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Varese Sarabande is expected to announce two new limited edition CD Club releases today.

The Academy Museum of Motion Pictures in Los Angeles has announced two screening series spotlighting the Oscar-nominated film scores of John Williams in honor of his upcoming 91st birthday. In December, five of his films will screen on Saturday mornings as family matinees, and in January and February of 2023, seven more will screen on Sunday nights in the museum's Oscar Sundays series:

December 3 - Superman
December 10 - Harry Potter and the Sorcerer's Stone
December 17 - The Adventures of Tintin (in 3D)
December 24 - Home Alone
December 31 - Harry Potter and the Prisoner of Azkaban (accommodative screening)
January 1 - The Poseidon Adventure
January 8 - Valley of the Dolls
January 15 - Close Encounters of the Third Kind
January 22 - The Witches of Eastwick
January 29 - Born on the Fourth of July
February 19 - Catch Me If You Can
February 26 - Star Wars: The Force Awakens (for museum members only)


 - Oscar Martin Leanizabarrutia - Kronos 
Motorcycle Gang
 - Albert Glasser - Kronos
The Proud and Damned
 - Gene Kauer, Douglas M. Lackey - Kronos 
Suoni Velati
 -  Matteo Cremolini - Kronos   


Bones and All - Trent Reznor, Atticus Ross
Eternal Spring - Thomas William Hill
The Inspection - Animal Collective
Lamya's Poem - Christopher Willis
The Menu - Colin Stetson
Poker Face - Antony Partos, Matteo Zingales
Retrograde - H. Scott Salinas
She Said - Nicholas Britell


November 25
Archive 81 - Ben Salisbury, Geoff Barrow - Invada
 - Barry Gray - Silva
December 9
Bruno Nicolai in Giallo
- Bruno Nicolai - Digitmovies
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 
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 


November 18 - Carter Burwell born (1955)
November 18 - Ben-Hur premieres in New York (1959)
November 18 - Duncan Sheik born (1969)
November 18 - Lalo Schifrin begins recording his score for The Mean Season (1984)
November 18 - Craig Safan records his scores for the Twilight Zone episodes “Dead Woman’s Shoes” and “Wong’s Lost and Found Emporium” (1985)
November 18 - George Romanis records his score for the Star Trek: The Next Generation episode “Too Short a Sesaon” (1987)
November 18 - Bruce Broughton begins recording his score for Homeward Bound: The Incredible Journey (1992)
November 18 - David Bell records his score for the Star Trek: Deep Space Nine episode “The Ascent” (1996)
November 18 - Paul Bowles died (1999)
November 18 - Michael Kamen died (2003)
November 18 - Cy Coleman died (2004)
November 19 - Salil Chowdhury born (1925)
November 19 - Harry Robinson born (1932)
November 19 - Paul Glass born (1934)
November 19 - Trade Martin born (1943)
November 19 - Joel Goldsmith born (1957)
November 19 - Lyn Murray records his score for the Alfred Hitchcock Hour episode “Thanatos Palace Hotel” (1964)
November 19 - Dee Barton begins recording his score for High Plains Drifter (1972)
November 19 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Concerning Flight” (1997)
November 19 - Dennis McCarthy records his score for the Star Trek: Enterprise episode “Carpenter Street” (2003)
November 20 - Louis Levy born (1894)
November 20 - David Raksin begins recording his score for Across the Wide Missouri (1951)
November 20 - Kevin Gilbert born (1966)
November 20 - Recording sessions begin for James Newton Howard’s score for Primal Fear (1995)
November 20 - Russell Garcia died (2011)
November 21 - Malcolm Williamson born (1931)
November 21 - Hans Erdmann died (1942)
November 21 - The Best Years of Our Lives opens in New York (1946)
November 21 - Magnus Fiennes born (1965)
November 21 - Don Ellis begins recording his replacement score for The Seven-Ups (1973)
November 21 - Ralph Burns died (2001) 
November 22 - Benjamin Britten born (1913)
November 22 - Craig Hundley aka Craig Huxley born (1954)
November 22 - W. Franke Harling died (1958)
November 22 - Carlo Giacco born (1972)
November 22 - Francois de Roubaix died (1975)
November 22 - Fernando Velazquez born (1976)
November 22 - Gil Melle begins recording his score for The Sentinel (1976)
November 23 - Jack Marshall born (1921)
November 23 - Johnny Mandel born (1925)
November 23 - Jerry Bock born (1928)
November 23 - David Spear born (1953)
November 23 - Bruce Hornsby born (1954)
November 23 - Ludovico Einaudi born (1955)
November 23 - The Magnificent Seven opens in New York and Los Angeles (1960)
November 23 - Jean-Michel Bernard born (1961)
November 23 - Ennio Morricone begins recording his score for White Dog (1981)
November 23 - John Scott begins recording his score for Shoot to Kill (1987)
November 23 - Clifford Vaughan died (1987)
November 23 - Irwin Kostal died (1994)
November 23 - Dennis McCarthy records his score for the Star Trek: Enterprise episode “Kir’Shara” (2004)
November 23 - Nicholas Carras died (2006)
November 24 - Alfred Schnittke born (1934)
November 24 - Pino Donaggio born (1941)
November 24 - Michael Small died (2003)
November 24 - Kan Ishii died (2009)
November 24 - Harold Faberman died (2018)


