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La-La Land has announced their September schedule of releases. On September 13th, they will release their 600th release, JERRY GOLDSMITH AT 20TH PART V: MUSIC FOR TELEVISION 1968-1975, including the maestro's previously unreleased music from Only in America and Prudence and the Chief; John Frizzell's score for the recent sequel BEAVIS AND BUTTHEAD DO THE UNIVERSE; and Leo Birenberg and Zach Robinson's music for the fifth season of COBRA-KAI.

Kronos has announced two upcoming Gold Collection releases - the score for 1957's MOTORCYCLE GANG, composed by B-movie great Albert Glasser (The Amazing Colossal Man, Beginning of the End), and the music for the 1972 Western THE PROUD AND DAMNED, scored by the team of Gene Kauer and Douglas M. Lackey (Agent for H.A.R.M., Across the Great Divide), and directed by Ferde Grofe Jr., the son of composer Ferde Grofe (Rocketship XM, Grand Canyon Suite).

Music Box has announced two new releases -- a CD pairing two scores by Claude Bolling for films directed by Jacques Deray - ON NE MEURT QUE DEUX FOIS (He Died With His Eyes Open), from 1985, and NETACHIEV EST DE RETOUR (Netchaiev Is Back) from 1991; and two TV scores by Raymond AlessandriniLE ROI DE PATAGONIE and FABIEN DE LA DROME


Le roi de Patagonie/Fabien de la Drome - Raymond Alessandrini - Music Box 
On ne meurt que deux fois/Netchaiev est de retour
- Claude Bolling - Music Box 


Gigi & Nate - Paul Leonard-Morgan
Honk for Jesus. Save Your Soul. - Marcus Norris
One Way - Raffertie
Peter von Kant - Clement Ducol
Tiny Cinema - Feathers
Waiting for Bojangles - Olivier & Claire Manchon - Score CD En attendant Bojangles on Polydor (import)  


September 9
Where the Crawdads Sing
 - Mychael Danna - Decca
September 16
Beavis and Butthead Do the Universe - John Frizzell - La-La Land
Bridgerton: Season Two - Kris Bowers - Capitol
Cobra Kai: Season 5 - Leo Birenberg, Zach Robinson - La-La Land
Goldsmith at 20th Vol 5: Music for Television 1968-1975  - Jerry Goldsmith - La-La Land
The Gravedigger's Wife
 - Andre Matthias - Kronos
September 30
The Innocents - Pessi Levanto - Svart
October 14 
Firestarter - John Carpenter, Jody Carpenter, Daniel Davies - Sacred Bones
Coming Soon
 - Oscar Martin Leanizabarrutia - Kronos
Hollywood Soundstage 
- various - Chandos
The Lord of the Rings: The Rings of Power - Bear McCreary - Mondo
Motorcycle Gang
- Albert Glasser - Kronos
Nope - Michael Abels - Waxwork
The Proud and Damned
- Gene Kauer, Douglas M. Lackey - Kronos
Psycho Storm Chaser
 - Andrew Scott Bell - Howlin' Wolf  
Suoni Velati
 -  Matteo Cremolini - Kronos 


