (1916)
January 9 - Robert F. Brunner born (1938)
January 9 - Scott Walker born (1943)
January 9 - Jimmy Page born (1944)
January 9 - Leroy Shield died (1962)
January 9 - James T. Sale born (1967) 
January 9 - Alexander Courage records his score for the Lost in Space episode "The Great Vegetable Rebellion" (1968)
January 9 - Kazimierz Serocki died (1981)
January 9 - Anton Karas died (1985)
January 9 - Alan Silvestri begins recording his score for The Delta Force (1986)
January 9 - Jerry Goldsmith begins recording his score for The Vanishing (1993)
January  9 - Recording sessions begin for John Powell’s score to Forces of Nature (1999)
January 10 - Jesus Garcia Leoz born (1904)
January 10 - Recording sessions begin for Hugo Friedhofer’s score to Wild Harvest (1947)
January 10 - Tom Chase born (1949)
January 10 - Carlo Siliotto born (1950)
January 10 - Recording sessions begin for Frederick Hollander's score for The 5,000 Fingers of Dr. T (1952)
January 10 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “The Wounded” (1991)
January 11 - Charles Previn born (1888)
January 11 - Francesco De Masi born (1930)
January 11 - Michael J. Lewis born (1939)
January 11 - Wolfgang Zeller died (1967)
January 11 - Robert Prince records his score for The New Adventures of Wonder Woman episode “Spaced Out” (1979)
January 11 - Ron Jones records his score for the Star Trek: The Next Generation episode "The High Ground" (1990)
January 11 - David Whitaker died (2012)
January 12 - Joseph Gershenson born (1904)
January 12 - Pino Calvi born (1930)
January 12 - Franco Piersanti born (1950)
January 12 - Miklos Rozsa begins recording his score to Men of the Fighting Lady (1954)
January 12 - Frank LaLoggia born (1954)
January 12 - Jeremy Sams born (1957)
January 12 - Gabriel Migliori born (1975)
January 12 - Maurice Jarre begins recording his score for Mandingo (1975)
January 12 - John Williams begins recording his score for Family Plot (1976)
January 12 - Anna Meredith born (1978)
January 12 - Bryan Senti born (1983)
January 12 - Basil Poledouris begins recording his score to Amerika (1987)
January 12 - David Newman records his score for the Amazing Stories episode "Such Interesting Neighbors" (1987)
January 12 - Luis Bonfa died (2001)
January 12 - Sadao Bekku died (2012)
January 13 - Richard Addinsell born (1904)
January 13 - Bruno Coulais born (1954)
January 13 - Trevor Rabin born (1954)
January 13 - Frederick Hollander begins recording his score for Sabrina (1954)
January 13 - Richard Hazard records his score for the Mission: Impossible episode “Kitara” (1971)
January 13 - John Frizzell records his score for the Star Trek: Enterprise episode “Proving Ground” (2004)


ENCOUNTER - Jed Kurzel

"An original screenplay from Pearce, best known for 2017’s well-received thriller 'Beast,' and 'Girl/Haji' creator Joe Barton, 'Encounter' begins with an elaborate opening sequence that follows an asteroid crashing into the Earth’s atmosphere. There is something microscopic in our space traveler, however, that is quickly captured by a hungry bug. Another insect eats said bug eventually transferring it to a, uh oh, mosquito.  Then, accompanied by an increasingly ominous score by Jed Kurzel, that pesky fellow bites a random human being. The audience watches as the alien microbe (somehow cuter than you’d expect) slowly begin to infect its subject’s bloodstream.  It dives deep into the body and is marked by a distinct blue tint. A genuinely tense and ominous sequence to kick off the proceedings."
Gregory Ellwood, The Playlist 
"Writer-co-director Michael Pearce and co-writer Joe Barton try to keep both sci-fi thriller and drama threads alive even after the gag becomes obvious. The film’s heavy-handed cinematic devices -- use of score, visual effects, etc. -- keep it awkwardly holding a balance point that isn’t compelling. If, for instance, the entire story had come through Jay’s perspective, it might have evolved from one genre to the other, rather than dragging both along simultaneously. But that would be a different film."
Michael Ordona, Los Angeles Times 
"The greatest trick Pearce and his co-writer Joe Barton pull with 'Encounter' is styling a shrewd shift in perspectives early on in the film, shot by DP Benjamin Kracun with acute attention to light and shadows, scored unnervingly by Jed Kurzel."
Tomris Laffly, Variety 