AFTERSUN - Oliver Coates
"There’s something in-between about Calum too. He might embrace the opportunity to lob bread-basket rolls at a lousy dinner-show act, but he’s also a man of unspoken troubles -- one who can’t, or won’t, specify how he wound up with a cast on his arm. And one whose comment that he never felt at home in Edinburgh suggests a whole life-to-be in the making, turning toward a new sun. Late at night, when he steps onto the balcony for a smoke, the film views him through the glass door, as does his daughter, and all sound drops away, both Ajder’s astute mix of nature and machinery and the minimalist ache of composer Oliver Coates’s score. Calum is apart, unheard, facing away and yet still somehow masked."
Sheri Linden, The Hollywood Reporter 

ARAMAGEDDON TIME - Christopher Spelman
"Gray’s a longtime Francis Ford Coppola acolyte, and while his film and its concerns are largely different, this aesthetic influence still shows. Returning to the chiaroscuro palette of 'The Yards,' Daris Khondji plays with shadows, light, and soft ambered hues that would make Gordon Willis proud. Gray’s longtime composer Christopher Spellman’s simple, sorrowful guitar fingerpicking work is also affecting, but the plaintive notes he hits are reminiscent of some of the dolor found in 'The Godfather.'"
Rodrigo Perez, The Playlist 

"This is a thoughtful film laced throughout with small ripple-effect moments that continue to resonate even beyond the end credits, their emotional effect delicately amplified by Christopher Spelman’s acoustic score. The mix of classical with period tracks like 'Rapper’s Delight,' by Johnny’s favorite band, The Sugarhill Gang, also reinforces the meaning of a story about a past reflective of other pasts before it, but also tethered very much to our present."
David Rooney, The Hollywood Reporter 

BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS - Bryce Dessner, Alejandro G. Inarritu
"And yet, as vastly unfunny as that description might read, 'Bardo' is still very much a comedy that pokes fun at its obvious self-importance and at the self-aggrandizing absurdity of any creative pursuit when juxtaposed with the great afflictions that plague the world. In turn, its carnivalesque score, born from Iñárritu’s own background as an audiophile in collaboration with The National’s Bryce Dessner, matches the sophisticatedly droll tone."
Carlos Aguilar, The Wrap 

