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Intrada has announced two new CDs this week -- a remastered edition of one of James Horner's early hit scores, his lively, funky music for Walter Hill's 1982 action comedy 48 HRS., pairing Nick Nolte with Eddie Murphy in his star-making screen debut, adding a few alternate cues; and the first full score release of Horner's music for the 1990 sequel, ANOTHER 48 HRS. (the original soundtrack release was a song-driven album with around 20 min. of score).

In additional James Horner news, La-La Land has released a new edition of Horner's Oscar-nominated score for 1989's FIELD OF DREAMS, a two-disc set featuring an expanded version of the original score on Disc One and a remastered version of the original CD sequencing on Disc Two.

Varese Sarabande has announced two new Scream-themed releases -- Brian Tyler's score for the brand-new (and confusingly titled) Scream sequel SCREAM (the fifth in the series for those who are still counting, and the first since the passing of original Scream director Wes Craven), and a six-disc boxed set of Marco Beltrami's music for Craven's original four SCREAM movies -- Scream is on Disc One, Scream 2 on Disc Two, Scream 3 on Discs Three and Four, Scream 4 on Disc Five, with bonus cues from all four scores on Disc Six. 

Quartet has announced two new releases - Ed Welch's score for the 1979 remake of the Hitchcock classic (and John Buchan novel) THE THIRTY-NINE STEPS, and a 50th anniversary edition of the 1972 film version of TREASURE ISLAND, starring Orson Wells as Long John Silver, with a score by regular Pino Donaggio collaborator Natale Massara.


Another 48 Hrs.
- James Horner - Intrada Special Collection
The Craig Safan Collection: Vol. 1
 - Craig Safan - Dragon's Domain
Field of Dreams - James Horner - La-La Land
48 Hrs.
- James Horner - Intrada Special Collection
Gli occhi freddi della paura
 - Ennio Morricone - Beat  
Masters of Horror
 - Richard Band - Dragon's Domain
No Retreat, No Surrender 2: Raging Thunder - David Spear - Dragon's Domain
- Brian Tyler - Varese Sarabande
Scream: Original Motion Picture Soundtracks
- Marco Beltrami - Varese Sarabande
Spider-Man: No Way Home - Michael Giacchino - Sony (import) 


Arctic Void - Nick Donnelly
Belle - Taisei Isawaski, Ludvig Forssell, Yuta Bandoh
Borrego - The Newton Brothers
Delicious - Christophe Julien
Italian Studies - Nicholas Britell
Scream - Brian Tyler - Score CD on Varese Sarabande
Shattered - Tom Howe


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
Music for Games, Film, Televsion and Concert Hall 
- Raphael Benjamin Meyer - Alhambra 
Terminal Exposure
 - Hans Zimmer - Notefornote
The Thirty-Nine Steps
- Ed Welch - Quartet
Treasure Island
- Natale Massara - Quartet