FLEE - Uno Helmersson
"'Flee' is also a rare window into the eyes of a refugee who is experiencing this displacement as a closeted young gay man. Nawabi knew he was different as a child over his obsession with a Jean-Claude Van Damme poster on his bedroom wall. As he becomes a young adult he worries not only whether he’ll find safety but whether his family will accept him for who he is. In a film full of impressively edited sequences, how Rasmussen, editor Janus Billeskov Jansen ('The Act of Killing'), composer Uno Helmersson and the animation team guided by animation director Kenneth Ladekjær collaborated on this aspect of Amin’s story is undeniably moving."
Gregory Ellwood, The Playlist 

"Although the interviews function almost like therapy, there’s nothing didactic here, nothing clinical or overtly analytical. Instead, there’s a kind of spontaneous purity to the storytelling, built on the empathetic connection established between the filmmaker and his subject. The emotional expressiveness of the images, darkening during the more alarming interludes into disturbing visions, is complemented by the sorrowful strains of Uno Helmersson’s string score. And the ending suggests the almost Rohmer-esque influence of nature as Amin’s story of flight becomes one of love, chance and emancipation from the brutalities of the past."
David Rooney, The Hollywood Reporter

THE HUMANS - Nico Muhly

"In some ways the deep, terrifying pathos of 'The Humans' emerged more organically onstage. The split-level set kept the actors in exquisite balance; the sense of tragic foreboding seemed to well up from inside the characters themselves. The sound and lighting effects felt more arresting in their impact. I’ll confess, too, to missing the particular power of Reed Birney’s performance as Erik; Jenkins, stellar as he is, doesn’t quite match his stage predecessor’s heart-crushing impact. Karam has made an impressively spare feature debut and proven himself a skilled adapter of his own material. But his access to the more demonstrative resources of cinema -- a dynamic orchestral score by Nico Muhly, an ability to focus the viewer’s attention and zoom in and out at will -- sometimes works against our desire to see this family and its participants whole."
Justin Chang, Los Angeles Times 
"Not that this two-story apartment is as grim as the script’s obsession with money would have you believe; Brigid may not have gotten the grant she wanted (which is funny when you consider that her baroque music was composed for the movie by the prodigiously talented Nico Muhly), but anyone under 40 who can afford to live in a turn-of-the-century tenement unit with its own corkscrew staircase is doing just fine, no matter how much urine water leaks down from the ceiling. All the same, 'The Humans' was written in the aftermath of the Great Recession, and Erik -- a worrywart to begin with -- seems extra triggered whenever finances are mentioned, even though his observantly religious wife Deirdre (Jayne Houdyshell) appears to have more faith that things will sort themselves out."
David Ehrlich, IndieWire 
"Karam, delivering an unusually accomplished effort as a first-time director, expertly ratchets up the tension from the very beginning. The film’s technical aspects contribute greatly to the overall sense of unease, from Lol Crawley’s cinematography, which often features intense, Ingmar Bergman-style close-ups (at several points the camera almost seems to be heading up the actors’ noses) to Nico Muhly’s unsettling musical score (abetted by similarly bracing compositions by the likes of Philip Glass) to the unnerving sound design that makes the proceedings feel as much a horror film or psychological thriller as a family drama. It could be argued that the filmmaker errs toward excessive stylization, making the proceedings sometimes feel airless and unnatural. But the performances are so authentic, so lived-in, that we become fully invested in the characters’ relationships."
Frank Scheck, The Hollywood Reporter 
KING RICHARD - Kris Bowers
"'King Richard' may be a fairly straightforward biopic, but it’s an enjoyable one, giving viewers the chance to enjoy a heartwarming if not uncomplicated story, talk about parenting and the stresses the many characters faced on their way to the history books. Cinematographer Robert Elswit visually hones in on the film’s conventional intent by shooting in warm, hopeful tones, a look that extends from the Williams’ home in Compton to their resettlement in Florida. Composer Kris Bowers’ score is similarly rich and glowing, swelling the music just as Richard and the girls get their hard-won victories and touching moments."
Monica Castillo, The Wrap 