September 2 - Armando Trovajoli born (1917)
September 2 - Hugo Montenegro born (1925)
September 2 - Emil Richards born (1932)
September 2 - Steve Porcaro born (1957)
September 2 - Alex Heffes born (1971)
September 2 - Tadeusz Baird died (1981)
September 2 - Clifton Parker died (1989)
September 2 - Recording sessions begin for Wojciech Kilar’s score for Bram Stoker’s Dracula (1992)
September 2 - Dennis McCarthy records his score for the Star Trek: Enterprise episode “The Xindi” (2003)
September 3 - Anthony Collins born (1893)
September 3 - Richard Markowitz born (1926)
September 3 - Kevin Kiner born (1958)
September 3 - Alexandre Azaria born (1967)
September 3 - Joseph Mullendore records his score for the Land of the Giants episode “Deadly Pawn” (1969)
September 3 - Brooke Blair born (1977)
September 3 - Bruce Broughton begins recording his score for Young Sherlock Holmes (1985)
September 3 - Bruce Broughton begins recording his score for Glory and Honor (1997)
September 3 - Pierre van Dormael died (2008)
September 3 - Marcus Fjellstrom died (2017)
September 4 - Darius Milhaud born (1892)
September 4 - David Raksin records his score for Fallen Angel (1945)
September 4 - Mark Ronson born (1975)
September 4 - Hildur Guonadottir born (1982)
September 4 - Jerry Goldsmith begins recording his score for The Last Castle (2001)
September 5 - Giancarlo Bigazzi born (1940)
September 5 - Don Banks died (1980)
September 5 - Sondre Lerche born (1982)
September 5 - Salil Chowdhury died (1995)
September 6 - Louis Silvers born (1889)
September 6 - William Kraft born (1923)
September 6 - Patrick O'Hearn born (1954)
September 6 - Franz Waxman begins recording his score for My Geisha (1961)
September 6 - Hanns Eisler died (1962)
September 6 - John Williams records his score for the Eleventh Hour episode "The Bronze Locust" (1963)
September 6 - George Duning's scores for the Star Trek episodes "Is There In Truth No Beauty?" and "The Empath" are recorded (1968)
September 6 - Jerry Fielding posthumously wins the Emmy for his TV movie score High Midnight; Patrick Williams wins for the Lou Grant episode “Hollywood” (1980)
September 6 - Wladimir Selinsky died (1984)
September 6 - Jay Chattaway records his score for the Star Trek: Voyager episodes “The Chute” and “Future’s End Parts 1 & 2” (1996)
September 7 - Leonard Rosenman born (1924)
September 7 - Sonny Rollins born (1930)
September 7 - Carlos Camilleri born (1931)
September 7 - Gianni Marchetti born (1933)
September 7 - Waldo de los Rios born (1934)
September 7 - Mark Isham born (1951)
September 7 - Fred Steiner's score for the Star Trek episode "Mudd's Women" is recorded (1966)
September 7 - Herman Stein records his score for the Lost in Space episode "Space Circus" (1966)
September 7 - Miklos Rozsa begins recording his score for The Power (1967)
September 7 - Owen Pallett born (1979)
September 7 - Recording sessions begin for Christopher Young’s score for The Core (2002)
September 8 - Philippe-Gerard born (1924)
September 8 - Peter Maxwell Davies born (1934)
September 8 - Nelson Riddle records his score for the Voyage to the Bottom of the Sea episode “Escape from Venice” (1965)
September 8 - Robert Drasnin records his score for The Wild Wild West episode “The Night of the Deadly Bed” (1965)
September 8 - Fred Steiner's score for the Star Trek episode "Mirror, Mirror" is recorded (1967)
September 8 - Dustin O’Halloran born (1971)
September 8 - Patrick Williams records his score for The Streets of San Francisco episode “The Thrill Killers” (1976)
September 8 - Artie Kane records his score for The New Adventures of Wonder Woman episode “Anschluss ‘77” (1977)
September 8 - Leonard Rosenman wins his second Emmy, for Friendly Fire; David Rose wins for the Little House on the Prairie episode “The Craftsman” (1979)
September 8 - John Barry begins recording his unused score for The Golden Child (1986)
September 8 - Alex North died (1991)
September 8 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “The Homecoming” (1993)
September 8 - Ernest Troost wins the Emmy for The Canterville Ghost; Hummie Mann wins for the Picture Windows episode “Language of the Heart;” Mike Post wins for his main title theme to Murder One (1996) 
September 8 - Dennis McCarthy begins recording his score for the Star Trek: Deep Space Nine episode “You Are Cordially Invited” (1997)
September 8 - Jay Chattaway wins his first Emmy for the final Star Trek: Voyager episode, “Endgame;” Arturo Sandoval wins for the For Love or Country: The Arturo Sandoval Story score; James Newton Howard wins for the Gideon’s Crossing main title theme (2001)
September 8 - George Fenton wins his second Emmy, for the Planet Earth episode “Pole to Pole;” Jeff Beal wins his second Emmy, for the Nightmares and Dreamscapes segment “Battlefield;” Trevor Morris wins his first Emmy, for The Tudors main title theme (2007)
September 8 - Ramin Djawadi wins his first Emmy, for the Game of Thrones episode score “The Dragon and the Wolf;” Cyrille Aufort wins for March of the Penguins 2: The Next Step, and Carlos Rafael Rivera wins for Godless’ main title theme (2018)