"At Mexico City’s Chapultapec Castle, the U.S. ambassador (Jay O. Sanders) glosses over Silverio’s pointed comments about the stacked odds of the Mexican-American War in the mid-1800s, prompting the documentarian to conjure a full-scale recreation of the battle that took place there, with uniformed cadets in bad period wigs. The use of a brass band in this surreal vignette is one of many elements that recall Fellini. (Elsewhere, the score by Bryce Dessner of The National and Iñárritu tends to function as atmospheric enhancement to the visuals.)"
David Rooney, The Hollywood Reporter
"If your mind has turned to 'Vertigo,' you’ve surely been paying attention. In scene after gorgeously staged scene (many of them set to Cho Young-wuk’s churning, haunting score), the director unleashes a swirl of associations and allusions to that Hitchcock masterpiece: a fall from a great height, a surveillance subject who becomes a desired object, a romantic-noir template that resets and replays itself halfway through. (Even the story’s occasional creaks and longueurs feel exquisitely 'Vertigo'-esque.) A genre maestro with both a flair and a weakness for grandiose stylistic flourishes, Park seizes upon Hitchcock’s aesthetics of voyeurism and desire and pushes them to new extremes of high-tech fetishism. At one point, he conducts a virtuoso mini-seminar on the male gaze, as Hae-joon, spying on Seo-rae from a distance, suddenly imagines himself standing in the same room beside her."
Justin Chang, Los Angeles Times 

"Park luxuriates in the Hitchcockian possibilities, both visual and thematic, of all this. He’s aided enormously by Cho Young-wuk’s gorgeously textured score and, most crucially, the harmonious interaction of his two leads. Although much of their feelings for each other are left unsaid, their precision movements express their intense connection, as in a masterfully staged interrogation scene that ends with Hae-joon and Seo-rae silently finishing their lunch and wiping clean the table like a long-married couple."
Mark Keizer, The Onion AV Club 
"Nevertheless, from the string-centric score to the noir archetypes, to the themes of romance, betrayal, obsession and voyeurism, 'Decision to Leave' is Park’s most clear evocation of Hitchcock to date. Because of this, it becomes somewhat evident where the story will go, even when things take a turn. But the familiarity of the crime narrative reads as intentionally superficial, a vehicle for a more unconventional exploration of the standard detective/femme fatale romance which has laid the foundation for Park’s own sumptuous spin. While not Park’s best work, nor a masterpiece, 'Decision to Leave' is an extravagant and hopelessly romantic thriller that weaves past and present into something entirely its own."
Brianna Zigler, Paste Magazine 
"And there are montages, accompanied by a woodwind score (from Cho Young-wuk) lush with romance and intrigue, that deliver a delirium of imagery that would be the centerpiece climax of any other film, but here is simply a debonair aside. Even when faced with the age-old conundrum of delivering backstory while keeping the audience engaged, Park is on inventive form. One expository monologue comes layered over an otherwise unrelated, but entirely thrilling rooftop footchase. Or maybe not so unrelated: It culminates in a highly unusual standoff in which Hae-joon and his quarry have a quick heart-to-heart about what men will do -- what values they will betray, what peace of mind they will sacrifice -- for love."
Jessica Kiang, Variety 

"Starting with those first encounters, the percussive notes of Cho Young-wuk’s tonally wide-ranging score create needling questions around Seo-rae, while cinematographer Kim Ji-young’s skewed framing and bold use of color also suggest she might be another of Park’s memorable femmes fatales...That tragic final act is elevated by some of the most gorgeous passages in composer Cho’s score and by DP Kim’s consistently arresting sense of composition, with expressive use of low/high angles. One overhead shot toward the end, of a breakwater road slicing through the middle of a magnificent physical setting, is an absolute stunner."
David Rooney, The Hollywood Reporter 

THE ESTATE - Will Bates
"Craig’s script is filled with tasteless situations that seem less intent on being funny than on proving to the world that comedy has no boundaries in these cancel-filled times. It’s a point well-taken, but an argument poorly made when the jokes and the energy are so flat and no amount of up-tempo cues in Will Bates’ undistinguished, percussive score can goose the proceedings to farcical levels."
Mark Keizer, The Onion AV Club 
LYLE, LYLE, CROCODILE - Songs: Benj Pasek & Justin Paul; Score: Matthew Margeson
"The CGI is exceptionally well-integrated, and with the help of good sound design, avoids the frequent mistake of making heavy creatures seem weightless. The Pasek/Paul songs are filled with joyful spirit, accompanied by some choice needle-drop classics like Stevie Wonder’s 'Sir Duke' and a well-chosen Elton John number. McNairy and Wu are fine as the concerned parents who each find a liberating freedom after Lyle shows them something new about their favorite pastimes. Fegley keeps us on his side as the worried kid and then as the newly adventuresome devoted friend."
Nell Minow, 