January 14 - Hans J. Salter born (1896)
January 14 - Mark Lawrence born (1921)
January 14 - Lex de Azevedo born (1943)
January 14 - T Bone Burnett born (1948)
January 14 - Elmer Bernstein begins recording score to The Great Escape (1963)
January 14 - Jerry Goldsmith begins recording his score for Von Ryan’s Express (1965)
January 14 - Dave Grohl born (1969)
January 14 - Maurice Jarre begins recording his score for Plaza Suite (1971)
January 14 - Harry Nilsson died (1994)
January 14 - Emil Stern died (1997)
January 14 - Fred Myrow died (1999)
January 14 - Harvey R. Cohen died (2007)
January 14 - Angela Morley died (2009)
January 15 - Alessandro Cicognini born (1906)
January 15 - Cy Feuer born (1911)
January 15 - Kenyon Hopkins born (1912)
January 15 - Fonce Mizell born (1943) 
January 15 - Don Caron born (1955)
January 15 - David Raksin begins recording his score for The Vintage (1957)
January 15 - Franz Waxman begins recording his score for Count Your Blessings (1959)
January 15 - Jerry Goldsmith records his score for the pilot episode of Archer (1975)
January 15 - John Cavacas begins recording his score for the Buck Rogers in the 25th Century episode “Journey to Oasis” (1981)
January 15 - Georges Delerue records his score for the Amazing Stories episode "Dorothy and Ben" (1986)
January 15 - Georges Delerue records his score for the Amazing Stories episode "Without Diana" (1987)
January 15 - Ron Jones records his score for the Star Trek: The Next Generation episode "11001001" (1988)
January 15 - Les Baxter died (1996)
January 16 - Kenyon Emrys-Roberts born (1923)
January 16 - Alain Jessua born (1932)
January 16 - John Carpenter born (1948)
January 16 - Franz Waxman begins recording his score for A Place in the Sun (1951)
January 16 - Nicholas Carras records his score for Date Bait (1959)
January 16 - Atticus Ross born (1968)
January 16 - John Williams begins recording his score to The Fury (1978)
January 16 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Parallax” (1995)
January 16 - James Horner begins recording his score for Casper (1995)
January 17 - Ryuichi Sakamoto born (1952)
January 17 - Charles Bernstein begins recording his score for Love at First Bite (1979)
January 17 - John Williams begins recording his score to Return of the Jedi (1983)
January 17 - Harry Robinson died (1996)
January 17 - Rolf Wilhelm died (2013)
January 18 - W. Franke Harling born (1887)
January 18 - Richard LaSalle born (1918)
January 18 - Jonathan Davis born (1971)
January 18 - Cyril J. Mockridge died (1979)
January 18 - Johnny Harris records his score for the Buck Rogers in the 25th Century episode “Ardala Returns” (1980)
January 18 - Basil Poledouris begins recording his score for Conan the Barbarian (1982)
January 18 - George Stoll died (1985)
January 18 - Joseph Gershenson died (1988)
January 18 - Karl de Groof died (2007)
January 18 - Frank Lewin died (2008)
January 19 - Gerard Schurmann born (1924)
January 19 - Stu Phillips born (1929)
January 19 - Michael Boddicker born (1953)
January 19 - Jerome Moross begins recording his score to The Adventures of Huckleberry Finn (1960)
January 19 - Recording sessions begin for Cyril Mockidge’s score to The Man Who Shot Liberty Valance (1962)
January 19 - John Williams records his score for The Ghostbreaker (1965)
January 19 - Jerry Goldsmith begins recording electronic cues for Logan's Run (1976)
January 19 - Don Costa died (1983)
January 19 - David Shire records his score for the Amazing Stories episode "Moving Day" (1987) 
January 19 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Life Support” (1995)
January 19 - Bjorn Isfalt died (1997)
January 20 - Emil Newman born (1911)
January 20 - Recording sessions begin for Miklos Rozsa's score for Double Indemnity (1944)
January 20 - John Beal born (1947)
January 20 - Franz Waxman begins recording his score to Untamed (1955)
January 20 - Bronislau Kaper begins recording his score to The Prodigal (1955)
January 20 - Pedro Bromfman born (1976)
January 20 - Paul Ben Haim died (1984)
January 20 - Christopher Young’s scores for the Twilight Zone episodes “A Matter of Minutes” and  “A Small Talent for War” are recorded (1986)
January 20 - Basil Poledouris records his score for the Twilight Zone episode “Monsters!” (1986)
January 20 - Gerry Mulligan died (1996)
January 20 - Recording sessions begin for John Powell’s score to Agent Cody Banks (2003)
January 20 - Edgar Froese died (2015)


BECOMING COUSTEAU - Danny Bensi, Saunder Jurriaans
"What emerges -- as implied in the title -- is an intriguing portrait of personal curiosity made professional, but also how maintaining that curiosity challenges and transforms the individual. At first, we ride Cousteau’s ascension from diving enthusiast to red-capped sea icon on his signature boat the Calypso as if holding on to a dolphin’s tail as it glides through blissfully open waters -- the accompanying score from Danny Bensi and Saunder Jurriaans like a lilting breeze. But occasionally, the air is colored and salted by human complications, namely his neglectfulness as a husband and dad. His wife/business partner Simone comes off as a tough but lonely soul, while the participation of sons Jean-Michel and Philippe in the family trade brought swirls of joy, discord and sorrow to their dad as time went on."
Robert Abele, Los Angeles Times