"But their journey is anything but smooth, their path anything but certain, despite Richard’s protests to the contrary. Veering from Compton to West Palm Beach, Fla., to Oakland, 'King Richard' lovingly re-creates the look, feel and competitive ambience of the mid-’90s tennis world. Green shoots the tennis matches with crisp, invigorating panache (and with energizing contributions from cinematographer Robert Elswit, editor Pamela Martin and composer Kris Bowers). Names like Jennifer Capriati, Arantxa Sanchez Vicario, John McEnroe and Pete Sampras float through the ether, and some of them pop up in spot-on cameos."
Justin Chang, Los Angeles Times 
LICORICE PIZZA - Jonny Greenwood

"But Anderson doesn’t just breathe life into 'Licorice Pizza''s unusual story through his characters. Each shot, filled with dreamy pastels, glows with a youthful nostalgia. Anderson and cinematographer Michael Bauman balance out this haziness with a unique control of the camera, implementing long takes, slow dollies, and contemplative pans galore. The soundtrack also expresses this youthfulness: Anderson returns to his Boogie Nights jukebox glory days and jam-packs the soundtrack with 1970s hits, which are just as gracefully jumbled as our protagonists. When 'Peace Frog' by The Doors starts to play, for example, the audience is plunged into a state of youthful coolness, while the sexy flutes of Nina Simone’s 'July Tree' inevitably make us yearn for a flirtation of our own. It wouldn’t be a PTA joint without longtime musical collaborator Jonny Greenwood, too, who conceived the film’s cues. The nostalgia of Greenwood’s magical plucked guitar strings and blossoming orchestras beautifully tie the film together."
Aura Amidon, Paste Magazine 
"Aided by Jonny Greenwood’s delicate score, Anderson paints an occasionally melancholy picture. But if it sounds heavy, it’s not. Not remotely. The feelgood needle drops come thick and fast (The Doors revival starts here), and every scene brings a new performance to relish and a fresh consignment of belly laughs. When, later, 'Licorice Pizza' dips into the machinations of ‘70s Hollywood, the laughs are provided by Bradley Cooper’s apocalyptically coked-up movie exec Jon Peters and Sean Penn’s old Hollywood warhorse, modeled on rabble-rousing William Holden."
Phil De Semlyen, Time Out 
"And yet within that joyful, playful reverie lurks an unmistakable undercurrent of danger. It’s in the score from Anderson’s frequent collaborator, the brilliant Radiohead guitarist Jonny Greenwood, putting you ever so slightly on edge. It’s in the searchlights outside the grand opening of a Ventura Boulevard pinball parlor, incessantly beckoning to the sky. And it’s in big, brash moments through showy supporting performances from Bradley Cooper and Sean Penn, both going for broke. Anything could happen as day turns to night -- but are you ready for that?"
Christy Lemire,

"'Licorice Pizza''s structure is shaggy and organic. Though the dialogue is too laden with well-placed zingers to have been improvised on-set, there is a sense that the story is bubbling directly out of its creator’s brain, the freewheeling camera work (by Anderson and Michael Bauman) expressing his ideas as directly as a pen put to paper. The soundtrack is a mix of period-appropriate needle drops (David Bowie, Suzie Quatro, Paul McCartney and Wings) and a shimmering Jonny Greenwood score. The image, shot on 35mm film, is somehow period-appropriate too, all lens flares and fluid tracking shots, with a propulsive forward motion that mimics the young characters’ boundless and still uncontained energy."
Dana Stevens, 
"While the specters of Robert Altman and Hal Ashby hover, not for the first time, over Anderson’s work, 'Licorice Pizza' is neither as virtuosic an ensemble piece as “Magnolia” nor as whiplash-inducing an oddball coupling as 'Punch-Drunk Love.' And while it may unfold in the vicinity of the ’70s porn empire from 'Boogie Nights,' it pulls back the curtain on a far tamer, not necessarily kinder corner of the entertainment industry. Curiously enough, the Anderson film it may most resemble, more in theme than in ambience, is 'Phantom Thread,' another story of a woman negotiating her emotional and professional place within the life of an easily distracted male partner. (The two movies share some of Anderson’s expert regular collaborators, including the composer Jonny Greenwood and the costume designer Mark Bridges.)"
Justin Chang, Los Angeles Times 

