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The latest releases from Music Box are a collection of film music by Philippe Miller, including selects from Jeanne and the Perfect Guy; the first CD release of Michael Magne's 1973 album re-recording of his film themes; and re-releases of LA REVOLUCION FRANCAISE by George Delerue, and Philippe Sarde's LE CHOC and LES SEINS DE GLACE (aka Icy Breasts).


CDS AVAILABLE THIS WEEK

Brutal
 - Alan Howarth - Dragon's Domain
Girl at the Window
 - Jamie Blanks - Buysoudtrax
La vita, a volte, e' molto dura, vero provvidenza?/Ci risiamo, vero provvidenza?
- Ennio Morricone, Bruno Nicolai - Beat 
Le Choc/Les seins de glace [re-release]
- Philippe Sarde - Music Box
Los renglones dorcidos de dios
- Fernando Velazquez - Quartet 
The Peter Bernstein Collection Vol. 3
 - Peter Bernstein - Dragon's Domain
Philippe Sarde: Anthologie de musiques de films - 50 ans de cinema
- Philippe Sarde - BMG 
The Pit and the Pendulum
 - Richard Band - Dragon's Domain
Piu'forte ragazzi
- Guido & Maurizio DeAngelis - Beat 
Zeus and Roxanne
 - Bruce Rowland - Buysoundtrax 


IN THEATERS TODAY

Black Panther: Wakanda Forever - Ludwig Goransson - Song CD due Nov. 18 on Hollywood
The Fabelmans - John Williams - Score CD due Dec. 9 on Sony
Guillermo del Toro's Pinocchio - Alexandre Desplat
Nothing Lasts Forever - Logan Nelson
Paradise City - Sam Ewing
Spirited - Score: Dominic Lewis; Songs: Benj Pasek, Justin Paul, Khiyon Hursey, Sukari Jones, Mark Sonnenblick  - Song CD due Nov. 18 on Republic
You Resemble Me - Danny Bensi, Saunder Jurriaans 