"Soon he and his crew were out on their boat, the Calypso, full time.  (If their red knit hats don’t immediately bring to mind Wes Anderson’s 'The Life Aquatic with Steve Zissou,' Daniel Bensi and Saunder Jurriaans’ playfully jaunty score will.)"
Elizabeth Weitzman, The Wrap
BEING THE RICARDOS - Daniel Pemberton

"But with Sorkin the writer also serving as director, 'Being the Ricardos' was doomed from the start. There are moments when the movie pops and the filmmaker seems in sync with his cast, his cast seems in sync with one another, and the intended sparks fly. But they’re fleeting. Sorkin stalls the film’s urgency with endless flashbacks and flash-forwards, with characters frequently restating (and overstating) ideas and emotions we’ve just seen dramatized. And when he comes up emotionally short, he resorts to a hoary, obvious score (by the usually dependable Daniel Pemberton). The whole thing is strangely lifeless as a result, a museum piece, a carefully curated display of old-timey television with nothing much at stake."
Jason Bailey, New York 
"This is Sorkin’s third stab at directing, after the perfectly OK 'Molly’s Game' and the imperfectly OK 'The Trial of the Chicago 7,' and while he’s shown no flair for the job, this is his worst outing yet when it comes to the rudiments. The pacing is forced; Sorkin uncannily undercuts his own precious words with obvious music cues, choppy editing, and dull blocking of actors. Then there’s the pall of Jeff Cronenworth’s desaturated images, nicotine-stained and interchangeable -- the soundstage looks like the nightclub looks like the Ball-Arnaz home."
Robert Abele, The Wrap 

THE BETA TEST - Jeffrey Campbell Binner, Ben Lovett
"An unsettling atmosphere, enlivened by Jeffrey Campbell Binner and Ben Lovett’s morbidly upbeat score, contrasts with the sunshine-bathed sleekness of corporate buildings and trendy restaurants in Los Angeles -- the epicenter of an entertainment industry oft-maligned as a cesspool of artificiality. Ghastly humor coated in serrated-edged commentary on corrosive power creeps in through Jordan’s yearnings for a world before online accountability."
Carlos Aguilar, Los Angeles Times 

"The movie is at its best when the filmmakers focus their ire on Hollywood itself -- the hypocrisies, the empty promises, the rejections and belittlements that are built right into the system. Jordan’s brief affair, for example, is intercut with a hilariously grim work montage, while his tense repetitions of desperate and meaningless phrases like 'Who’s excited?' and 'There’s my guy!' build to almost unbearable anxiety. Ben Lovett’s score hits just the right notes of bombast and pathos, while Cummings’ editing creates the tautest levels of stress. He does push his jaw-clenching performance right to the edge, leaving no space for subtlety. But he’s balanced onscreen by McCabe and Newcomb, both of whom bring welcome warmth and humanity to an otherwise suffocating environment."
Elizabeth Weitzman, The Wrap 

BETRAYED - Johan Söderqvist 
"There, indignities become commonplace, exacerbated by Charles’ refusal to listen to his father and give in to a nasty commander’s request for a sparring bout. Charles is the embodiment of Jewish strength rendered powerless by Hitler’s National Socialist machine, and Oftebro (who more than slightly resembles Joseph Gordon-Levitt) evokes his character’s frustration and rage at this degradation with a nimbleness that extends to the rest of the impressive cast. Histrionics are wholly absent in 'Betrayed,' as are unnecessary aesthetic flourishes. Embellished by Johan Söderqvist’s reserved orchestral score, Svensson and cinematographer Karl Erik Brøndbo’s visuals are straightforward and precise, their compositions evocative without being unduly showy. They lend the proceedings the sobering realism and desolation they deserve."
Nick Schager, Variety