"Make no mistake, this is an entertaining, Altmanesque fictionalized remembrance of things past, crafted with contagious affection for the period and bursting with eccentric delights -- not to mention a punchy soundtrack of late ’60s/early ‘70s bangers (Sonny & Cher, Suzi Quatro, Paul McCartney and Wings, Bowie, etc.), augmenting Jonny Greenwood’s evocative and playfully eclectic score. But unless you feel a kinship with awkward adolescent boys madly crushing on young women out of their league, you might wish for a more robust skeleton on which to hang a two-hour-plus movie."
David Rooney, The Hollywood Reporter 

“Mothering Sunday” is best when it trades in this kind of cruel, poignant precision, as opposed to gauzy interludes of less specific but gorgeously rendered atmosphere. Still, even at its most purely decorative, Husson’s aesthetic decisions are rarely generic. The punchy blue-and-red palette of Sandy Powell’s perfectly cut-and-cinched costumes may lean a little too broadly into heart-on-literal-sleeve emotional expression, but you can’t stop looking at them; likewise, the film leans heavily on Morgan Kibby’s plangent score, but its strings-to-synths transitions are arresting. Telling a story that advocates living boldly over not living at all, Husson has followed suit, opening up exciting new possibilities for her career in the process.
Guy Lodge, Variety 
"Ridley aims for the same key of heightened spiritual profundity as Darren Aronofsky’s 'The Fountain' and Tom Tykwer and the Wachowskis’ 'Cloud Atlas,' yet his script lacks the scope or sincerity required to pull off its gonzo ambitions. The characters are as thinly sketched as their sleekly anonymous urban surroundings, and they’re prone to spouting hollow aphorisms like 'happiness is the only thing more fleeting than time.' Add in the monotonously overbearing Mark Isham score and British trip-hop group Lamb’s 'Górecki' on the soundtrack and the film begins to suggest an attractively sterile music video erratically blown up to feature length."
Mark Hanson, Slant Magazine 

NO FUTURE - Jon Natchez
"Cinematographer Jomo Fray’s compositions are studied but never fussy in their eloquence. The movie is often drained of color in ways that accentuate the darkness at its core, and Jon Natchez’s score churns with foreboding from the get-go. As Will, 20-something and in recovery from heroin addiction, Heaton ('Stranger Things') has a haunted air, his hopefulness wrought with self-doubt. He knows the next step with his girlfriend, Becca, an even-keeled nursing assistant (Rosa Salazar, breathing life into an underwritten part), is to ask her to move in, but the vulnerability of living with someone frightens him."
Sheri Linden, The Hollywood Reporter 

ONE SHOT - Austin Wintory
"There is not a great deal to say about the performances, given that only Elgadi is asked to convey any complexity, in ways that hit some of newbie screenwriter Jamie Russell’s more pedestrian notes. Still, all acquit themselves capably, with minor caveats for Khoury and Phillippe, who seem a bit mismatched to this type of material. Shot on a military base in Suffolk, 'One Shot' is a British production about American military might vs. foreign hostiles that does its best to sidestep politics and rhetoric, focusing solely on ducking shrapnel in the moment. Austin Wintory’s original score is effective, but takes care not to intrude overmuch on the conceit of in-ya-face realism."
Dennis Harvey, Variety 

