This month's new releases from La-La Land, available to order now, are the fourth volume of their Quinn Martin Collection series of TV music, this one featuring Dominic Frontiere's music for the TV series version of the Oscar-winning military drama 12 O'CLOCK HIGH, and an expanded edition of James Horner's score for director Ron Howard's hit 2000 film version of DR. SEUSS' HOW THE GRINCH STOLE CHRISTMAS.
The latest score CDs from Dragon's Domain are a two-disc expanded edition of Richard Band's score for the 1991 film version of Poe's THE PIT AND THE PENDULUM; Alan Howarth's score for the 2012 thriller BRUTAL (not to be confused with the many other films with that title); and THE PETER BERNSTEIN COLLECTION VOL. 3, featuring the composer's music for the action comedy Fifty Fifty, starring Peter Weller and Robert Hays (not to be confused with the cancer dramedy starring Joseph Gordon-Levitt and Seth Rogen), and the comedy Miracles, starring Tom Conti and Teri Garr.
CDS AVAILABLE THIS WEEK
Dr. Seuss' How the Grinch Stole Christmas - James Horner - La-La Land
The Godfather Suite - Carmine Coppola, Nino Rota - Silva
Mark Isham: Music for Film - Mark Isham - Silva
Notre-Dame - Eric Demarsan - Music Box
The Quinn Martin Collection Vol. 4: 12 O'Clock High - Dominic Frontiere - La-La Land
Stranger Things 4: Vol. 1 - Kyle Dixon, Michael Stein - Lakeshore
Stranger Things 4: Vol 2 - Kyle Dixon, Michael Stein - Lakeshore
10/31 Part III - Rocky Gray - Howlin' Wolf
IN THEATERS TODAY
Bardo: False Chronicle of a Handful of Truths - Bryce Dessner, Alejandro G. Inarritu
Dear Zoe - Michael Yezerski
The Estate - Will Bates
Good Night Oppy - Blake Neely
I'm Totally Fine - Danny Webber
Master of Light - Gary Gunn
Soft & Quiet - Miles Ross
Something in the Dirt - Jimmy LaVille
The Wonder - Matthew Herbert
COMING SOON
November 11
Brutal - Alan Howarth - Dragon's Domain
Girl at the Window - Jamie Blanks - Buysoudtrax
The Peter Bernstein Collection Vol. 3 - Peter Bernstein - Dragon's Domain
The Pit and the Pendulum - Richard Band - Dragon's Domain
Zeus and Roxanne - Bruce Rowland - Buysoundtrax
November 25
Archive 81 - Ben Salisbury, Geoff Barrow - Invada
Stingray - Barry Gray - Silva
December 9
The Fabelmans - John Williams - Sony
December 16
Women Talking - Hildur Guonadottir - Mercury
Coming Soon
Claret - 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
The Proud and Damned - Gene Kauer, Douglas M. Lackey - Kronos
Suoni Velati - Matteo Cremolini - Kronos
THIS WEEK IN FILM MUSIC HISTORY
November 4 - Laurence Rosenthal born (1926)
November 4 - John Charles born (1940)
November 4 - Craig Safan records his score for the Twilight Zone episode “Teacher’s Aide” (1985)
November 4 - Velton Ray Bunch records his score for the Star Trek: Enterprise episode “The Augments” (2004)
November 5 - Joseph Liebman born (1911)
November 5 - Elmer Bernstein begins recording his score for Fear Strikes Out (1956)
November 5 - Jonny Greenwood born (1971)
November 5 - Michel Legrand begins recording his score for The Mountain Man (1979)
November 5 - Les Baxter begins recording his score for The Beast Within (1981)
November 5 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Battle" (1987)
November 5 - James Newton Howard begins recording his score for Grand Canyon (1991)
November 5 - Dennis McCarthy records his score for the Enterprise episode “The Communicator” (2002)
November 5 - Jay Chattaway records his score for the Star Trek: Enterprise episode “North Star” (2003)
November 6 - Ernest Irving born (1878)
November 6 - Peter Matz born (1928)
November 6 - Arturo Sandoval born (1949)
November 6 - Recording sessions begin for Max Steiner’s score for The Caine Mutiny (1953)
November 6 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "Behind the Locked Door" (1963)
