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The latest release from Intrada is a greatly expanded, two-disc edition of Jerry Goldsmith's thrilling score for the 2000 sci-fi thriller HOLLOW MAN, one of his final works and his last collaboration with director Paul Verhoeven. The film starred Elisabeth Shue, Kevin Bacon and Josh Brolin, and was Oscar-nominated for its Visual Effects. The Intrada release features the full 91-minute score plus 47 minutes of extras and alternates..


Frozen Planet II
  - Hans Zimmer, Adam Lukas, James Everingham - Silva
Hollow Man
- Jerry Goldsmith - Intrada Special Collection
House of the Dragon - Ramin Djawadi - WaterTower [CD-R]
Il Conte Dracula
 - Bruno Nicolai - Digitmovies 
Jack Mimoun et les secrets de Val Verde
 - Mathieu Lamboley - Music Box
La scarlatine/Tir a vue
 - Gabriel Yared - Music Box
Lara Croft Tomb Raider: The Cradle of Life
 - Alan Silvestri - Varese Sarabande CD Club  
Le rouge et le noir
 - Philippe Sarde - Music Box
Nati Morti 
- Danielle Marinelli, Riccardo Adamo - Digitmovies 
Nino Rota: Bandes Originales De Films 1956-1961
 - Nino Rota - Music Box 
Stand By For Action! Gerry Anderson in Concert 
- Barry Gray - Silva
Une Belle Course
 - Philippe Rombi - Music Box   


All That Breathes - Roger Goula
Armageddon Time - Christopher Spelman
Call Jane - Isabella Summers
Causeway - Alex Somers
Louis Armstrong's Black & Blues - Terence Blanchard
Prey for the Devil - Nathan Barr 


November 4
The Godfather Suite
 - Carmine Coppola, Nino Rota - Silva
Mark Isham: Music for Film
 - Mark Isham - Silva
Stranger Things 4: Vol. 1 - Kyle Dixon, Michael Stein - Lakeshore
Stranger Things 4: Vol 2
- Kyle Dixon, Michael Stein - Lakeshore
November 25
Archive 81 - Ben Salisbury, Geoff Barrow - Invada
 - Barry Gray - Silva
Coming Soon
 - Oscar Martin Leanizabarrutia - Kronos
Doctor Who Series 13: Flux/Revolution of the Daleks
 - Segun Akinola - Silva
Don't Worry Darling - John Powell - Mondo/WaterTower
Motorcycle Gang
 - Albert Glasser - Kronos
 - Eric Demarsan - Music Box
The Proud and Damned
 - Gene Kauer, Douglas M. Lackey - Kronos 
Suoni Velati
 -  Matteo Cremolini - Kronos 