SWAN SONG - Jay Wadley

"If Cleary’s prologue evokes memories of the meet-cute from 'Eternal Sunshine of the Spotless Mind' in the process, that also proves to accurately foreshadow a movie that uses a fanciful procedure as scaffolding for a story about someone trying to pave over their deepest pain. Then again, that’s also the last of their commonalities; where Michel Gondry’s film was kooky and percussive, this one is as morose as a rainy March afternoon, with Jay Wadley’s mournful string and piano score achieving such urgent dystopian sadness that at one point it seamlessly blurs into the Wooden Elephant version of Radiohead’s 'Idioteque.'"
David Ehrlich, IndieWire 
"The combination of Masanobu Takayanagi’s natural, humanistic lighting and Annie Beauchamp’s superb, grounded production design makes the near future look like a familiar reality not too far off from our own. The aesthetics of the two worlds -- the cozy Turner family home and the sparsely modern Arra institute -- are vastly different in location and stylistic design, yet the same in their palpable feel of gentle serenity and safety. Their color palettes are somewhat synced, mirroring the connection forming between Cameron and his duplicate. Cynthia Ann Summers’ costume design also helps differentiate their soon-to-be splintering lives, cloaking Cameron in deep, rich hues and Jack in lighter color shadings. And Jay Wadley’s symphonic score reflects Cameron’s anguished, pensive psyche."
Courtney Howard, Variety 

"That said, the luminous Harris brings appealing naturalness to the role, while Close and Awkwafina invest their characters with integrity and gentle humor, respectively. The film is certainly a classy endeavor. Some of the vocal tracks layered in feel intrusive, but Jay Wadley’s melodic score is lovely, and Masanobu Takayanagi’s cinematography captures the serenity of the woodsy landscapes, in contrast to the personal turmoil being processed there. The depiction of the future has some nifty touches, like the driverless electric car in which Cameron travels back and forth from Dr. Scott’s, and the device-free digital technology at everyone’s fingertips. It’s just too bad that all the cool science gives way to sudsy sentiment."
David Rooney, The Hollywood Reporter 


Screenings of older films in Los Angeles-area theaters.

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]
MEDIUM COOL (Mike Bloomfield) [Brain Dead Studios]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3]
PERSONA (Lars Johan Werle) [Los Feliz 3]
PULP FICTION [New Beverly]
ROCKY IV (Vince Di Cola) [Alamo Drafthouse]
2001: A SPACE ODYSSEY [Aero]
ZABRISKIE POINT [Brain Dead Studios]

January 8
AMERICAN GRAFFITI [Alamo Drafthouse]
ARRIVAL (Johann Johannsson), BLADE RUNNER 2049 (Benjamin Wallfisch, Hans Zimmer) [Aero]
EARTHQUAKE (John Williams) [Los Feliz 3]
FAST TIMES AT RIDGEMONT HIGH (Joe Walsh) [Alamo Drafthouse]
GUMMO [Los Feliz 3]
INHERENT VICE (Jonny Greenwood) [Brain Dead Studios]
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 MAN WHO FELL TO EARTH (John Phillips) [Brain Dead Studios]
THE MUPPETS TAKE MANHATTAN (Jeff Moss, Ralph Burns) [New Beverly]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3]
ROCKY IV (Vince Di Cola) [Alamo Drafthouse]
SOYLENT GREEN (Fred Myrow) [Alamo Drafthouse]
THE WAY OF THE DRAGON (Joseph Koo) [Academy Museum]

January 9
AFTER HOURS (Howard Shore) [Brain Dead Studios]
CAR WASH (Norman Whitfield) [Alamo Drafthouse]
FAST TIMES AT RIDGEMONT HIGH (Joe Walsh) [Alamo Drafthouse]
THE GARDEN OF ALLAH (Max Steiner) [Academy Museum]
LENINGRAD COWBOYS GO AMERICA (Mauri Sumen) [Brain Dead Studios]
THE MUPPETS TAKE MANHATTAN (Jeff Moss, Ralph Burns) [New Beverly]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3] 
REBECCA (Franz Waxman) [Academy Museum]
SLACKER [Brain Dead Studios]
WEST SIDE STORY (Leonard Bernstein, Saul Chaplin, Jonny Green, Sid Ramin, Irwin Kostal) [Aero]