COMING SOON

November 25
Archive 81 - Ben Salisbury, Geoff Barrow - Invada
Stingray
 - Barry Gray - Silva
December 9
Disenchanted - Alan Menken - Disney
The Fabelmans - John Williams - Sony
December 16
Women Talking - Hildur Guonadottir - Mercury
Coming Soon
Bandes originales des films de Philippe Miller
- Philippe Miller - Music Box 
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
La Revolucion Francaise
- Georges Delerue - Music Box
Michel Magne et son grand orchestre jouent les musiques de films de Michel Magne
- Michel Magne - Music Box 
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 11 - Jerome Kern died (1945)
November 11 - Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “Blow Up” (1967)
November 11 - Dimitri Tiomkin died (1979)
November 11 - Bruce Broughton records his score for the Amazing Stories episode "Gather Ye Acorns" (1985)
November 11 - Alex North records his score for Good Morning, Vietnam (1987)
November 11 - Morton Stevens died (1991)
November 11 - Dennis McCarthy records his score for the Star Trek: Enterprise episode “Future Tense” (2003)
November 11 - John Frizzell records his score for the Star Trek: Enterprise episode “The Forge” (2004)
November 11 - Eddie Horst died (2010)
November 12 - Bob Crewe born (1930)
November 12 - Mort Shuman born (1938)
November 12 - Booker T. Jones born (1944)
November 12 - Neil Young born (1945)
November 12 - Kenyon Hopkins begins recording his score for The Fugitive Kind (1959)
November 12 - Richard Markowitz records his first Mission: Impossible score, for the episode “The Mind of Stefan Miklos” (1968)
November 12 - David Shire records his score for The Godchild (1974)
November 12 - Alan Silvestri begins recording his score for Clean Slate (1993)
November 12 - Velton Ray Bunch records his score for the Star Trek: Enterprise episode “Similitude” (2003)
November 12 - John Tavener died (2013)
November 12 - Karl-Ernst Sasse died (2006)
November 13 - Leonard Rosenman begins recording his score for Hell Is For Heroes (1961)
November 13 - Andre Previn begins recording his score to Dead Ringer (1963)
November 13 - Henry Mancini begins recording his score for The Thief Who Came to Dinner (1972)
November 13 - Maurice Ohana died (1992)
November 13 - David Bell records his score for the Star Trek: Deep Space Nine episode “The Sword of Kahless” (1995)
November 13 - Carlo Rustichelli died (2004)
November 14 - Aaron Copland born (1900)
November 14 - Alden Shuman born (1924)
November 14 - Edmund Meisel died (1930)
November 14 - Wendy Carlos born (1939)
November 14 - Jean-Claude Petit born (1943)
November 14 - Yanni born (1954)
November 14 - Tom Judson born (1960)
November 14 - Stuart Staples born (1965)
November 14 - Alexander Courage records his score for the Voyage to the Bottom of the Sea episode “The Lost Bomb” (1966)
November 14 - Dave Grusin begins recording his score for The Scorpio Letters (1966)
November 14 - Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “A Time to Die” (1967)
November 14 - Basil Poledouris records his score for the Twilight Zone episode “Song of the Younger World” (1986)
November 14 - Dennis McCarthy records his score for the Twilight Zone episode “Voices in the Earth” (1986)
November 14 - Sol Kaplan died (1990)
November 14 - Michel Colombier died (2004)
November 14 - Irving Gertz died (2008)
November 15 - Sune Waldimir born (1907)
November 15 - Jurriaan Andriessen born (1925)
November 15 - Les Baxter records his score for The Comedy of Terrors (1963)
November 15 - John Williams begins recording his score to The Cowboys (1971)
November 15 - Richard Addinsell died (1977)
November 15 - Alexandre Tansman died (1986)
November 15 - Saul Chaplin died (1997)
November 15 - Roberto Pregadio died (2010)
November 15 - Luis Bacalov died (2017)
November 16 - Paul Hindemith born (1895)
November 16 - Roberto Nicolosi born (1914)
November 16 - Gianni Ferrio born (1924)
November 16 - The Lost Weekend is released in theaters (1945)
November 16 - Dennis McCarthy records his scores for the Star Trek: The Next Generation episodes “Home Soil” and “Hide and Q” (1987)
November 16 - Maurice Jarre begins recording his score for The Murder of Mary Phagan (1987)
November 16 - David Bell records his score for the Star Trek: Deep Space Nine episode “Covenant” (1998)
November 17 - Robert Drasnin born (1927)
November 17 - David Amram born (1930)
November 17 - Michael Andrews born (1967)
November 17 - Ron Jones records his score for the Star Trek: The Next Generation episode "Where Silence Has Lease" (1988)
November 17 - Wilfred Josephs died (1997)
November 17 - Jay Chattaway begins recording his score for the Star Trek: Enterprise episode “Awakening” (2004)
 

DID THEY MENTION THE MUSIC?

CAUSEWAY - Alex Somers
 
"The complexion of this movie is changed entirely by James’ arrival on the scene, as he and Lynsey immediately gravitate toward each other through the magnetic force of mutual understanding. Neither character would be able to explain whatever forces of the universe might be galvanizing their unexpected bond -- whatever physical attraction James might have to Lynsey is tempered by his self-disgust -- and so the moment they meet is also the moment when 'Causeway' comes alive with dramatic possibility. Alex Somers’ glassy ambient score has already told us what kind of movie this is going to be (a delicate, understated indie drama that’s deep with pain but always leaves room for hope), and yet James and Lynsey come together in a way that allows for a rare life force to percolate inside the story’s ultra-predictable trajectory."
 
David Ehrlich, IndieWire 
 
"There are no big epiphanies in the script and no moments of major dramatic fireworks. But there’s a warming ebb and flow of trust in Lindsay’s friendship with James as they bond first over a shared love of vintage Ernie K-Doe hits and then respond intuitively to each other’s needs, albeit with some hitches and misunderstandings. The emotional shifts are nicely underscored by tender electronic music from former Sigur Rós collaborator Alex Somers."
 