October 28 - Gershon Kingsley born (1922)
October 28 - Carl Davis born (1936)
October 28 - Howard Blake born (1938)
October 28 - Lalo Schifrin records his score for the Alfred Hitchcock Hour episode “Memo from Purgatory” (1964)
October 28 - Jerry Fielding records his score for the Mission: Impossible episode “The Exchange” (1968)
October 28 - Lalo Schifrin records his score for the Mission: Impossible episode “Submarine” (1969)
October 28 - Oliver Nelson died (1975)
October 28 - Artie Kane records his score for The New Adventures of Wonder Woman episode “I Do, I Do” (1977)
October 28 - Recording sessions begin for James Newton Howard’s score for Eye for an Eye (1995)
October 28 - Gil Melle died (2004)
October 29 - Daniele Amfitheatrof born (1901)
October 29 - Neal Hefti born (1922)
October 29 - Pim Jacobs born (1934)
October 29 - George Bassman records his score to Mail Order Bride (1963)
October 29 - Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “Monster from the Inferno” (1966)
October 29 - Michael Wandmacher born (1967)
October 29 - Alexander Courage records his score for the Land of the Giants episode “Comeback” (1969)
October 29 - Irving Szathmary died (1983)
October 29 - David Newman begins recording his score for Throw Momma from the Train (1987)
October 29 - Paul Misraki died (1998)
October 30 - Paul J. Smith born (1906)
October 30 - Irving Szathmary born (1907)
October 30 - Teo Macero born (1925)
October 30 - Charles Fox born (1940)
October 30 - The Lion in Winter opens in New York (1968)
October 30 - Brian Easdale died (1995)
October 30 - Paul Ferris died (1995)
October 30 - Paul Baillargeon records his score for the Star Trek: Deep Space Nine episode “Little Green Men” (1995)
October 30 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Year of Hell, Part II” (1997)
October 30 - Dennis McCarthy records his score for the Enterprise episode “Breaking the Ice” (2001)
October 31 - Venedikt Pushkov born (1896)
October 31 - Now, Voyager opens in theaters (1942)
October 31 - Spellbound opens in New York (1945)
October 31 - Johnny Marr born (1963)
October 31 - Robert Drasnin records his score for the Lost in Space episode "West of Mars" (1966)
October 31 - Adam Schlesinger born (1967)
October 31 - Jerry Goldsmith begins recording his score for Patton (1969)
October 31 - John Williams begins recording his score to The Towering Inferno (1974)
October 31 - Ian Hultquist born (1985)
October 31 - The Mission is released in the United States (1986)
October 31 - Joseph Liebman died (2001)
October 31 - Ian Fraser died (2014)
November 1 - John Scott born (1930)
November 1 - Roger Kellaway born (1939)
November 1 - David Foster born (1949)
November 1 - Lolita Ritmanis born (1962)
November 1 - Jerry Fielding records his first Mission: Impossible score, for the episode “The Council” (1967)
November 1 - Leighton Lucas died (1982)
November 1 - Jack Nitzsche begins recording the orchestral passages for his Jewel of the Nile score (1985)
November 1 - Louis Barron died (1989)
November 2 - Harold Faberman born (1929)
November 2 - Keith Emerson born (1944)
November 2 - Gary Yershon born (1954)
November 2 - Bernard Herrmann begins recording his score for Journey to the Center of the Earth (1959)
November 2 -  k.d. lang born (1961)
November 2 - Felice Lattuada died (1962)
November 2 - Joseph Mullendore's score for the Star Trek episode "The Conscience of the King" is recorded (1966)
November 2 - Alexander Courage records his score for the Lost in Space episode "A Day at the Zoo" (1967)
November 2 - Gary McFarland died (1971)
November 2 - Mort Shuman died (1991)
November 2 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Once More Into the Breach” (1998)
November 3 - John Barry born (1933)
November 3 - Hal Hartley born (1959)
November 3 - Richard Markowitz records his score for The Wild Wild West episode “The Night That Terror Stalked the Town” (1965)
November 3 - Daniel Pemberton born (1977)
November 3 - Olafur Arnalds born (1986)
November 3 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Price" (1989)
November 3 - Jerry Bock died (2010)


"The sequence, and the rest of the film, is accompanied by a score from composer Volker Bertelmann (who often goes by Hauschka) that can scarely be called music, and is all the better for it: The sound is an aural attack, with sharp, staccato drumbeats punctuating some scenes and a trio of huge, foreboding chords (think of it as an industrial-rock version of the 'Dies Irae') hanging over others."
Steve Pond, The Wrap 

"The showiest and most modern aspect of the filmmaking in 'All Quiet' is its score, from Academy Award nominee Volker Bertelmann. Bertelmann’s music combines blasts of machine-gun snare drums with a blaring three-note sequence that recalls a famous snippet from Akiria Ifikube’s 'Godzilla' theme, and creates a similarly ominous effect of something big, scary, and invincible coming to get the viewer. In this case, that thing is the literal manifestation of humanity’s more violent instincts rather than a metaphorical one."
Katie Rife, IndieWire 

"The most impressive set piece finds Paul and his regiment a week before Armistice, ordered back to the front. It’s here the film’s overreliance on CGI gets the best of it. Berger’s compositions are striking, and the tension created by the film’s overwhelming sound design and Volker Bertelmann’s searing synth-infused organ score is palpable. But what should be as awe-inspiring as the extended battle sequence in King Vidor’s 1925 classic 'The Big Parade,' is undone by the shockingly chintzy CGI. Instead of looking ominous, the massive panzer tanks look like something from 'Star Wars.' The flamethrowers wielded by the opposing soldiers are peppered beautifully into the frame, but they shoot some of the absolute fakest-looking flames. In fact, throughout the battle sequences, even the smoke is created with CGI, which continually proves distracting."
Marya E. Gates, The Playlist 
"Coupling a minimalist (albeit loud-and-thumping) score by Volker Bertelmann and a cold, unfeeling color scheme by cinematographer James Friend gives a menacing, unwaveringly serious savagery to director Edward Berger’s aesthetic -- danger and imminent violence are palpable even when there is hardly any action onscreen. Often the sound catches you off-guard in its unpredictability; it becomes hard to distinguish between what’s part of the score and what’s actually the sounds of a bomb or a missile. These exploding war sequences are jarringly juxtaposed with the deafening silence of the meeting rooms and halls of German and French officials."
Sohan Garde, The Film Stage 