November 6 - John Barry begins recording his score for Hanover Street (1978)
November 6 - Jay Chattaway records his score for the Enterprise episode “Civilization” (2001)
November 6 - Francesco De Masi died (2005)
November 7 - Hans Erdmann born (1882)
November 7 - William Alwyn born (1905)
November 7 - Jimmie Haskell born (1936)
November 7 - Dimitri Tiomkin records the soundtrack LP for Wild Is the Wind (1957)
November 7 - Duane Tatro’s score for The Invaders episode “The Captive” is recorded (1967)
November 7 - James Horner begins recording his score for Uncommon Valor (1983)
November 7 - Leonard Rosenman records his score for the Amazing Stories episode "No Day at the Beach" (1985)
November 7 - Shorty Rogers died (1994)
November 7 - Dennis McCarthy records his score for the Star Trek: Voyager episode “The Q and the Gray” (1996)
November 7 - Richard Robbins died (2012)
November 7 - Paul Buckmaster died (2017)
November 7 - Francis Lai died (2018)
November 8 - Arnold Bax born (1883)
November 8 - Mark Suozzo born (1953)
November 8 - The Ten Commandments opens in New York (1956)
November 8 - Nicholas Carras records his score for She Demons (1957)
November 8 - Gerald Fried records his score for the Lost in Space episode "Castles in Space" (1967)
November 8 - Robert Drasnin records his score for the Mission: Impossible episode “Nerves” (1971)
November 8 - Gino Marinuzzi Jr. died (1996)
November 9 - Roger Edens born (1905)
November 9 - Burrill Phillips born (1907)
November 9 - Gabriel Migliori born (1909)
November 9 - Jerry Goldsmith begins recording his score for Lonely Are the Brave (1961)
November 9 - Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “The X Factor” (1965)
November 9 - Lalo Schifrin begins recording his score for Sol Madrid (1967)
November 9 - Johnny Harris records his score for The New Adventures of Wonder Woman episode “Skateboard Wiz” (1978)
November 9 - Dave Grusin begins recording his score for Tootsie (1982)
November 9 - Alfred Ralston died (1988)
November 9 - Yves Baudrier died (1988)
November 9 - Stanley Myers died (1993)
November 9 - Paul Baillargeon records his score for the Star Trek: Deep Space Nine episode “The Siege of AR-558” (1998)
November 10 - Mischa Bakaleinikoff born (1890)
November 10 - Philip Sainton born (1891)
November 10 - Carl Stalling born (1891)
November 10 - Billy May born (1916)
November 10 - Ennio Morricone born (1928)
November 10 - Victor Young died (1956)
November 10 - Sylvain Chomet born (1963)
November 10 - Richard LaSalle records his score for the Land of the Giants episode “A Place Called Earth” (1969)
November 10 - Robert Gulya born (1973)
November 10 - Julian Wass born (1981)
November 10 - Michel Colombier begins recording his replacement score for The Golden Child (1986)
November 10 - Bruce Broughton records his score for the Amazing Stories episode "Thanksgiving" (1986)
November 10 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “The Child” (1988)
November 10 - Recording sessions begin for Christopher Young’s score for Hush (1997)
DID THEY MENTION THE MUSIC?
BROS - Marc Shaiman
"The plot concerns Bobby Lieber (Eichner), a queer podcaster and curator of New York City’s first LGBTQ history museum. Bobby is opinionated and proudly single, but his defenses melt away when he meets Aaron (Hallmark movie mainstay Luke Macfarlane), a macho-bro estate lawyer who’s as emotionally impenetrable as he is a total dreamboat. Their meet-cute, amidst a swirling vortex of vogueing club gays, feels like the proper 21st-century queer version of a NYC love story. Add in a score by Marc Shaiman and a bounty of Nat King Cole needle-drops, and you’d think this 'Gay When Harry Met Sally' would be off and running. But 'Bros' has a lot else on its mind."