"Being the chief of those games, the murder-mystery-themed 'Bodies Bodies Bodies' sets all the debauchery in motion across the imposing chambers of the estate. Before we know it, the posse loses all power and bloody bodies actually start falling one by one, against the backdrop of a raging storm and Disasterpeace’s increasingly alarming score. Working with 'Monos' cinematographer Jasper Wolf, Reijn makes terrific use of all the nooks and crannies of the house’s handsome interiors, nimbly navigating a mazy string of events with edge-of-your-seat intrigue, a decent dose of frights and a genuine sense of humor."
Tomris Laffly, 

"It all comes together, primarily, because Reijin crafts a convincing mirror against super-online audiences. Her direction imbues this film with a striking originality, wherein the unrelenting tension and paranoid mood combine toward unnerving ends. The lighting, planned in collaboration with cinematographer Jasper Wolf ('Monos') and the actors themselves, rely on sparse lights from cellphones and flashlights, as they explore the immense mansion for the killer. The chiaroscuro shades create a gripping claustrophobic effect, as the actors fumble around in the dark. Winding stairs become a dark death trap, rendered creepier by the whimsical score. A car at the center of a hurricane’s whipping winds becomes a brief haven. I also just love the idea that without wifi, we’d all descend into murder."
Robert Daniels, IndieWire 

THE BUBBLE - Michael Andrews, Andrew Bird
"Greenscreen has never been the natural domain of Apatow’s comedy, and this isn’t going to change that, despite a marathon end-credits list that would suggest far more impressive visual effects than anything on display. Even a robust John Williams-style score by Michael Andrews and Andrew Bird can’t breathe life into the plodding sci-fi scenes on a scorched Everest."
David Rooney, The Hollywood Reporter

"This kind of slippery-slope narrative can hardly help holding our attention, even if Rick does little to maximize its tension, keeping violence mostly off-screen and maintaining a pace that’s far from taut. The film has a widescreen look that flatters Riga, but its handsome brightness doesn’t stir much suspenseful atmosphere. (Nor does Enis Rotthoff’s original score.)"
Dennis Harvey, Variety 


"That said, harping too much on shortcomings of omission rather than commission runs the risk of shortchanging the movie’s considerable pleasures. Assisted by a lively score from Jake Monaco that appropriately threads the needle between sentimentality and playfulness, Frankel delivers a well-crafted, energetically paced movie that is consistently appealing."
Brent Simon, The Onion AV Club 
"The direction by David Frankel ('The Devil Wears Prada') skews broad, especially in the 'this part is funny' score deployment and a couple of out-of-place physical gags. But that’s overcome by the central performances and a quite-funny script by Brad Copeland ('Arrested Development'). Though he works in some good gags, including a running one about Steely Dan (with a tossed-off payoff involving Prince) and an amusing tangent about potential hitchhiking, he doesn’t let the jokes get in the way of the story. Because, in this case, the story is enough."
Michael Ordona, Los Angeles Times 

"The movie is a fable of winning, of beating the house every time, without much of a dark side. In that way, it’s fun; it allows us to coast along on our vicarious desire to get rich by beating the system, the way people who trade penny stocks based on 'hot' tips do. 'Jerry & Marge Go Large' is an agreeable lark, yet there’s something a bit prefab about it. The director, David Frankel, is a commercial filmmaker who, at his best, has shown some real personality. He made the very good Sarah Jessica Parker movie 'Miami Rhapsody' (1995), followed by 'The Devil Wears Prada' (2006) and 'Marley & Me' (2008), which I think is one of the best canine movies ever made, and also the wised-up marital comedy 'Hope Springs' (2012). 'Jerry & Marge Go Large' is likable, but compared to those previous Frankel movies it’s also tidy and thin. It’s like the pilot for a quirky small-town TV series -- a 'Northern Exposure' of revenue enhancement -- and it’s goosed along by one of those intrusively upbeat musical scores that keeps telling us, 'You’re having a wacky good time! At the movies!'"
Owen Gleiberman, Variety 