"Intimidatingly fuzzy synths and rifle-like snares add jarring punctuation to Volker Bertelmann’s score -- a touch of modernity in a film otherwise in sync with the era it depicts. The fighting tactics of that era are so far distant from our own, one questions the value of retelling WWI stories like this, no matter how polished the resulting films are. Is there anyone capable of accepting Front‘s message about the pointlessness of war who needs more convincing? Or are movies like this mostly for the demographic that keeps endless WWII documentaries popular on cable -- people who, perhaps, secretly believe today’s youth could benefit from a little military discipline? After all, this country has its own self-serving mythology about a 'greatest generation,' and some are clearly nostalgic for it. It’s all but certain they won’t feel any differently after this return to the Western Front, no matter what Berger and Erich Maria Remarque intended."
John Defore, The Hollywood Reporter
AMSTERDAM - Daniel Pemberton
"The craftsmanship all around is top-shelf stuff; authentically vintage production design by Judy Becker, and lovely costume design by Albert Wolsky and J.R. Hawbaker. The true craft ace in the hole, however, is the wonderful score by Daniel Pemberton that glides with the magical, hopefully, qualities that the movie so desperately wants to convey."
Rodrigo Perez, The Playlist 

"That action kicks off in New York in 1933; the interwar years are slowly rumbling to a close, and whispers of unrest can be heard beneath the bustling city noise and the notes of Daniel Pemberton’s airily charming score. Joining forces not for the first time, Burt, a doctor, and Harold, an attorney, are quietly brought in to investigate the sudden demise of an Army general, Bill Meekins (Ed Begley Jr.), who commanded their regiment during World War I. Taylor Swift pops up for a suitably swift cameo as Meekins’ daughter, Liz, hanging around just long enough to voice her teary-eyed suspicions of foul play before leaving the dogged Burt and Harold to figure out what’s going on."
Justin Chang, Los Angeles Times 

"Russell’s New York City of the 1930s is de-saturated and gray, a CGI-heavy creation that rarely feels fun to watch. Composer Daniel Pemberton, on the other hand, makes a great effort to lighten things, recalling the work of Alexander Desplat with his touches of whimsy."
Mary Siroky, Consequence

"Although 'Amsterdam' maintains a stubbornly hopeful belief that goodness will prevail, the film is also realistic about the resilience of hate in our political culture and the fact that the deep-pocketed instigators of jackboot menace are seldom punished. It makes for a stirring final act, even if the sobering message doesn’t always sync up with Russell’s chaotically cartoonish approach -- a mercurial divide mirrored in Daniel Pemberton’s score, which veers between high intrigue and whimsy."
David Rooney, The Hollywood Reporter 

ARGENTINA, 1985 - Pedro Osuna

"Court scenes are served straight, unlike the lawyer’s lives, which are spiced with an 'Ally Mcbeal'-esque irreverence. The most bizarre choice is the triumphalist outro music that wouldn’t be out of place in 'Top Gun.' This cheesiness is at odds with the quiet way that the outcome of the trial is revealed. Julio’s reaction and the fears he expresses even in his brightest moment mark this film as fully debunking simplistic hero myths. Who makes history? Real people with personalities, that’s who."
Sophie Monks Kaufman, IndieWire 
"Eschewing a genre template that calls for grandstanding scenes, Mitre instead doles out quiet revelations. With DP Javier Juliá and composer Pedro Osuna, the helmer builds a mood of deep-in-the-bones unease, if not always a sense of dramatic urgency. The balance between detail and momentum can at times be off, and the helmer doesn’t entirely avoid generic tropes of the legal drama. But he conveys the enormity of the undertaking at the film’s center -- the first major war crimes trial since Nuremberg -- and it’s felt in every moment of Darín’s compelling portrayal."
Sheri Linden, The Hollywood Reporter 
A JAZZMAN'S BLUES - Aaron Zigman
"While the direction maintains a smooth and often tense tone (while sometimes serving up peculiar juxtapositions, like a childbirth intercut with a 'jungle'-themed nightclub dance), Perry’s script hits a lot of notes right on the nose (there’s a white jazz booker who’s a Jew who escaped the Holocaust), and why not. It also has a lot of astute observations on the psychology of racism. A scene in which LeAnne, living the life of a white woman, upbraids a dark-skinned 'domestic,' is genuinely jarring. The star-crossed lovers of the movie are caught in a loop of American racism, and their existences are defined by a desire for escape. Escape is a romantic notion, and this movie has its romantic side, for sure. But underneath the trappings, including a lush score by Aaron Zigman and the near-dreamy cinematography of Brett Pawlak, there’s a genuine anger about the utter senselessness of the hate that’s defined our history."
Glenn Kenny, 

