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The latest CD from Intrada is a greatly expanded release of Alan Silvestri's score for director Wolfgang Petersen's 1991 thriller SHATTERED, starring Tom Berenger as a man whose face and memories are destroyed in a car accident, and after plastic surgery restores him to relative normalcy discovers that nothing in his life is quite what it seems. Silvestri's Euro-thriller inflected score replaced an unused score by Angelo Badalamenti, and the Intrada CD features 68 minutes of the composer's music, plus two songs that were featured on the original Milan soundtrack CD.

Quartet has announced two new, remastered Ennio Morricone releases - IL GIUSTIZIERE (released in the U.S. as The Human Factor), the Edward Dymytryk-directed revenge thriller starring Oscar winners George Kennedy and John Mills; and the 1974 giallo L'ULTIMO UOMO DI SARA (Sara's Last Man).


Chuck Cirino: Erotic Thrillers 
- Chuck Cirino - Dragon's Domain
Craig Safan: Horror Macabre Vol. 2
 - Craig Safan - Dragon's Domain 
El ultimo viaje
 - Stelvio Cipriani - CSC 
Peccato Senza Malizia
 - Stelvio Cipriani - CSC  
Shattered - Alan Silvestri - Intrada Special Collection 


Among the Beasts - Ben Cura
The Blue Caftan - Kristian Eidnes Andersen
Consecration - Nathan Halpern
Full Time - Irene Dresel
Godland - Alex Zhang Hungtai
Magic Mike's Last Dance - Music Supervisor: Season Kent
Sharper - Clint Mansell
She Came from the Woods - Tim Williams 
Your Place or Mine - Siddhartha Khosla


February 24
- Manuel De Sica - Digitmovies
...E poi, non me rima se nessuno
- Bruno Nicolai - Digitmovies 
- Alexandre Desplat - Rambling
Io sono l'abisso/La ragazza nell nebbia
- Vito Lo Re - Digitmovies 
Le foto proibite di una signora per bene
 - Ennio Morricone - Beat 
The Retaliators - Kyle Dixon, Michael Stein - Better Noise 
Space: 1999
 - Ennio Morricone - Beat
Squadra Antigangsters
 - Goblin - Beat
March 3
Interview with the Vampire - Daniel Hart - Milan
March 17
Blonde - Nick Cave, Warren Ellis - Invada
The Conversation
- David Shire - Silva
March 31
A Man Called Otto - Thomas Newman - Mercury
April 14
Babylon - Justin Hurwitz - Interscope
Date Unknown
Il Giustiziere (The Human Factor)
- Ennio Morricone - Quartet
L'ultimo uomo di Sara
- Ennio Morricone - Quartet
Shogun Assassin
 - W. Michael Lewis, Mark Lindsay - Buysoundtrax 


February 10 - Larry Adler born (1914)
February 10 - Gordon Zahler born (1926)
February 10 - Jerry Goldsmith born (1929)
February 10 - Billy Goldenberg born (1936)
February 10 - Nathan Van Cleave records his score for The Space Children (1958)
February 10 - Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “The Golden Man” (1981)
February 10 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “By Inferno’s Light” (1997)
February 10 - Velton Ray Bunch records his score for the Star Trek: Enterprise episode “Affliction” (2005)
February 10 - Lyle Mays died (2020)
February 11 - Yves Baudrier born (1906)
February 11 - Recording sessions begin for Leigh Harline's score for The Desert Rats (1953)
February 11 - Bernard Herrmann records his score for the Alfred  Hitchcock Hour episode “Wally the Beard” (1964)
February 11 - Dave Grusin’s score for The Wild Wild West episode “The Night of the Puppeteer” is recorded (1966)
February 11 - Richard Markowitz records his score for the Mission: Impossible episode “The Bunker” (1969)
February 11 - Mike Shinoda born (1977)
February 11 - Heinz Roemheld died (1985)
February 11 - Don Davis begins recording his score for The Matrix Reloaded (2003)
February 12 - Howard Blake born (1938)
February 12 - Leo F. Forbstein died (1948)
February 12 - Bill Laswell born (1955)
February 12 - George Antheil died (1959)
February 12 - Harry Geller records his score for the Land of the Giants episode “Target: Earth” (1969)
February 12 - Benjamin Frankel died (1973)
February 12 - Lalo Schifrin begins recording his score for Sky Riders (1976)
February 12 - Bruce Broughton begins recording his score for The Rescue (1988)
February 12 - John Williams begins recording his score for A.I. Artificial Intelligence (2001)
February 12 - Dennis McCarthy begins recording his scores for the Star Trek: Voyager episodes “Workforce, Parts I & II” (2001)
February 12 - Marco Beltrami begins recording his score for Hellboy (2004)
February 12 - George Aliceson Tipton died (2016)
February 13 - Lennie Hayton born (1908)
February 13 - Erik Nordgren born (1913)
February 13 - Fred Karger born (1916)
February 13 - Nino Oliviero born (1918)
February 13 - Gerald Fried born (1928)
February 13 - Peter Gabriel born (1950)
February 13 - W.G. Snuffy Walden born (1950)
February 13 - William Axt died (1959)
February 13 - Joseph Mullendore records his score for the Lost in Space episode "Junkyard in Space" (1968)
February 13 - Fred Myrow begins recording score to Soylent Green (1973)
February 13 - Jerry Fielding begins recording his score for Funeral Home (1980)
February 13 - David Newman begins recording his score for The Sandlot (1993)
February 13 - Paul Baillargeon records his score for the Star Trek: Voyager episode “Lifesigns” (1996)
February 13 - Gregory Smith records his score for the Star Trek: Deep Space Nine episode “Honor Among Thieves” (1998)
February 13 - Brian Tyler records his score for the Enterprise episode “Canamar” (2003)
February 14 - Werner Heymann born (1886)
February 14 - Elliot Lawrence born (1925)
February 14 - Merl Saunders born (1934)
February 14 - Andre Previn begins recording his score for Challenge to Lassie (1949)
February 14 - Jocelyn Pook born (1960)
February 14 - Warren Ellis born (1965)
February 14 - David Holmes born (1969)
February 14 - Ken Thorne begins recording his score for Superman III (1983)
February 14 - Frederick Loewe died (1988)
February 14 - Jay Chattaway records his score for the Star Trek: Voyager episode “Spirit Folk” (2000)
February 14 - Piero Umiliani died (2001)
February 15 - Georges Auric born (1899)
February 15 - Harold Arlen born (1905)
February 15 - Wladimir Selinsky born (1910)
February 15 - Miklos Rozsa records his replacement score for Crest of the Wave (1954)
February 15 - Stephen Edwards born (1972)
February 15 - Johnny Harris records his score for the Buck Rogers in the 25th Century episode “Space Rockers” (1980)
February 15 - Lucio Agostini died (1996)
February 15 - Pierre Bachelet died (2005)
February 16 - Alec Wilder born (1907)
February 16 - Dennis Wilson born (1920)
February 16 - Kunio Miyauchi born (1932)
February 16 - John Corigliano born (1938)
February 16 - Miklos Rozsa begins recording his score for King of Kings (1961)
February 16 - Dennis McCarthy and Kevin Kiner begin recording their score for the Star Trek: Enterprise episode “Observer Effect” (2004)