January 10
CAR WASH (Norman Whitfield) [Alamo Drafthouse]
CHASING CORAL (Saul Simon MacWilliams, Dan Romer) [Academy Museum] 
EN LA PALMA DE TU MANO (IN THE PALM OF YOUR HAND) (Raul Lavista) [Academy Museum]
FAST TIMES AT RIDGEMONT HIGH (Joe Walsh) [Alamo Drafthouse]
THE FINAL GIRLS (Gregory James Jenkins), TEEN WITCH (Richard Elliot) [New Beverly]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3]
THE PERFUME OF THE LADY IN BLACK (Nicola Piovani) [Los Feliz 3]
ROCKY IV (Vince DiCola) [Alamo Drafthouse]
SOYLENT GREEN (Fred Myrow) [Alamo Drafthouse]

January 11
AMERICAN GRAFFITI [Alamo Drafthouse]
DOLORES (Mark Kilian) [Academy Museum]
IN THE MOOD FOR LOVE (Michael Galasso, Shigeru Umebayashi) [New Beverly]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3]
RIVER'S EDGE (Jurgen Kneiper) [Los Feliz 3]
ROCKY IV  (Vince Di Cola) [Alamo Drafthouse]
SOYLENT GREEN (Fred Myrow) [Alamo Drafthouse]

January 12
CAR WASH (Norman Whitfield) [Alamo Drafthouse]
DOUBLE INDEMNITY (Miklos Rozsa) [Academy Museum]
FELLINI SATYRICON (Nino Rota) [Brain Dead Studios]
GUMMO [Los Feliz 3]
IN THE MOOD FOR LOVE (Michael Galasso, Shigeru Umebayashi) [New Beverly]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3]
ROCKY IV  (Vince Di Cola) [Alamo Drafthouse]

January 13
NORMA RAE (David Shire) [Academy Museum]
TO SLEEP WITH ANGER (Stephen James Taylor) [Academy Museum]

January 14
THE CROW (Graeme Revell) [New Beverly]
FANTASTIC MR. FOX (Alexandre Desplat) [Academy Museum]
LAST AND FIRST MEN (Johann Johannsson) [Los Feliz 3]
MANDY (Johann Johannsson) [Los Feliz 3]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3]
SHAMPOO (Paul Simon) [Alamo Drafthouse]
THE THING (Ennio Morricone) [Nuart]

January 15
ENTER THE VOID [Los Feliz 3]
FLY AWAY HOME (Mark Isham) [Academy Museum]
LAST AND FIRST MEN (Johann Johannsson) [Los Feliz 3]  
THE LODGER [Alamo Drafthouse]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse]
MIRACLE MILE (Tangerine Dream) [Los Feliz 3]
MONTEREY POP [New Beverly]
MUPPET TREASURE ISLAND (Hans Zimmer) [New Beverly]
SHAMPOO (Paul Simon) [Alamo Drafthouse]

January 16
THE EMIGRANTS (Erik Nordgren) [Academy Museum]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse] 
MUPPET TREASURE ISLAND (Hans Zimmer) [New Beverly]
SANS SOLEIL (Chris Marker) [Brain Dead Studios]
THE SEARCH (Robert Blum) [Academy Museum]
THE STRAIGHT STORY (Angelo Badalamenti) [Brain Dead Studios]


King Kong (Barry), King Kong Lives (Scott), King Kong (Howard), Mighty Joe Young (Horner), Kong: Skull Island (Jackman), Godzilla vs. Kong (Holkenborg), The Magnificent Ambersons (Herrmann), Buster Keaton (Davis), Seven Waves (Ciani)

Read: Thunderball, by Ian Fleming

Seen: The Tragedy of Macbeth, The King's Man, The Matrix Resurrections, Red Rocket, Jockey, Don't Look Up, A Journal for Jordan, Mank, Citizen Kane

Watched: Spellbound [1945]; Star Trek ("The Deadly Years"); Star Trek: Lower Decks ("Terminal Provocations"); Rome ("These Being the Words of Marcus Tullius Cicero"); Innocent Bystanders; The Other Two ("Pilot"); Banacek ("To Steal a King")

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Comments (3):Log in or register to post your own comments
Mind you, I am simply curious, but what is the difference, Scott, between things you've "Seen" and things you've "Watched"?

You "see" a movie at the cinema, you "watch" a movie at home

You "see" a movie at the cinema, you "watch" a movie at home

That is precisely correct.

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