David Rooney, The Hollywood Reporter 
 
THE FALCONER - Samuel Stewart
 
"Sjoberg and Winslow approach the narrative with the same delicate caution that Cai shows his beloved falcon, shading it with muted colors and a contemplative score (by Samuel Stewart). Their script places as much importance on what characters aren’t saying as on what they are, leaning into wordless giggles, companionable silences or worried gazes into the distance. Even as the boys’ moves become bigger and bolder -- at one point, they steal a car to meet a dangerous smuggler -- the film is scrupulous about not sensationalizing them. 'The Falconer' wants to keep the focus on the subtly shifting dynamic between the boys, not on the excitement (or peril) of their adventure."
 
Angie Han, The Hollywood Reporter 
 
GOD'S CREATURES - Danny Bensi, Saunder Jurriaans

"As word of the allegation spreads, Sarah stops showing up to work shifts at the fishery, and Brian continues reviving his family’s oyster beds like nothing has changed, the astonishing Watson hints at the turmoil shaking Aileen’s very foundations as a mother and woman. She’s accompanied by a wonder of a score from Danny Bensi and Saunder Jurriaans. The clack of oyster shells on a factory belt blends with 'thunk!'-ing staccato percussion. Strings wail like keening voices. Booming drums intrude even upon seemingly placid moments, ratcheting up the tension and evoking the storm brewing outside Aileen’s window and in her soul. It’s a lot. For better or worse, the music becomes the real star of 'God’s Creatures;' Bensi and Jurriaans do so much of the heavy lifting, in fact, that there are times the film threatens to become more atmosphere than substance. A24’s domain is vast and varied enough to resist a single through-line, but the producer-distributor has a tendency to let tone drive drama rather than the other way around. That’s certainly the case here, where more faith could have been placed on the strong cast and Crowley’s revealing dialogue, and cinematographer Chayse Irvin’s gloomy vistas to establish the ominous vibe."
 
Jack Smart, The Onion AV Club
 
"The effects are not good. But you already knew that from the under-the-skin score by Danny Bensi and Saunder Jurriaans, dominated by percussion that mimics the clacketing of oyster shells on the factory line and halting strings that recall foghorns and a bone-deep feeling of unease. The sound design ups the ante, making palpable the wind and rushing water."
 
Kimberley Jones, The Austin Chronicle 
 
"Chayse Irvin’s assured cinematography coupled with an ominous score from Danny Bensi and Saunder Jurriaans help maintain the almost palpable dread. It’s just a slight shame that 'God’s Creatures' is less than the sum of its parts."
 
Lou Thomas, Time Out 
 
"Perspective is a crucial component of 'God’s Creatures,' and Holmer and Davis keep us locked in with Aileen exclusively until it’s time to pass the torch. The filmmaking craft on display and the control over the storytelling and suspense is exceptional. Irvin’s camera pushes in on characters with long, insistent zooms, picking certain people out of the landscape and bringing our eye to them, creating a sense of ominousness and foreboding pressure. That tension, and sense of place, is underlined in the music (by Danny Bensi and Saunder Juriaans) and sound design, from the Irish folk songs to the drums, strings and beats that make up a tribal, feral sound."
 
Katie Walsh, The Wrap 

"That’s part of 'God’s Creatures,' but the filmmaking has such formal rigor that there’s no mistaking it for theater. Directors Saela Davis and Anna Rose Holmer previously made the beguiling drama 'The Fits,' which Holmer directed and Davis edited, from Davis’s story. Here, they share the directing credit, working with Fodhla Cronin O’Reilly, whose experiences in an Irish fishing village, informed the story, which screenwriter Shane Crowley fleshed out into a full feature. 'God’s Creatures' doesn’t have quite the same enchanting, unnerving mystery of 'The Fits,' where a girls’ dance troupe begins to suffer unexplained seizures. The hardscrabble working-class details here inevitably feel a bit more familiar, whether from American kitchen-sink indies or Irish plays. But befitting their previous, dance-heavy collaboration, Davis and Holmer have a knack for tracing their characters’ movements, whether through wide, overhead shots of the packing-plant floor, or observing the bustle of activity around a still, grieving woman. The sound design, catching snatches of local conversation amidst a discomfiting musical score, contributes to a foreboding atmosphere."
 