DON'T LOOK UP - Nicholas Britell
"Late into the unwieldy end-of-days satire 'Don’t Look Up,' writer-director Adam McKay briefly sets aside the easy snark and broad targets and reaches for a note of awe. He just about hits it. An enormous comet has appeared in the night sky, finally visible to the naked eye after having spent months making a beeline for Earth. It’s a terrifying sight but also a sublime one, a vision of inexorably approaching doom that -- with an assist from a teary-eyed Leonardo DiCaprio and a gorgeously churning score by “Succession’s” Nicholas Britell -- can’t help but stir a collective sense of wonder."
Justin Chang, Los Angeles Times 


"Technical aspects beautifully build off the original. Composer Rob Simonsen’s score pays homage to Elmer Bernstein’s classic, unforgettable themes while establishing its own unique soundscape with similar instrumentation of woodwinds, strings, and heavy brass. Frequent collaborator Eric Steelberg’s cinematography is subtly influenced by László Kovács’s approach, simultaneously augmenting narrative undertones with his own hallmark grounded, humanistic touch. Plus, François Audouy’s production design and Danny Glicker’s costumes put clever spins on iconic moments from the ’84 film."
Courtney Howard, IndieWire

"The not-so-subtle connections are in overdrive from the get-go, including a score that steals so heavily from Elmer Bernstein’s brilliant Ghostbusters work, I don’t know how someone from his estate isn’t suing. But gratefully, the script then pivots to Egon’s grown daughter, Callie Spengler (Carrie Coon), a single mom who lives in the city with her tween daughter Phoebe (Mckenna Grace) and teen son Trevor (Finn Wolfhard). Long estranged from her dad, the news of his demise serves only to spur her to pack up their life and relocate to Summerville, Oklahoma in hopes of being left something worth selling in his will. It’s a bleak inciting incident but the trio are so charming from the start -- with Callie’s acerbic mood playing well against Trevor’s sass and Phoebe’s dead-on channeling of grandpa Egon’s singular, socially awkward personality -- that it all works."
Tara Bennett, Paste Magazine 

"'Afterlife' surges to life early on in its Spielberg-ian thrills. The scene where the kids strap on the power packs and take the Ecto-1 hearse out for a ride to chase down ghosts is impossible nostalgic and powerful in a way that may disarm you; reminding you of that exhilarating moment when Rey discovers the Millennium Falcon and takes it for a spin. Composer Rob Simonsen, does a superb job at imitating John Williams and for a brief moment, 'Afterlife’' looks like it might roar to life in an unexpected way. But much like the movie, what’s elating at first, soon becomes far too familiar, Simonsen reaching for the customary 'Ghostbusters' musical cues and using them in a superficial manner. 'Ghostbusters: Afterlife' knows how to elicit the feels too, and a couple of crucial moments may butterfly swirl around in your heart and your gut. But as is the way of this movie, the filmmakers don’t know when to say when and dial it back into a sweet spot of emotion."
Rodrigo Perez, The Playlist 

"Despite his last name and his filmmaking lineage, the director Reitman rips off most here is Steven Spielberg. He tries to establish a feeling of mystery about this place right off the top through low-angle camerawork and misty moonlit nights, with Rob Simonsen’s score working hard to create a sense of wonder. This 'Ghostbusters' takes the series’ mythology way too seriously, approaching what should be a light, silly comedy as if it were serious science fiction. The result is an awkward and unwarranted feeling of reverence."
Christy Lemire, 

HIVE - Julien Painot
"In the laid-back spirit of the film, the actors are solid but convincing, notably the resilient Gashi as Fahrije and veteran actor and musician Cun Lajci in the role of the grandfather. The story takes place in Krusha, a pretty hillside town that was the site of a horrendous massacre in 1999. It is respectfully shot, without any aesthetic lingering, by DP Alex Bloom in the dark, harmonious colors of the countryside. A sparely used background melody by Julien Painot adds feeling."
Deborah Young, The Hollywood Reporter 