"This is supposed to be a musical, after all, and you’d expect at least some attempt at interesting choreography. Instead, all I can remember are scenes of characters mostly just standing around while singing or delivering lines. More than that, there’s not a memorable song in the bunch. Mendes delivers on the broad, agreeable pop vocal style this kind of production was surely after, and he works fine for that -- though, for a character that is otherwise always mute, the lack of personality in his physical characteristics turns Lyle into a decidedly anonymous CG creation."
Trace Sauveur, The Austin Chronicle 
"If a CGI crocodile with the dulcet tenor of a pop idol seems at odds with Waber’s freehand illustrations, Javier Bardem is perfectly in step as eccentric showman Hector P. Valenti, star of stage and screen. Bardem’s lesser-seen playful side is on full display in 'Lyle,' as he hoofs his way across New York City with madcap gusto. The minute he leaves the croc to fend for himself at the house on East 88th Street, his absence is sorely felt by all -- not just lonely Lyle. Along with a few bouncy numbers from 'The Greatest Showman' duo Benj Pasek and Justin Paul, Bardem is the driving force behind 'Lyle,' and the train loses major steam without its kooky conductor. Directed by Will Speck and Josh Gordon ('Office Christmas Party') with a script by William Davies ('Puss in Boots'), 'Lyle, Lyle, Crocodile' is a distinctly 2022 Hollywood concoction. It combines the fun of a cute animated crocodile with the bopping charms of a musical, and throws in the few odd characters like Hector and Mr. Grumps to keep the grown-ups chuckling. The smoothly bland Pasek and Paul songs will get many repeat Spotify plays from kids who likely won’t see the movie. On paper, it should all work. But, like Hector’s act, it’s just missing that magic factor."
Jude Dry, IndieWire

"Even with a mustachioed Javier Bardem doing his bonkers best to evoke a Fellini-esque sideshow vibe as flamboyant entertainer Hector P. Valenti, the titular amphibian’s first owner, if you didn’t know that the frenetic and tinny 'Lyle, Lyle, Crocodile' had modestly charming literary origins, you’d swear the title of this corporatized kiddie-franchise fodder was a cheeky alternative acronym for LLC. But hey, there has to be something at the other end of the quality spectrum from the joyful do-good magic of 'Paddington,' and this overwrought, clunky creature-teacher-feature from 'Office Christmas Party' directors Will Speck and Josh Gordon and screenwriter Will Davies ('Flushed Away'), with a new batch of forgettable songs from Benj Pasek and Justin Paul ('Dear Evan Hansen,' 'The Greatest Showman'), fits the bill handily."
Robert Abele, The Wrap 
"The nearly two-hour film largely banks on the star power of Mendes and his singing talents. It is hard to call it a performance as Lyle doesn’t actually talk and communicates entirely through song, likely to play to the pop star’s strengths. While his recent albums have received generally favorable reviews of late, one can’t help but wonder if his songs really are the type of music that younger audiences will actually connect with. There are original songs that were written for the film, from the team behind the recent musical 'The Greatest Showman,' though none end up being all that memorable once they pass."
Chase Hutchinson, Collider
"The title beastie at the heart of this musical fairy tale is a scaly, life-size, anthropomorphic saltwater crocodile who occupies the attic of an Upper West Side brownstone and doesn’t talk…at all. He gets no bad jokes and no conversation; he’s quietly observant and a bit shy. Except, that is, when he opens his mouth and sings, in the lovely soaring mellifluous baritone of Shawn Mendes, who delivers half a dozen new songs by Benj Pasek and Justin Paul (as well as several of his own), the composer-lyricists of 'The Greatest Showman' and 'Dear Evan Hansen,' whose propulsive hooky romantic melodies tend to go down like butter. (The songs here aren’t nearly as memorable as the 'Greatest Showman' songs, but they’ll do.) "
Owen Gleiberman, Variety 
"That probably won’t be a problem for the tykes seeing this film, directed by Will Speck and Josh Gordon ('The Switch,' 'Office Christmas Party'), since Lyle is undeniably adorable, even though he somehow manages to look like a large man wearing a crocodile suit even in animated form. He also happens to possess a beautiful singing voice, which is frequently heard in original songs composed by Benj Pasek and Justin Paul ('Dear Evan Hansen,' 'The Greatest Showman'), among others, that will evaporate from your brain before you get up from your theater seat. Lyle, who doesn’t actually speak, suffers from debilitating stage fright when attempting to sing in public, which strangely mirrors Mendes’ own publicly declared anxiety issues."
Frank Scheck, The Hollywood Reporter 