As the cashier at one of those stores, Rainn Wilson contributes some affable stoner humor, but mostly he’s on duty to provide golly-gee narration during Jerry and Marge’s long hours of car travel, which, like everything else, tries too hard for charm. The road trips are accompanied also by random vintage needle drops — The Spencer Davis Group, Springsteen, The Kinks, The Who. Those at least are preferable to Jake Monaco’s sappy score.
David Rooney, The Hollywood Reporter
MURINA - Evgueni & Sacha Galperine

"'Murina' sticks to familiarly opaque arthouse beats despite a dazzling symphonic opening sequence. And what an arresting sequence that opening is: In the capable hands of cinematographer Hélène Louvart ('The Lost Daughter,' 'Never Rarely Sometimes Always'), the film fades into an underwater shot of a rippling, cyan Mediterranean surface. It’s set to a stir of strings(from composers Evgueni and Sacha Galperine) that build toward a moment that feels like a cinematic overture. We then see two people, a father and a daughter, plunge deep into the water armed with fishing spears, shimmying to the seafloor to capture murina, the moray eels native to the region."
Ryan Lattanzio, IndieWire 
"It’s a telling moment in Antoneta Alamat Kusijanovic’s sinewy family drama, in which threats to domestic equilibrium -- Ante’s simmering anger, his wife Nela’s (Danica Curcic) secrets -- lurk just out of view. Tensions are already high between Julija and her father: they dive to spear fish together in harmony, but are at loggerheads when they reach the land. The discord is amplified by the arrival of Javi (Cliff Curtis), a wealthy friend of the family. The atmosphere, of sun and celebration, rings as hollow as the Europop that Ante blasts to drown out arguments; sonar-stabs of cello on the score sound a warning."
Wendy Ide, The Observer 

NEPTUNE FROST - Saul Williams
"Evidently, the vehicle for most of these potent lines to get across is music: the one abundant, communally conceived and replenishable resource. Industrial sounds, jazzy melodies and percussions comprise the sonically saturated instrumental pieces that underscore the action or accompany the verses. Given his storied career as a musician, Williams excels in this territory. That each of the two co-auteurs gets to so brilliantly exhibit their most developed talents speaks of the strength of their artistic fusion."
Carlos Aguilar, The Wrap 

"In this fantastical Afrofuturist universe, characters with names like Memory and Psychology traipse amongst whimsical sculptural sets, draped in art-piece costumes and makeup so eye-popping it makes the looks on 'Euphoria' seem conventional. The music is alive and thrumming, tapped into a twin spirit of joy and protest. While these elements never fully cohere to form a discernible narrative in 'Neptune Frost,' there is fun to be had in surrendering to the fluidity of its ingenuity."
Jude Dry, IndieWire 

"As fascinating as these questions are, none of them would be engaging if not for the music which functions as 'Neptune Frost''s primary mode of exposition. The high-level concepts of the film’s premise dovetail perfectly into the eclectic sonic palette of its Afropunk-inspired soundtrack. The tracks that originated from Williams’ 2016 album 'MartyrLoserKing' have been re-orchestrated and rearranged to conform to the film’s context. The lyrics have been rewritten into a medley of Swahili and English, French and Kirundi, reflecting the global mindset at the heart of the film’s focus, and a reflection of Rwanda’s rich, varied cultural background. It isn’t the type of musical where people will feel compelled to memorize and belt out the lyrics, but they’re likely to find themselves nodding to the beat."
Toussaint Egan, Polygon

"'Neptune Frost' demands your attention. Uzeyman’s luminous cinematography caresses black skin under blue and purple lights, allowing this talented group of actors to play to every corner of their innate beauty. The ingenious costumes by Cedric Mizero -- a collection of wires, knobs, and hard drives -- range from motherboard chic to a lightweight yet richly colored fabric that is elegant. The musical numbers, fusions of singer-songwriter Williams’ Afropunk style with atmospheric drones owing to Sun Ra, spring from the group so organically you immediately become fluent in their dynamic rhythms, moods, and tones."
Robert Daniels, The Onion AV Club 