NIGHTMARE ALLEY - Nathan Johnson
"The screenplay can at times be too literal, but Nathan Johnson’s score never fails, creating a potent fusion of the majestic and the uneasy, and encapsulating the dueling impulses in del Toro’s vision. With a semi-playful nod to the 1945 film 'Detour' and more than a few rain-drenched streets, 'Nightmare Alley' pays tribute to noir. But it’s also its own dark snow globe, luminous and finely faceted, and one of del Toro’s most fluent features."
Sheri Linden, The Hollywood Reporter 

"'Welcome to Raccoon City' was written and directed by Johannes Roberts, the director of the impressively atmospheric and uncomplicated '47 Meters Down' movies. He appears to have taken most of his storytelling cues here from John Carpenter films, right down to the iconic Albertus font in all the title cards. The score by Mark Korven ('The Lighthouse') initially evokes badass memories of 'Assault on Precinct 13' and 'The Fog,' but it lacks the tonal modulation actually necessary to tell this story, instead of just reminding us of better ones."
William Bibbiani, The Wrap 
"A pair of early zooms, as well as recurring white-on-black intertitle time cards, flirt with ’70s aesthetics -- an impression furthered by Claire’s decision to hitchhike to Raccoon City in a big rig. Subpar computer-generated effects, helter-skelter editing and a blaring score, though, mark it as a contemporary B-movie. Not that the reboot’s shortcomings are tied to a particular era. In any decade, the film’s bevy of unexplained details, dropped subplots, paper-thin characterizations and fright-free mayhem would disappoint."
Nick Schager, Variety 

"With his cinematic imagination operating at peak potency, Koberidze’s directorial feat summons the essence of Abbas Kiarostami’s early feature 'The Traveler,' the trenchant voiceover of Jean-Pierre Jeunet’s 'Amélie' and the musical agility of bygone silent classics -- reproduced here in the stimulating instrumentals of composer Giorgi Koberidze."
Carlos Aguilar, Los Angeles Times 

"Koberidze is able to lull you into a state of receptiveness because he doesn’t try to teach us anything we don’t already know, or lift our hearts with anything we could take with us once the lights come up; his brother’s Sundance-ready score pipes up at random, as if unsure where to gild the lily. That, too, is part of the film’s easy charm. 'What Do We See When We Look at the Sky?' may require a massive degree of patience that it never intends to reward with any kind of seismic payoff, but Koberidze knows that its spell -- the same one cast on Giorgi and Lisa -- will only last for as long as the film does, and so it does us the kindness of taking its sweet time."
David Ehrlich, IndieWire

"This is all carried effervescently by a wide-ranging score from Koberidze’s brother, Giorgi. His alternatingly symphonic and whimsical melodies shift between classical stretches of artists like Debussy, acting as much a lyrical collage as the story and visuals. The film is artistic but playful, though undoubtedly inaccessible for some due to its overlong runtime and aimless narrative approach. It’s a film that requires patience, but if you are willing to meet it on its terms, it sustains an eagerness throughout to surprise and engage. In this way, Koberidze’s method mirrors the very world around us. His unfocused take on a fantasy rom-com anchors us with a story of a missed connection and summons us to look for the magic that exists in the most unexpected of places, while his storybook narration still gently urges not to overlook the tragedies which hover on the periphery. 'What Do We See When We Look at the Sky?' is an apt, simple fable that feels somewhat hopeful for our modern world -- one where evil wins, but love overcomes."
Brianna Zigler, Paste Magazine 