MY POLICEMAN - Steven Price
"Stirringly shot by Ben Davis (that hallway image of the older Marion secretly watching Tom watching Patrick is a knockout), evocatively scored by Steven Price and peppered with several familiar, well-used standards, the movie could have withstood a bit more behavioral dissection of each of the main characters as well as a stronger recap of their lives between the tale’s two time periods."
Gary Goldstein, Los Angeles Times 

"Right down to the melancholy melodies of Steven Price’s score, the languid pacing and the pretty but bland views of the Sussex coast, it’s a respectful drama, watchable enough but unable to build much emotional charge around its exploration of the mysterious lines of love and friendship."
David Rooney, The Hollywood Reporter 


Screenings of older films in Los Angeles-area theaters.

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]
ELVIS (Elliott Wheeler) [Aero]
THE GREAT OUTDOORS (Thomas Newman) [BrainDead Studios]
ISLAND IN THE SUN (Malcolm Arnold) [Academy Museum]
LOSING GROUND (Michael Minard) [Los Feliz 3]
MOULIN ROUGE (Craig Armstrong), WILLIAM SHAKESPEARE'S ROMEO + JULIET (Nellee Hooper, Craig Armstrong, Marius de Vries) [Aero]
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] 

November 21
THE BATMAN (Michael Giacchino) [Aero]
FLAMING EARS (Dietmar Schipek) [Los Feliz 3]  
HOLD THAT BLONDE! (Werner Heymann), THE GHOST AND MR. CHICKEN (Vic Mizzy) [New Beverly]
THE STUDENT TEACHERS (David Nichtern) [Los Feliz 3]

November 22
THE DAYTRIPPERS (Richard Martinez) [Los Feliz 3] 
EIGHTH GRADE (Anna Meredith) [Academy Museum]
THE GETAWAY (Quincy Jones), THE OUTFIT (Jerry Fielding) [New Beverly]

November 23
ADDAMS FAMILY VALUES (Marc Shaiman) [Los Feliz 3]
THE BEACH BUM (John Debney) [BrainDead Studios]
THE GETAWAY (Quincy Jones), THE OUTFIT (Jerry Fielding) [New Beverly]
SINGIN' IN THE RAIN (Nacio Herb Brown, Lennie Hayton) [Aero]

November 24
ROCKY (Bill Conti), ROCKY II (Bill Conti) [New Beverly]

November 25
AMERICAN GANGSTER (Marc Streitenfeld) [Academy Museum]
THE BLOB (Michael Hoenig) [BrainDead Studios]
CRANK (Paul Haslinger) [Los Feliz 3]
DAWN OF THE DEAD (Goblin) [Aero]
FLOWER DRUM SONG (Richard Rodgers, Alfred Newman, Ken Darby) [Academy Museum]
JACKIE BROWN [New Beverly]
KIKI'S DELIVERY SERVICE (Joe Hisaishi) [BrainDead Studios]
THE WILD BUNCH (Jerry Fielding), DELIVERANCE [New Beverly]