Kyle Wilson, Polygon
"Aaron’s outlook on romance mirrors Bobby’s. But after a few 'this isn’t a date' encounters, including one that winds up as an awkward foursome, the two have a fight that turns hot and eventually leads to actual tenderness. The second or third song that could’ve been in 'When Harry Met Sally' plays quietly in the background, and you know a non-ironic montage involving Central Park and Christmas trees isn’t far off. (It doesn’t stop at needle-drops: 'Bros' composer Marc Shaiman arranged music for 'When Harry Met Sally' as well.)"
John Defore, The Hollywood Reporter
DARK GLASSES - Arnaud Rebotini
"Argento establishes the stalk-by-night danger of 'Dark Glasses' with giallo prestige as gloopy blood rivers rush from sliced necks between cobblestone gaps. Wire tightens around a centerfold sex worker’s throat as leathery black gloves pull the murder string until what looks like marinara sauce springs like a faucet -- it’s a scene we’ve encountered countless times throughout Italian horror, here a subgenre comfort. Composer Arnaud Rebotini finds a balance between Goblin-esque orchestral eeriness and banger DJ synth energies, elevating the sensual excitement that layers on like greasy-filmy grime. It’s a promising invitation to 'Dark Glasses' until the immersion fades; the sinful slasher mystery lacks stamina."
Matt Donato, Paste Magazine
"As in any good giallo, women are in peril, blood gushes out of open wounds, a killer lurks, and the police are completely useless. The film’s main protagonist is Diana, a high-end sex worker who lives comfortably in an apartment of her own; there is something equally congenial in just how mundane her encounters with her clients are. As played by Ilenia Pastorelli, Diana is a no-nonsense woman who knows how to take care of herself, isn’t afraid to say what she thinks, and has no qualms about her profession. She is also endearingly ordinary: in one early scene, she stops by the side of the road to find out why people are staring at the sky, only to then hurt her eyes by looking at the solar eclipse for too long. It’s an eerie moment of course, and the retro electronic score by Arnaud Rebotini (composer on Robin Campillo’s 'BPM') imbues it with a foreboding aura. But Pastorelli’s energetic performance and Argento’s comparatively low-key direction underline its factual realism more than any heightened connotations."
Elena Lazic, The Playlist
"Pastorelli’s rendition of the disoriented physicality pertinent to someone reacquainting herself with her surroundings, now that she can’t see them, oscillates between believable behavior and dramatic exaggeration. Still, the lack of nuance that defines her fiery reactions, before and after her life-altering ordeal, feels at home in the heightened tone Argento procures through Arnaud Rebotini’s musical cues and the gruesome imagery."
Carlos Aguilar, The Wrap
"Perhaps the best way to give a sense of the film is to first describe its music. Initially moody, ethereal, and more than a little reminiscent of John Carpenter’s 'Halloween' theme, it turns into the kind of pulsating, bass-heavy cacophony you’d be likely to hear at a Rome nightclub by the time the first victim has met her brutal end. That’s emblematic of 'Dark Glasses' as a whole -- an enigmatic opening scene in which heroine Diana (Ilenia Pastorelli) first dons her eponymous sunglasses to shield her eyes from an eclipse suggests something dark but restrained, but most of what follows is over-the-top to the point of being ludicrous. That’s not surprising given that 'Dark Glasses' is late-era Argento, but it is a little disappointing after that killer opening and the primal effect of lines like 'even our ancestors were afraid of eclipses' and 'neither the sun nor death can be stared at.'"
Michael Nordine, Variety
"Shot in eerie, diffused light by Matteo Cocco ('Blue Eyes'), scored with a retro electro beat by Arnaud Rebotini ('BPM') and using lots of dissolves, the scene is vintage Argento in its banal creepiness, transforming a regular scientific phenomenon into something otherworldly."