"The tone is reminiscent of the heavily mediated films of Miguel Gomes, as is the gorgeous 16mm and digital photography by Faraz Fesharaki, where the daytime ambience has the slightly desaturated luster of an Éric Rohmer film and the nocturnal scenes are a chiaroscuro of industrial streetlights and apartment windows tinted with orange lamplight. The dexterity of Fesharaki’s framing (equal parts off-kilter framing and handsomely framed long shots that give a strong sense of Kuitsai’s georgraphy) is matched by Giorgi Koberidze’s score, which strikes notes of romance, longing, and humor with a battery of harp and woodwinds."
Christopher Gray, Slant Magazine 
"But this is not a tourist board vision; the views can be mundane as well as majestic, and if they sometimes soar against Schubert or Debussy, just as often they trundle to the rag-and-bone rhythms of the folksier stretches of Giorgi Koberidze’s astonishingly varied score. The use of music can be literal: Harp glissandos denote romance, plaintive horns play over missed connections. But who cares, when at half-time, that impulse gives us transcendence: Gianna Nannini’s superlatively cheesy 1990 World Cup anthem 'Notti Magiche,' rocking through its 4-minute entirety while neighborhood kids play football in slow motion."
Jessica Kiang, Variety


Screenings of older films in Los Angeles-area theaters.

January 14
THE CROW (Graeme Revell) [New Beverly]
FANTASTIC MR. FOX (Alexandre Desplat) [Academy Museum]
LAST AND FIRST MEN (Johann Johannsson) [Los Feliz 3]
MALCOLM X (Terence Blanchard) [Aero]
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
THE CRANES ARE FLYING (M. Vaynberg) [Los Feliz 3]
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]
RUMBLE FISH (Stuart Copeland) [Los Feliz 3]
SHAMPOO (Paul Simon) [Alamo Drafthouse]
VERTIGO (Bernard Herrmann) [Aero]

January 16
THE EMIGRANTS (Erik Nordgren) [Academy Museum]
LAST AND FIRST MEN (Johann Johannsson) [Los Feliz 3]  
THE LAST PICTURE SHOW [Alamo Drafthouse]
LAWRENCE OF ARABIA (Maurice Jarre) [Aero]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse] 
MUPPET TREASURE ISLAND (Hans Zimmer) [New Beverly]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3]
SANS SOLEIL (Chris Marker) [Brain Dead Studios]
THE SEARCH (Robert Blum) [Academy Museum]
THE STRAIGHT STORY (Angelo Badalamenti) [Brain Dead Studios]
WALK ON THE WILD SIDE (Elmer Bernstein) [Los Feliz 3]
WATERWORLD (James Newton Howard) [Los Feliz 3]

January 17
CHASING CORAL (Simon Saul MacWilliams, Dan Romer) [Academy Museum]
EVE'S BAYOU (Terence Blanchard) [Academy Museum]
THE GIRL IN ROOM 2A (Berto Pisano) [Los Feliz 3]
THE LODGER [Alamo Drafthouse]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse]  

January 18
BOOGIE NIGHTS (Jon Brion) [Alamo Drafthouse]
THE CAMERAMAN [Academy Museum]
DOLORES (Mark Kilian) [Academy Museum]
LAST AND FIRST MEN (Johann Johannsson) [Los Feliz 3]
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse]   
MUNICH (John Williams) [Los Feliz 3]
SHORTBUS (Yo La Tengo) [Nuart]

January 19
ARREBATO (Negativo), VIDEODROME (Howard Shore) [New Beverly]
BOOGIE NIGHTS (Jon Brion) [Alamo Drafthouse] 
CELINE AND JULIE GO BOATING (Jean-Marie Senia) [Brain Dead Studios]
DOUBLE INDEMNITY (Miklos Rozsa) [Academy Museum]
LAST AND FIRST MEN (Johann Johannsson) [Los Feliz 3]  
THE LORD OF THE RINGS: THE TWO TOWERS (Howard Shore) [Alamo Drafthouse]
SHORTBUS (Yo La Tengo) [Nuart] 

January 20
ARREBATO (Negativo), VIDEODROME (Howard Shore) [New Beverly]
EL REBOZO DEL SOLEDAD (SOLEDAD'S SHAWL) (Francisco Dominguez) [Academy Museum]
KOYANNISQATSI (Philip Glass) [Brain Dead Studios]
LAST AND FIRST MEN (Johann Johannsson) [Los Feliz 3]
LINCOLN (John Williams) [Los Feliz 3] 

NORMA RAE (David Shire) [Academy Museum]