November 26
BATMAN RETURNS (Danny Elfman) [New Beverly]
BELLY (Stephen Cullo) [BrainDead Studios]
BEYOND THE VALLEY OF THE DOLLS (Stu Phillips) [New Beverly]
BOB & CAROL & TED & ALICE (Quincy Jones) [Los Feliz 3]
THE EMPIRE STRIKES BACK (John Williams) [Aero]
IN THE MOOD FOR LOVE (Michael Galasso, Shigeru Umebayashi) [BrainDead Studios]
THE JOY LUCK CLUB (Rachel Portman) [Academy Museum]
THE JOY LUCK CLUB (Rachel Portman) [BrainDead Studios]
LOVE ACTUALLY (Craig Armstrong) [Alamo Drafthouse]
NATIONAL LAMPOON'S CHRISTMAS VACATION (Angelo Badalamenti) [Alamo Drafthouse]
THE NEVERENDING STORY (Klaus Doldinger, Giorgio Moroder) [Academy Museum]
RETURN OF THE JEDI (John Williams) [Aero]
THE ROCK (Nick Glennie-Smith, Hans Zimmer) [Los Feliz 3]
RUN LOLA RUN (Reinhold Heil, Johnny Klimek, Tom Tykwer) [Los Feliz 3]
STAR WARS (John Williams) [Aero]
THE WILD BUNCH (Jerry Fielding), DELIVERANCE [New Beverly]

November 27
THE ARCH (Tsan-yuan Lu), XIU-XIU: THE SENT DOWN GIRL (Johnny Chen) [Academy Museum]
THE BAD GUYS (Daniel Pemberton) [Aero]
BATMAN RETURNS (Danny Elfman) [New Beverly]
BURDEN OF DREAMS [BrainDead Studios]
CON AIR (Trevor Rabin) [Los Feliz 3]
DEJA VU (Harry Gregson-Williams) [Los Feliz 3]
ELF (John Debney) [Alamo Drafthouse]
THE LAST EMPEROR (Ryuichi Sakamoto, David Byrne, Cong Su) [Academy Museum]
THE LAST OF THE MOHICANS (Trevor Jones, Randy Edelman) [Fine Arts]
POINT BREAK (Mark Isham) [Los Feliz 3]
THE TALE OF ZATOICHI (Akira Ifukube) [BrainDead Studios]
TEARS OF THE BLACK TIGER (Amornbhong Methakunavudh) [BrainDead Studios]
THERE WILL BE BLOOD (Jonny Greenwood) [Aero]
THE WILD BUNCH (Jerry Fielding), DELIVERANCE [New Beverly]


The Wedding Banquet (Mader); The World of Suzie Wong (Duning); Year of the Dragon (Mansfield); House of Usher (Baxter); The Premature Burial/The Haunted Palace (Stein); Key Largo (Steiner); The Treasure of the Sierra Madre (Steiner); A Little Princess (Doyle)

Read: Assassins Have Starry Eyes, by Donald Hamilton

Seen: Star 80; Walk Like a Dragon; Enter the Dragon; Bardo, False Chronicle of a Handful of Truths; Aftersun; Spirited; 7 Faces of Dr. Lao; Escape from Alcatraz; Fortune and Men's Eyes; Black Panther: Wakanda Forever; Guillermo del Toro's Pinocchio

Watched: 30 Rock ("The Funcooker"); Fargo ("Palindrome"); The Venture Bros. ("Faking Miracles"); Penny Dreadful ("A Blade of Grass"); What We Do in the Shadows ("Collaboration"); True Detective ("The Big Never"); You're the Worst ("Bad News: Dude's Dead")

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Comments (2):Log in or register to post your own comments
Hundreds of thousands of people have waited a lifetime to hear John Williams's score to VALLEY OF THE DOLLS in a theater.

That film does screen occasionally. It actually played at the New Beverly in L.A. a few years back, as part of a Sharon Tate triple feature, but of course it was on one the rare occasions I was actually out of town.

I only recently learned that Harlan Ellison was the first writer on that script. I've still never seen The Oscar, which I would LOVE to see in a theater, but I hear that prints/rights are hard to track down.

Having recently seen a very faded print of Eyes of Laura Mars and a gorgeous vintage print of Twisted Nerve, it seems truly random which films are available and in good shape.

Sort of like film scores.

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