Jesse Hassenger, Paste Magazine 
 
"As they did in 'The Fits', which was directed by Holmer and co-written and edited by Davis, the filmmakers reap atmospheric benefits from an unconventional score by Danny Bensi and Saunder Jurriaans. Here, the atonal strings and pipes seem to conjure ghosts, with echoes of elemental and intergenerational human violence, and the jarring music is mixed with a murky soundscape to foster a growing sense of dread."
 
David Rooney, The Hollywood Reporter 

THE GOOD HOUSE - Theodore Shapiro

"All of this business is set at a breezy tempo and scored to the sounds of Theodore Shapiro’s upbeat, Thomas Newman-esque score, as 'The Good House' is happily seduced by Hildy’s fun-loving finish. Even after she talks us through her intervention we still feel like she’s got things under control. It’s that kind of movie: blunt yet playful, dusted with New England charm, and just heightened enough that Hildy’s neighbors are played by the likes of Rob Delaney and Morena Baccarin (the latter in the role of Rebecca, a beautiful newcomer who just can’t wait to cause drama). It all seems like the perfect recipe for a wine-loving grandma to get her mojo back."
 
David Ehrlich, IndieWire 
 
"The chirpy notes of Theodore Shapiro’s score in the film’s early sections are part of Forbes and Wolodarsky’s scheme of misdirection: Like Hildy, they’re trying to convince us that this is all fun. Eventually, they’ll pull the rug out from under us as well as Hildy, with less therapy-speak than one might fear. To their credit, they don’t deny the joyful buzz of intoxication. In a scene of celebration over a big real estate deal, exquisitely played by Weaver, the directors and DP Andrei Bowden Schwartz capture in glowing intimacy the way the drinks blossom in Hildy, the way a certain warming and disinhibition switches on."
 
Sheri Linden, The Hollywood Reporter 
 
HALLOWEEN ENDS - John Carpenter, Cody Carpenter, Daniel Davies

"And the score, again by Carpenter, his son Cody Carpenter, and Daniel Davies, is another banger, often lapping the action onscreen for mood and dread. It almost becomes a provocation, forcing us to long for more active involvement by Carpenter, a filmmaker whose skill and restraint frankly puts Green to shame. Who knows if 'Halloween Ends' will actually conclude the slasher series (let’s not forget that 'Friday the 13th: The Final Chapter' was the fourth of twelve installments). But I’ll say this: even as a fan of the franchise, when the title came up at the end of 'Halloween Ends,' I found myself hoping to God they weren’t kidding."
 
Jason Bailey, The Playlist 
 
"Indeed, the things Halloween Ends gets right are the things you would expect to get out of this franchise in the first place. It’s shot cleanly, has a great score (credited to John/Cody Carpenter and Daniel Davies), and has a couple of fairly satisfying, grisly kills. It also, thankfully, positions the Strode family back at the center of the action. Instead of getting lost to a horde of anonymous townspeople, Laurie and granddaughter Allyson (Matichak) are more properly utilized to reckon with a town that has been left afraid and paranoid for years because of the man to whom the Strode family seems inextricably tied."
 
Trace Sauveur, The Austin Chronicle

TÁR - Hildur Guðnadóttir

"Somehow, this all happens without the moralistic droning of a lecture. TÁR is breathtaking entertainment, beautifully tailored in luxe, eerie Euro sleekness by production designer Marco Bittner Rosser and cinematographer Florian Hoffmeister, and ominously scored by Hildur Guðnadóttir (who gets a little meta shout-out in the film). That fine craftsmanship is all anchored by Blanchett’s alternately measured and ferocious performance, a tremendous (but never outsized) piece of acting that is her most piercing work in years. Alluring and frighteningly vituperative, Lydia is a beguiling creation, all the more villainous for the beauty that birthed her."
 