"In his introduction before the screening, Perry explained how a frank conversation with legendary playwright August Wilson gave him the drive to write 'A Jazzman’s Blues.' And as the setting shifts from Georgia, by way of Bayou joining Willie Earl and his manager in Chicago, you almost get the sense that this is Perry’s attempt to replicate Wilson’s 'Pittsburgh Cycle,' which also outlined the struggles Black folks faced during the Great Migration. In Chicago, the brothers perform at a local nightclub for white audiences. It’s here that the budget (and the craftsmanship it can buy) take over: The clipped editing by Maysie Hoy (a consistent Perry collaborator) becomes crisper and cleaner; the sunny score by Aaron Zigman wraps around you like a warm hug; and Terrance Blanchard’s infectious arrangements mixed with Debbie Allen’s lively choreography results in enchanting performances. The only drawback to the film’s many performances is how often the lighting and framing by DP Brett Pawlak ('Short Term 12') often lose Boone in the compositions."
Robert Daniels, The Playlist 

"The brothers briefly end up in Chicago, where they perform as a joint musical act for an enraptured white audience every night. These scenes are some of the strongest in 'A Jazzman’s Blues,' showcasing Aaron Zigman’s jaunty score (with music arranged by Terence Blanchard) and Debbie Allen’s energetic choreography."
Lovia Gyarkye, The Hollywood Reporter 


Screenings of older films in Los Angeles-area theaters.

October 28
ALICE, SWEET ALICE (Stephen Lawrence), HAPPY BIRTHDAY TO ME (Bo Harwood, Lance Rubin) [New Beverly] 
BONES (Elia Cmiral) [Los Feliz 3]
BREAKDOWN (Basil Poledouris) [New Beverly]
CASPER (James Horner) [Los Feliz 3]
THE CHASER (Yong-rock Choi, Jun-seok Kim), EPITAPH [Academy Museum]
MELANCHOLIA [BrainDead Studios]
MISERY (Marc Shaiman), THE DARK HALF (Christopher Young) [Aero]
A NIGHTMARE ON ELM STREET (Charles Bernstein) [Alamo Drafthouse]
THE QUIET EARTH (John Charles) [BrainDead Studios]
RESIDENT EVIL (Marco Beltrami, Marilyn Manson) [Los Feliz 3]
SHAUN OF THE DEAD (Daniel Mudford, Pete Woodhead) [Alamo Drafthouse] 
THE SHINING (Wendy Carlos, Rachel Elkind) [Alamo Drafthouse]

October 29
THE BAD SEED (Alex North) [Los Feliz 3]
BEETLEJUICE (Danny Elfman) [New Beverly]
BELLADONNA OF SADNESS (Masahiko Sato)  [BrainDead Studios]
THE EXORCIST [New Beverly]
THE FACULTY (Marco Beltrami) [Los Feliz 3]
HOWL'S MOVING CASTLE (Joe Hisasihi) [Alamo Drafthouse]
I SAW THE DEVIL (Mowg) [Academy Museum]
A NIGHTMARE ON ELM STREET (Charles Bernstein) [Alamo Drafthouse] 
PARANORMAN (Jon Brion) [Academy Museum]
THE RING (Hans Zimmer) [Los Feliz 3]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Alamo Drafthouse]
SCREAM 2 (Marco Beltrami) [Los Feliz 3]
THE SHINING (Wendy Carlos, Rachel Elkind) [Alamo Drafthouse]
SON OF SAUL [BrainDead Studios] 
THIRST (Cho Young-Wuk) [Academy Museum]
TRICK 'R' TREAT (Douglas Pipes) [Alamo Drafthouse]
VAMPYR [BrainDead Studios]

October 30
BEETLEJUICE (Danny Elfman) [Academy Museum]
BEETLEJUICE (Danny Elfman) [New Beverly]
BILL & TED'S BOGUS JOURNEY (David Newman) [BrainDead Studios]
CORALINE (Bruno Coluais) [Academy Museum]
THE GANGSTER, THE COP, THE DEVIL (Yeong-wook Jo) [Alamo Drafthouse]
GREMLINS (Jerry Goldsmith), THE HOWLING (Pino Donaggio) [Hollywood Legion]
HOUSE OF 1000 CORPSES (Rob Zombie) [Los Feliz 3]
HOWL'S MOVING CASTLE (Joe Hisasihi) [Alamo Drafthouse]
PARANORMAN (Jon Brion) [Academy Museum]
SCREAM 2 (Marco Beltrami) [Los Feliz 3]
SHAUN OF THE DEAD (Daniel Mudford, Pete Woodhead) [Alamo Drafthouse]