Jordan Mintzer, The Hollywood Reporter
DEAD FOR A DOLLAR - Xander Rodzinski
"The title of Walter Hill’s 'Dead for a Dollar' makes it sound like a spaghetti Western, and the picture opens with stunning vistas and a wistfully valorous neo-Morricone score that gives you the impression -- maybe the hope -- that it will be. It ends on a very different note: a series of titles explaining, with precise dates and details, what happened to each of the main characters, as if the film were based on a true story. It’s the 'American Graffiti' gambit of treating fictional characters as though they were real, only in this case it ends up revealing something essential about the drama we’ve been watching. Namely, how it could be so avid, specific, and scrupulously carpentered…yet remote."
Owen Gleiberman, Variety
STARS AT NOON - Tindersticks
"Elsewhere, a slow-dance set to a swooningly gorgeous new song by Tindersticks frontman Stuart Staples is almost heart-stopping enough to compete with the 'Nightshift' scene from '35 Shots of Rum' (nothing can or ever will, but Denis is at least her own best imitator). It’s the cherry on top of a surprisingly warm score that often sounds like it’s waiting for permission to burst into Annie Lennox’s 'No More ‘I Love You’s,’' as the first half of 'Stars at Noon' finds enough flustered hope amid the apathy of political theater that you almost want to believe in it, just as Trish and Daniel almost believe in each other."
David Ehrlich, IndieWire
"Chilliness is the name of the game here, even in the swelter of Nicaragua. Once Costa Rican G-men step up their pursuit -- there is some matter of a SIM card with stolen information, but you know how these MacGuffins go -- the pair set off on a chase unlike most others. Looking to lose an agent on their tale, Trish and Daniel embark on a daytime binge, stumbling through taxis and alleyways and open-air markets as they try to shake his tail. Pairing the action on screen with another frosty Tindersticks score, all low notes and single wailing horn, the filmmaker swaps tension for the bleariness of being day-drunk in a humid climate. With nowhere to run, the only escape is from reality."
Ben Croll, The Wrap
"There is plenty of time to admire the ominous city streets and the lush countryside, and to appreciate the cool, jazzy score by the Tindersticks. There is also plenty of time to try and work out what on Earth is going on. The characters keep making gnomic, ironic comments, but it's almost impossible to tell what they mean or who they are. They hardly ever explain what's happening, and when they do explain it, you're left more confused than you were when they started."
Nicholas Barber, BBC.com
"Glancing moments such as this act like shocks to the system, elevating Stars at Noon beyond auteurist curio. A trademark Denis vignette like the slow musical number here that’s shot in extreme close-up and scored with an unsurprising banger by frequent musical collaborators Tindersticks is juiced by a hard cut to an astonishingly evocative master shot of the empty dance floor. There’s also a rebel attack that Trish and Daniel find themselves in the middle of that occurs with such over-before-it-begins brutality that it makes the suspended horror of the moment hit with upsetting power. Though nothing beats the leftfield cameo from a certain frizzy-haired and wild-eyed American character actor who, as Trish’s beleaguered boss, brings unexpectedly broad, and immensely pleasurable, levity to the otherwise groggy proceedings."
Keith Uhlich, Slant Magazine
"If you are tuned to the director’s wavelength -- her dappled images married to a rhythmic editing style forming a dreamy, disconnected world -- then 'Stars at Noon' has many pleasures. An empty dance hall becomes a hidden oasis. The rainswept city streets overflowing with graffiti and half-torn leaflets are poignant tableaux of melancholy, the jazz-infused soundtrack by Denis’ house band, Tindersticks, unifying each moment. But as evocative and intoxicating as these elements are, they never quite fit into a cohesive whole, as Trish and Daniel tryst their way to the Costa Rican border. Nevertheless, minor Claire Denis is still Claire Denis; just leave the John le Carré paperback at home."
Josh Kupecki, The Austin Chronicle
"What stands out is how Denis and DP Eric Gautier frame everything like a romance, when what transpires on screen is often anything but romantic. Trish endures seemingly endless indignities to get by, and the circumstantial lovers face ominous threats that ultimately escalate to violence, but the Tindersticks contribute a tender, jazzy score. Perhaps Denis does perceive this as a romance, though the press notes characterize the film as a 'romantic thriller.'"