Richard Lawson, Vanity Fair 

"The predatory intentionality of Lydia’s approach is undeniable, regardless of Olga’s reaction to it, but even more overt is how these women don’t have any other way to interact with each other. The institution that brings them together is so inflexibly hierarchical that every chair is assigned a specific importance based on its distance from the podium, and any hint of desire between the people who sit in them -- personal or professional, appropriate or otherwise -- is tainted by its proximity to power. To that point, 'TÁR' is utterly convincing in how it depicts the gossip and politics behind an elite orchestra, with Hildur Guðnadóttir’s unobtrusive score helping to smooth over the seams even as Lydia comes apart on screen."
 
David Ehrlich, IndieWire
 
"Cinematographer Florian Hoffmeister gives the film a cool, crisp look, deceptively unfussy yet often psychologically revealing in its compositions. Editor Monika Willi makes the expansive running time of more than two-and-a-half hours breathe, but also fly by with gripping tension. And the score by composer Hildur Guðnadóttir (whose name is playfully dropped among those whose work Tár has championed) brings subtle indications of the influences Lydia is hearing in her own compositions, elegantly interwoven with the classical pieces -- primarily Mahler and Elgar."
 
David Rooney, The Hollywood Reporter 

THE NEXT TEN DAYS IN L.A.

Screenings of older films in Los Angeles-area theaters.

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]
SAVING PRIVATE RYAN (John Williams) [Aero]
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]
MASK [Aero]
REAL LIFE (Mort Lindsay) [BrainDead Studios]
SHREK (Harry Gregson-Williams, John Powell) [New Beverly]
7 FACES OF DR. LAO (Leigh Harline) [Academy Museum]
SWISS ARMY MAN (Andy Hull, Robert McDowell) [Los Feliz 3]
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]

November 14
ESCAPE FROM ALCATRAZ (Jerry Fielding), FORTUNE AND MEN'S EYES (Galt MacDermot) [New Bevelry]
GOJIRA (Akira Ifukube) [Alamo Drafthouse]
LITTLE MISS SUNSHINE (Mychael Danna) [Los Feliz 3]
THIRTEEN LIVES (Benjamin Wallfisch), APOLLO 13 (James Horner) [Aero]

November 15
BLACK PANTHER (Ludwig Goransson) [Academy Museum]
CRUISING (Jack Nitzsche) [Alamo Drafthouse]
ESCAPE FROM ALCATRAZ (Jerry Fielding), FORTUNE AND MEN'S EYES (Galt MacDermot) [New Bevelry] 
GOJIRA (Akira Ifukube) [Alamo Drafthouse] 
LOVE & MERCY (Atticus Ross) [Los Feliz 3]
THE MILKY WAY [Los Feliz 3]
THE SEARCHERS (Max Steiner) [UCLA/Hammer]

November 16
CLASS RELATIONS [BrainDead Studios]
CRUISING (Jack Nitzsche) [Alamo Drafthouse] 
GOJIRA (Akira Ifukube) [Alamo Drafthouse] 
HOME FOR THE HOLIDAYS (Mark Isham) [Los Feliz 3]
SLEUTH (John Addison) [Los Feliz 3]
TAXI DRIVER (Bernard Herrmann), ROLLING THUNDER (Barry DeVorzon) [New Beverly]

November 17
THE DECKS RAN RED, MOMENT OF DANGER (Matyas Seiber) [Academy Museum]
FLAMING EARS (Dietmar Schipek) [Los Feliz 3]
TAXI DRIVER (Bernard Herrmann), ROLLING THUNDER (Barry DeVorzon) [New Beverly]
VIRDIANA [Los Feliz 3]