"All of these are component parts of Williams and Uzeyman’s goal to reject boundaries of all kinds, and the film’s soundscape (which pulls from Williams’s 2016 album 'MartyrLoserKing') might be the most essential. Song structures include poetic non sequiturs, call and response, rapped sections, and spoken word, various forms combining into simultaneous self-expression and protest. Neptune and Mata reveal their dreams and their fears in these musical interludes, which sometimes serve the larger narrative and sometimes exist just for spontaneity’s sake -- as if there was just one more thing 'Neptune Frost' had to get off its chest."
Roxana Hadadi, New York 
"'Neptune Frost' is a musical, yes, but it’s almost like a tone-poem. The music itself is terrific, sourced mostly from Saul Williams' 2016 concept album, 'MartyrLoserKing.' The entire film is like one long song, so it definitely doesn’t feel like a traditional musical in that sense. Even when there isn’t “music” the words and language spoken have a rhythm. When someone starts singing, it doesn’t feel out of place or jarring: It’s just an extension of the character."
Sarah Jane, The Austin Chronicle 

THE RIGHTEOUS - Andrew Staniland

"This is a frightening film, but not in the traditional sense. It would perhaps be more appropriate to call it an angst-ridden mood piece, aided and amplified by Andrew Staniland’s imposing score of heavy strings and alarming crescendos. The story at the center earns that disquieting temperament as we begin following Frederic (Henry Czerny of 'Mission: Impossible,' giving a subtle performance seeped in sorrow), an ex-priest now shattered by grief and misgivings about his faith upon losing his adopted daughter to a mysterious tragedy. Still, Frederic and his wife Ethel (Mimi Kuzyk, powerful) try to get by, holding onto what little comfort that they may have."
Tomris Laffly, 
"O’Brien squeezes an impressive amount of production value out of his small budget. Cinematographer Scott McClellan’s dread-inducing monochromatic images enhance Frederic’s spiritual and physical isolation. The mix of lighting cues, slow camera moves, and ominous angles communicate the unresolved turmoil in Frederic’s soul and provide ample breathing room for a production that’s mostly confined to one house. Andrew Staniland’s nerve jangling, hard-working score reinforces the thriller elements to a curious degree considering O’Brien is aiming for an elevated sense of religious inquiry that refreshingly keeps the crowd-pleasing jump scares and other tricks of the trade to a minimum."
Mark Keizer, The Onion AV Club 


Screenings of older films in Los Angeles-area theaters.

September 2
APOCALYPSE NOW (Carmine Coppola, Francis Ford Coppola) [Alamo Drafthouse]
DIARY OF A COUNTRY PRIEST (Jean-Jacques Grunenwald), A MAN ESCAPED [Aero]
DREDD (Paul Leonard-Morgan) [Alamo Drafthouse]
THE GODFATHER (Nino Rota) [Alamo Drafthouse]
JACKIE BROWN [New Beverly]
KEANE [Los Feliz 3]  
L'ATALANTE (Maurice Jarre) [BrainDead Studios]
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse]
PATHER PANCHALI (Ravi Shankar) [BrainDead Studios]
PRINCESS MONONOKE (Joe Hisaishi) [Alamo Drafthouse]
PULP FICTION [New Beverly]
SPIRITED AWAY (Joe Hisaishi) [Alamo Drafthouse]
THEY LIVE (John Carpenter, Alan Howarth) [Alamo Drafthouse]
TIME BANDITS (Mike Moran) [Los Feliz 3]
YOU'VE GOT MAIL (George Fenton) [Los Feliz 3]

September 3
ADVENTURES IN BABYSITTING (Michael Kamen) [New Beverly]
APOCALYPSE NOW (Carmine Coppola, Francis Ford Coppola) [Alamo Drafthouse] 
A BUG'S LIFE (Randy Newman) [BrainDead Studios]
THE GODFATHER (Nino Rota) [Alamo Drafthouse] 
MEET ME IN ST. LOUIS (Hugh Martin, Ralph Blane, Roger Edens) [Academy Museum]
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse]
PICKPOCKET [Los Feliz 3]
STEEL MAGNOLIAS (Georges Delerue) [Alamo Drafthouse] 
STORMY WEATHER (Emil Newman), THE DUKE IS TOPS (Ben Ellison, Harvey Brooks) [Academy Museum]
THEY LIVE (John Carpenter, Alan Howarth) [Alamo Drafthouse] 
WHEN HARRY MET SALLY...(Marc Shaiman), SLEEPLESS IN SEATTLE (Marc Shaiman) [Aero]
WILD AT HEART (Angelo Badalamenti) [Los Feliz 3]