October 31
THE HUNGER (Michael Rubini, Denny Yaeger) [Los Feliz 3]
I WALKED WITH A ZOMBIE (Roy Webb), THE LEOPARD MAN (Roy Webb), THE GHOST SHIP (Roy Webb) [New Beverly]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Alamo Drafthouse]
THE SHINING (Wendy Carlos, Rachel Elkind) [Aero]
THE SHINING (Wendy Carlos, Rachel Elkind) [Alamo Drafthouse]
TRICK 'R' TREAT (Douglas Pipes) [Alamo Drafthouse]

November 1
FRUITVALE STATION (Ludwig Goransson) [Academy Museum]

November 2
DAISY MILLER [New Beverly]
THE LOST BOYS (Thomas Newman) [BrainDead Studios]
THE SHINING (Wendy Carlos, Rachel Elkind) [Alamo Drafthouse]

November 3
DAISY MILLER [New Beverly]
EDGE OF THE CITY (Leonard Rosenman), ST. LOUIS BLUES (Nelson Riddle) [Academy Museum]
GOJIRA (Akira Ifukube) [Alamo Drafthouse]

November 4
BRIGHT ROAD (David Rose) [Academy Museum]
BULLITT (Lalo Schifrin) [New Beverly]
HOLLYWOOD CHINESE (Mark Adler) [Academy Museum]
JACKIE BROWN [New Beverly]
LOVE & BASKETBALL (Terence Blanchard) [Los Feliz 3]
2001: A SPACE ODYSSEY [New Beverly]

November 5
BIG TROUBLE IN LITTLE CHINA (John Carpenter, Alan Howarth), BLACK WIDOW (Michael Small) [Academy Museum]
BULLITT (Lalo Schifrin) [New Beverly] 
COCO (Michael Giacchino) [Academy Museum]
GOING PLACES [BrainDead Studios]
GOJIRA (Akira Ifukube) [Alamo Drafthouse]
IDIOCRACY (Theodore Shapiro) [BrainDead Studios]
JURASSIC PARK (John Williams) [New Beverly]
OFFICE SPACE (John Frizzell) [BrainDead Studios]
THE OLD GUARD (Volker Bertelmann, Dustin O'Halloran) [Aero]

November 6
BEYOND THE LIGHTS (Mark Isham) [Los Feliz 3]
BULLITT (Lalo Schifrin) [New Beverly] 
CASABLANCA (Max Steiner) [Alamo Drafthouse]
GOJIRA (Akira Ifukube) [Alamo Drafthouse]
I AM LOVE (John Adams), A BIGGER SPLASH, CALL ME BY YOUR NAME (Sufjan Stevens) [Aero]
THE JACKIE ROBINSON STORY (Herschel Burke Gilbert) [Academy Museum]
JURASSIC PARK (John Williams) [New Beverly] 
LOST HORIZON (Dimitri Tiomkin) [Academy Museum]
NASHVILLE [BrainDead Studios]
PAPER MOON [BrainDead Studios]


Dragon Seed (Stothart); Eat Drink Man Woman (Mader); Goodbye, Mr. Chips (Bricusse/Williams); Empire of the Sun (Williams); Enter the Dragon (Schifrin); The Farewell (Weston); 55 Days at Peking (Tiomkin); Finishing the Game (Tyler); Flower Drum Song (Rodgers/Newman/Darby); The Forbidden Kingdom (Buckley); Game of Death (Barry); Golden Gate (Goldenthal); Golden Needles (Schifrin); The Hunted (Yamaguchi); Jackie Chan's First Strike/Rumble in the Bronx (Robinson); The Joy Luck Club (Portman)

Read: Line of Fire, by Donald Hamilton

Seen: La bruja; Santa Sangre; Bedevilled; El escapulario; Misterios de ultratumba; Lyle, Lyle, Crocodile; Munecos infernales; Hasta el viente tiene miedo; Inception; My Policeman; Wendell & Wild

Watched: Star Trek: Enterprise ("Awakening"); Bob's Burgers ("Hamburger Dinner Theater"); The Boys ("Butcher, Baker, Candlestick Maker"); The Good Place ("Chidi's Choice"); Counterpart ("Outside In"); Hacks ("D'Jewelry"); Damages ("You Were His Little Monkey"); Silicon Valley ("Signaling Risk"); The Deuce ("There's an Art to This"); 30 Rock ("Goodbye, My Friend"); Fargo ("The Castle"); The Venture Bros. ("Maybe No Go"); Penny Dreadful ("Good and Evil Braided Be"); What We Do In the Shadows ("The Return")

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