November 18
BARBARELLA (Charles Fox, Bob Crewe) [New Beverly]
THE DAYTRIPPERS (Richard Martinez) [Los Feliz 3]
JACKIE BROWN [New Beverly]
LOSING GROUND (Michael Minard) [Los Feliz 3]
M. BUTTERFLY (Howard Shore), THE WEDDING BANQUET (Mader) [Acaemy Museum]
THE NIGHT OF THE IGUANA (Benjamin Frankel) [UCLA/Hammer]
PIECES OF APRIL (Stephin Merritt) [Los Feliz 3]
TAXI DRIVER (Bernard Herrmann), ROLLING THUNDER (Barry DeVorzon) [New Beverly]

November 19
DESPICABLE ME (Heitor Pereira, Pharrell Williams) [New Beverly]
EAT DRINK MAN WOMAN (Mader) [BrainDead Studios]
EATING RAOUL (Arlon Ober) [Los Feliz 3]
FLAMING EARS (Dietmar Schipek) [Los Feliz 3] 
FREAKED (Kevin Kiner) [BrainDead Studios]
THE LAST OF SHEILA (Billy Goldenberg) [Alamo Drafthouse]
NIGHT OF THE DEMON (Clifton Parker) [Aero]
OVER THE EDGE (Sol Kaplan) [BrainDead Studios]
SUNSET BLVD. (Franz Waxman) [Aero]
THE TEXAS CHAIN SAW MASSACRE (Wayne Bell, Tobe Hooper), EATEN ALIVE (Wayne Bell), THE FUNHOUSE (John Beal) [New Beverly]
WHAT'S COOKING? (Craig Pruess) [Los Feliz 3]

November 20
DESPICABLE ME (Heitor Pereira, Pharrell Williams) [New Beverly]
THE DUST OF TIME (Eleni Karaindrou) [UCLA/Hammer]
THE GREAT OUTDOORS (Thomas Newman) [BrainDead Studios]
ISLAND IN THE SUN (Malcolm Arnold) [Academy Museum]
LOSING GROUND (Michael Minard) [Los Feliz 3]
PIECES OF APRIL (Stephin Merritt) [Los Feliz 3]
THE SAND PEBBLES (Jerry Goldsmith) [Academy Museum]
SWEET NOVEMBER (Christopher Young) [Los Feliz 3]
THE TEXAS CHAIN SAW MASSACRE (Wayne Bell, Tobe Hooper), EATEN ALIVE (Wayne Bell), THE FUNHOUSE (John Beal) [New Beverly] 
WHO'S AFRAID OF VIRIGNIA WOOLF? (Alex North) [BrainDead Studios]
ZATOICHI (Keichi Suzuki) [BrainDead Studios]


THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY

Heard:
The Road to Hong Kong (Farnon)/Say One for Me (Newman); Rush Hour (Schifrin); The Sand Pebbles (Goldsmith); 7 Faces of Dr. Lao (Harline); Never So Few (Friedhofer)/7 Women (Bernstein); Shanghai Noon (Edelman); Between Heaven and Hell/Soldier of Fortune (Friedhofer); The Tuxedo (Debney/Beck); Three Violent People (Scharf)/Kid Rodelo (Douglas)/Walk Like a Dragon (Dunlap)

Read: The Trouble with God, by Chris Matheson

Seen: Dark Glasses; Edge of the City; St. Louis Blues; Daughter of the Dragon; King of Chinatown; Big Trouble in Little China; Black Widow [1987]; The Estate; Prey for the Devil; Smile [2022]; Joe [1970]; Where's Poppa?; Kid Dynamite; Paradise Alley; Armageddon Time; Ticket to Paradise; The Banshees of Inisherin

Watched: Les innocents; Star Trek: Enterprise ("Kir'shara"); Bob's Burgers ("Sheesh! Cab, Bob?"); The Boys ("What I Know"); The Good Place ("What's My Motivation"); Counterpart ("Something Borrowed"); Hacks ("Falling"); Damages ("The Next One's Gonna Go In Your Throat"); Silicon Valley ("Third Party Insourcing"); The Deuce ("Seven Fifty")

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