September 4
ADVENTURES IN BABYSITTING (Michael Kamen) [New Beverly]
BLUE (Zbigniew Preisner), WHITE (Zbigniew Preisner), RED (Zbigniew Preisner) [Aero]
DIARY OF A COUNTRY PRIEST (Jean-Jacques Grunenwald) [Los Feliz 3]
DOG DAY AFTERNOON [Academy Museum]
THE GODFATHER (Nino Rota) [Alamo Drafthouse]
PRINCESS MONONOKE (Joe Hisaishi) [Alamo Drafthouse] 
SPIRITED AWAY (Joe Hisaishi) [Alamo Drafthouse] 
STAR TREK II: THE WRATH OF KHAN (James Horner) [Fine Arts]
STEEL MAGNOLIAS (Georges Delerue) [Alamo Drafthouse]
WHEN HARRY MET SALLY... (Marc Shaiman) [Los Feliz 3]

September 5
APOCALYPSE NOW (Carmine Coppola, Francis Ford Coppola) [Alamo Drafthouse]  
AU HASARD BALTHAZAR (Jean Wiener) [Los Feliz 3]
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [Alamo Drafthouse]
DREDD (Paul Leonard-Morgan) [Alamo Drafthouse]
THE GODFATHER (Nino Rota) [Alamo Drafthouse]
ONE CRAZY SUMMER (Cory Lerios) [Los Feliz 3]
PRINCESS MONONOKE (Joe Hisaishi) [Alamo Drafthouse] 
SPRING BREAKERS (Cliff Martinez, Skrillex) [BrainDead Studios]
STAR TREK II: THE WRATH OF KHAN (James Horner) [Fine Arts]

September 6
THE BOYS NEXT DOOR (George S. Clinton) [Alamo Drafthouse]
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [Alamo Drafthouse] 
DIARY OF A COUNTRY PRIEST (Jean-Jacques Grunenwald) [Los Feliz 3]
DRIVE (Clint Mansell), THE NICE GUYS (John Ottman, David Buckley) [New Beverly]
JURASSIC PARK (John Williams) [Academy Museum]
MOTHER! [BrainDead Studios]
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse]
PRINCESS MONONOKE (Joe Hisaishi) [Alamo Drafthouse] 

September 7
ANGEL HEART (Trevor Jones) [BrainDead Studios]
THE BOYS NEXT DOOR (George S. Clinton) [Alamo Drafthouse] 
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [Alamo Drafthouse]
DRIVE (Clint Mansell), THE NICE GUYS (John Ottman, David Buckley) [New Beverly]
PRINCESS MONONOKE (Joe Hisaishi) [Alamo Drafthouse] 
THEY LIVE (John Carpenter, Alan Howarth) [Alamo Drafthouse]  

September 8
DRIVE (Clint Mansell), THE NICE GUYS (John Ottman, David Buckley) [New Beverly] 
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse]
PRINCESS MONONOKE (Joe Hisaishi) [Alamo Drafthouse] 
SCOTT PILGRIM VS. THE WORLD (Nigel Godrich) [Los Feliz 3]

September 9
COCO (Michael Giacchino) [El Capitan]
THE DARK KNIGHT (Hans Zimmer, James Newton Howard) [Alamo Drafthouse] 
DOG DAY AFTERNOON [BrainDead Studios]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [Alamo Drafthouse]
THE KILLER (Lowell Lowe) [New Beverly]  
MONTY PYTHON AND THE HOLY GRAIL (DeWolfe) [Alamo Drafthouse]
A MAN ESCAPED [Los Feliz 3]
NO WAY OUT (Alfred Newman), NATIVE SON (John Elhert) [Academy Museum]
PULP FICTION [New Beverly]
WET HOT AMERICAN SUMMER (Theodore Shapiro, Craig Wedren) [BrainDead Studios]
XANADU [New Beverly]