Martin Tsai, The Onion AV Club
"The movie’s most overpowering moment is simply that, a moment, stolen from the flow of time and disconnected from the others. Pausing during one of their mad dashes to nowhere, Trish and Daniel cling to each other on an empty dance floor, gorgeously bathed in purple light and backed by a haunting original title tune by the band Tindersticks. Dance scenes are perhaps a too-easy sweet spot for Denis by now, but there’s no mistaking her feel for entangled bodies and swaying rhythms, or her ability to forge powerful emotional connections out of almost nothing. It may be the most seductive of lies, but for one fleeting, fugitive instance, Trish is right where she’s supposed to be."
Justin Chang, Los Angeles Times
"30 or 40 years ago, Johnson’s novel might have made for a glossy romantic thriller from a major studio, sold on the spectacle of hot A-list stars and exotic Central American locales -- and viewed that way, 'Stars at Noon' might seem a surprising project for veteran French sensualist Denis, whose most genre-inclined projects have still been bigger on tactile detailing than nail-biting setpieces. But it’s also not hard to see what drew her to Johnson’s brief, brisk book, which dwells on the psychology of a white outsider in a land shaking off a history of colonization and foreign dependence -- a theme that Denis, raised in colonial West Africa, has tackled in films from her debut 'Chocolat' to 2009’s incendiary 'White Material.' The American setting and perspective may be new for her; the rest, from the film’s bristling, dust-licked atmospherics to its frank, corporeal eroticism to yet another shivery, enveloping score by longtime collaborators Tindersticks, is vintage Denis."
Guy Lodge, Variety
"The film was shot in Panama City and the lush jungle surrounds, under both blinding sun and torrential rain, and while it looks fine, with an adequate sense of place and lots of artfully draped intimacy in the sex scenes, it doesn’t match the expressive style of cinematographer Eric Gautier’s best work. Then there’s the score by English chamber-pop band Tindersticks, longtime Denis collaborators whose loose jazz riffs here seem antithetical to building suspense. There’s almost always something interesting about even Denis’ flawed films, but this troubled travelogue just feels a little off at every fumbled step."
David Rooney, The Hollywood Reporter
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
November 4
ALEXANDER THE GREAT (Christodoulos Hadarris) [UCLA/Hammer]
BELLE DE JOUR, THE DISCREET CHARM OF THE BOURGEOISIE [Aero]
BRIGHT ROAD (David Rose) [Academy Museum]
BULLITT (Lalo Schifrin) [New Beverly]
THE EXTERMINATING ANGEL [Los Feliz 3]
GOJIRA (Akira Ifukube) [Alamo Drafthouse]
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]
DAUGHTER OF THE DRAGON, KING OF CHINATOWN [Academy Museum]
GOING PLACES [BrainDead Studios]
GOJIRA (Akira Ifukube) [Alamo Drafthouse]
IDIOCRACY (Theodore Shapiro) [BrainDead Studios]
JURASSIC PARK (John Williams) [New Beverly]
LETTER FROM AN UNKNOWN WOMAN (Daniele Amfitheatrof), CAUGHT (Frederick Hollander) [UCLA/Hammer]
OFFICE SPACE (John Frizzell) [BrainDead Studios]
THE OLD GUARD (Volker Bertelmann, Dustin O'Halloran) [Aero]
PINK FLAMINGOS [New Beverly]
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]
THE HUNTERS (Loukianos Kilaidonis) [UCLA/Hammer]
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]