January 21
A.I. ARTIFICIAL INTELLIGENCE (John Williams) [Brain Dead Studios]
BOOGIE NIGHTS (Jon Brion) [Alamo Drafthouse]
FANTASTIC MR. FOX (Alexandre Desplat) [Academy Museum]
LA NOCHE AVANZA (NIGHT FALLS) (Raul Lavista) [Academy Museum]
LAKE PLACID (John Ottman) [Los Feliz 3]
LAST AND FIRST MEN (Johann Johannsson) [Los Feliz 3] 
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3] 
SOMBRA VERDE (UNTOUCHED) (Antonio Diaz Conde) [Academy Museum]
SUMMER OF SOUL [New Beverly]
WHAT'S UP, DOC? (Artie Butler) [Aero]

January 22
BREEZY (Michel Legrand) [Alamo Drafthouse]
DIAS DE OTONO (AUTUMN DAYS) (Raul Lavista) [Academy Museum]
EIGHT MEN OUT (Mason Daring), MATEWAN (Mason Daring) [Aero]
EL TOPO (Alejandro Jodorowsky) [Brain Dead Studios]
A FOREIGN AFFAIR (Frederick Hollander) [Academy Museum]
THE GAME (Howard Shore) [Los Feliz 3]
IKIRU (Fumio Hayasaka) [Brain Dead Studios]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [Alamo Drafthouse]
MACARIO (Raul Lavista) [Academy Museum]
OUT OF THE BLUE (Tom Lavin) [Los Feliz 3]  
PADDINGTON (Nick Urata) [Academy Museum]
PINK FLOYD THE WALL (Roger Waters, Michael Kamen) [New Beverly]
PRIDE & PREJUDICE (Dario Marianelli) [Alamo Drafthouse]
SUMMER OF SOUL [New Beverly]

January 23
ACE IN THE HOLE (Hugo Friedhofer) [Los Feliz 3]
AGUIRRE, THE WRATH OF GOD (Popol Vuh) [Brain Dead Studios]
BREEZY (Michel Legrand) [Alamo Drafthouse]
CHILDREN OF MEN (John Tavener) [Brain Dead Studios]
DAYS OF HEAVEN (Ennio Morricone) [Los Feliz 3]
THE GOONIES (Dave Grusin) [Alamo Drafthouse]
LABYRINTH (Trevor Jones) [IPIC Westwood]
THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) [Alamo Drafthouse]
ON GOLDEN POND (Dave Grusin) [Academy Museum]
PRIDE & PREJUDICE (Dario Marianelli) [Alamo Drafthouse]
ROSAURO CASTRO (Antonio Diaz Conde) [Academy Museum]
SUMMER OF SOUL [New Beverly]
TWO-LANE BLACKTOP [Brain Dead Studios]


Earth and Ashes (Russo/Arman), The Black Tulip (Young), Hero (Tan Dun), House of Flying Daggers (Umebayashi), Curse of the Golden Flower (Umebayashi), The Promise (Badelt), The Grandmaster (Umebayashi/Mechaly), Crouching Tiger, Hidden Dragon: Sword of Destiny (Umebayashi),The Assassin (Giong Lim), The Banquet (Tan Dun), The Young Karl Marx/I Am Not Your Negro (Aigui), Lumumba (Petit), The Last Black Man in San Francisco (Mosseri), A Patch of Blue (Goldsmith)

Read: A Carnival of Snackery: Diaries 2003-2020, by David Sedaris

Seen: Lassie Come Home, Earthquake, Spider-Man: No Way Home, Sing 2, Parallel Mothers, The 355

Watched: The Hudsucker Proxy; Star Trek ("Obsession"); Star Trek: Lower Decks ("Much Ado About Boimler); Rome ("Testudo et Lepus (The Tortoise and the Hare)"); The Last Voyage; Penny Dreadful ("Memento Mori"); Band of Brothers ("The Breaking Point")

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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)
Johnny Mandel begins recording his score for The Americanization of Emily (1964)
Michael Small begins recording his score for Jaws the Revenge (1987)
Shuki Levy born (1947)
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