September 10
COCO (Michael Giacchino) [El Capitan]
DOUBLE INDEMNITY (Miklos Rozsa) [BrainDead Studios]
THE IRON GIANT (Michael Kamen) [New Beverly]
JACKASS 3D [Alamo Drafthouse]
THE KILLER (Lowell Lowe) [New Beverly]  
LANCELOT DU LAC (Philippe Sarde) [Los Feliz 3]
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse] 
SUMMER STOCK (Harry Warren, Johnny Green, Saul Chaplin) [Academy Museum]
SUNSHINE (John Murphy) [BrainDead Studios]
THE TRIAL OF JOAN OF ARC (Francis Seyrig) [Los Feliz 3]
WAKE IN FRIGHT [OUTBACK] (John Scott) [BrainDead Studios]
WES CRAVEN'S NEW NIGHTMARE (J. Peter Robinson) [New Beverly]

September 11
COCO (Michael Giacchino) [El Capitan] 
THE CONVERSATION (David Shire) [Alamo Drafthouse]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [Alamo Drafthouse]
INDEPENDENCE DAY (David Arnold) [BrainDead Studios]
THE IRON GIANT (Michael Kamen) [New Beverly]
THE KILLER (Lowell Lowe) [New Beverly] 
L'ARGENT [Los Feliz 3]
LES DAMES DE BOIS DE BOULOUGNE (Jean-Jacques Grunenwald) [Los Feliz 3]
MIDSOMMAR (Bobby Krlic) [BrainDead Studios]
MONTY PYTHON AND THE HOLY GRAIL (DeWolfe) [Alamo Drafthouse] 
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse]  
ONCE UPON A TIME IN THE WEST (Ennio Morricone) [BrainDead Studios]
THE UNTOUCHABLES (Ennio Morricone) [Fine Arts]


Thirst (Cho); Following/Memento/Spivs (Julyan); The Fog (Carpenter); Insomnia (Julyan); 1408 (Yared); The Prestige (Julyan); The Frighteners (Elfman); The Wiz (Smalls); Ghost (Jarre); The Brotherhood (Bataller); The Ghost and Mr. Chicken (Mizzy); Darkness (Cases); The Ghost and Mrs. Muir (Herrmann); Extinction (Moure De Oteya); Ghost Town (Zanelli)

Read: The Damagers, by Donald Hamilton

Seen: Orphan: First Kill; The Keep; The Relic; The Invitation [2022]; Three Thousand Years of Longing; Alice Doesn't Live Here Anymore; Breathless [1960]; Band of Outsiders; Rogue One: A Star Wars Story

Watched: Star Trek ("The Way to Eden"); What We Do in the Shadows ("Ancestry"); The Boys ("You Found Me"); You're the Worst ("Spooky Sunday Funday"); Counterpart ("Act Like You've Been Here Before"); The Venture Bros. ("O.S.I. Love You"); Damages ("It's Not My Birthday"); 30 Rock ("Christmas Special"); The Deuce ("The Principle Is All"); Arabesque; Dollhouse ("Vows"); Star Trek ("The Cloud Minders")

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Today in Film Score History:
March 25
Bronislau Kaper wins his only Oscar, for the Lili score (1954)
Elton John born (1947)
Henry Mancini begins recording his score for 99 & 44/100 % Dead (1974)
John Massari born (1957)
John Williams begins recording his score for E.T. The Extra-Terrestrial (1982)
Ken Thorne begins recording his score for Superman II (1980)
Luis Bacalov wins his only Oscar, for Il Postino; Alan Menken wins the first Comedy or Musical Score Oscar, for Pocahontas
Maurice Jarre wins his third and final Oscar, for the A Passage to India score (1985)
Recording sessions begin for Frederick Hollander’s score for The Great McGinty (1940)
Riz Ortolani born (1926)
Ron Jones records his score for the Star Trek: The Next Generation episode "The Royale" (1989)
Tan Dun wins his first score Oscar, for Crouching Tiger, Hidden Dragon (2001)
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