KILLER OF SHEEP [Los Feliz 3]
LOST HORIZON (Dimitri Tiomkin) [Academy Museum]
NASHVILLE [BrainDead Studios]
PAPER MOON [BrainDead Studios]
November 7
ENTER THE DRAGON (Lalo Schifrin) [Alamo Drafthouse]
JOE (Bobby Scott), WHERE'S POPPA? (Jack Elliott) [New Beverly]
TRUCK TURNER (Isaac Hayes) [Los Feliz 3]
November 8
THE DISCREET CHARM OF THE BOURGEOISIE [Los Feliz 3]
KID DYNAMITE, PARADISE ALLEY (Bill Conti) [New Beverly]
13TH (Jason Moran) [Academy Museum]
November 9
THE HOLY MOUNTAIN (Alejandro Jodorowsky) [BrainDead Studios]
THE ICE STORM (Mychael Danna) [Los Feliz 3]
KID DYNAMITE, PARADISE ALLEY (Bill Conti) [New Beverly]
November 10
CARMEN JONES (Georges Bizet, Herschel Burke Gilbert) [Academy Museum]
METROPOLITAN (Mark Suozzo, Tom Judson) [Aero]
THE PROTAGONISTS (Andrea Guerra) [Los Feliz e
STAR 80 (Ralph Burns) [New Beverly]
November 11
BLOW UP (Herbie Hancock) [New Beverly]
DIRTY HARRY (Lalo Schifrin) [New Beverly]
THE DISCREET CHARM OF THE BOURGEOISIE [Los Feliz 3]
HARD TO BE A GOD (Viktor Lebedev) [BrainDead Studios]
THE ICE STORM (Mychael Danna) [Los Feliz 3]
JACKIE BROWN [New Beverly]
SUSPIRIA (Thom Yorke) [Los Feliz 3]
UPTIGHT (Booker T. Jones) [Academy Museum]
WALK LIKE A DRAGON (Paul Dunlap), ENTER THE DRAGON (Lalo Schfrin) [Academy Museum]
November 12
BEING JOHN MALKOVICH (Carter Burwell) [BrainDead Studios]
DIRTY HARRY (Lalo Schifrin) [New Beverly]
JAMES AND THE GIANT PEACH (Randy Newman) [Academy Museum]
THE LETTER [Academy Museum]
SAFE (Ed Tomney) [Los Feliz 3]
SALO, OR THE 120 DAYS OF SODOM (Ennio Morricone) [New Beverly]
SHREK (Harry Gregson-Williams, John Powell) [New Beverly]
THAT OBSCURE OBJECT OF DESIRE [Los Feliz 3]
THE THIRD MAN (Anton Karras) [UCLA/Hammer]
THE TONG MAN, YEAR OF THE DRAGON (David Mansfield) [Academy Museum]
TRUE STORIES (David Byrne) [BrainDead Studios]
VANILLA SKY (Nancy Wilson) [BrainDead Studios]
November 13
AFTER HOURS (Howard Shore) [BrainDead Studios]
BUCK AND THE PREACHER (Benny Carter) [Academy Museum]
DIARY OF A CHAMBERMAID [Los Feliz 3]
DIRTY HARRY (Lalo Schifrin) [New Beverly]
THE GAY DIVORCEE (Cole Porter, Max Steiner) [Los Feliz 3]
LOSING GROUND (Michael Minard) [Los Feliz 3]
REAL LIFE (Mort Lindsay) [BrainDead Studios]
SHREK (Harry Gregson-Williams, John Powell) [New Beverly]
7 FACES OF DR. LAO (Leigh Harline) [Academy Museum]
TAMPOPO (Kunihiko Murai) [BrainDead Studios]
THE WEEPING MEADOW (Eleni Karaindrou) [UCLA/Hammer]
WINGS [Hollywood Legion]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [UCLA/Hammer]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: The Karate Kid (Horner); The Last Emperor (Sakamoto/Byrne/Su); Lost Horizon (Bacharach); Love Is a Many-Splendored Thing (Newman); Lust, Caution (Desplat); M. Butterfly (Shore); The Man with the Golden Gun (Barry); The Manchurian Candidate (Amram); Memoirs of a Geisha (Williams); Mulan (Goldsmith); Mulan (Gregson-Williams); Red Corner (Newman)
Read: Dead Cert, by Dick Francis
Seen: Las amantes del senor de la noche; Alucarda; The Chaser; Epitaph; Halloween Ends; Taste the Blood of Dracula; Frankenstein Must Be Destroyed; Decision to Leave; Till; I Walked with a Zombie; The Leopard Man; The Ghost Ship; Black Adam; Causeway; Daisy Miller
Watched: True Detective ("Kiss Tomorrow Goodbye"); You're the Worst ("Fix Me, Dummy"); Cash On Demand; Law & Order: Criminal Intent ("Cherry Red")
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