FEAR - Geoff Zanelli
"'Fear' relies on craft for creating atmosphere and tension -- the sickly greenish handheld cinematography by Christopher Duskin, the pounding score by Geoff Zanelli and the impeccable sound design. But the script, by Taylor and John Ferry, proves that it is possible to have too many ideas for just one film. Taylor’s other outings, like 'The Intruder' and 'Black and Blue,' were sleeker and more streamlined high-concept projects; in “Fear” it feels like he’s throwing everything at the wall -- thematically and aesthetically -- not to see if it sticks, but because he so enthusiastically wants to do it all. The overwrought screenplay, however, doesn’t get deep enough with the characters, or allow anything to breathe."
Katie Walsh, Los Angeles Times 

"Without spoiling the twists and turns of 'Infinity Pool,' which again, there are many, 'Infinity Pool' shows Cronenberg at his best when he’s more abstract with his horrors. As hallucinogenic substances are brought into the story, Cronenberg creates terrifying yet seductive imagery that combines extreme sexual imagery, disconcerting horror elements, and just a complete unawareness of what the hell is going on. From the hypnotic editing by James Vandewater ('V/H/S/94'), absolutely stunning cinematography from Cronenberg’s frequent collaborator Karim Hussain, and the eerie score by Tim Hecker, these almost montages of carnal desires are some of the most remarkable sequences in the entire film."
Ross Bonaime, Collider
"But where David Cronenberg’s films maintain a cold, clinical distance from their shocking subject matter, 'Infinity Pool' sees Brandon Cronenberg embracing his characters’ bacchanalian revelry with tripped-out intensity, deploying strobing lights, camera spins, liquefying psychedelic effects, and ambient musician Tim Hecker’s claustrophobic score to disorient and overwhelm the viewer. If David Cronenberg seems almost indifferent to his audience, his son is so fixated on freaking people out that he can sometimes neglect to do much else."
Keith Watson, Slant Magazine 
"Signs and confessional statements are written in chthonic runes, delivered in the belly of an Escher-like police station. Traditional masks look like scarred, melted faces, fused to the beautiful ones underneath in a disgusting dig at the monstrous hotties Instagramming their exploitations. An off-kilter score tweaks your ears. Any slow or obvious beat is disguised by tantalizing, upsetting aesthetic extravagance. Can you see where a rambunctious, Cassavetes-flavored night of debauchery is heading? Maybe, but you certainly won’t be able to describe the existential terrors its destination holds."
Jacob Oller, Paste Magazine 
"Another resort guest, commercial actress Gabi Bauer (Goth), sidles up to James on the beach and starts chatting, confessing that she recognized him and is a big fan of his novel. Highly susceptible to flattery, James starts spending time with Gabi and her Swiss architect husband, Alban (Jalil Lespert), even though Em seems less keen. The insidious camera angles, the menacing slo-mo and woozy music during a night out in town suggest the Bauers are not good folks. But we knew that as soon as Mia Goth showed up."
David Rooney, The Hollywood Reporter 

JETHICA - John Bowers
"The best way to describe 'Jethica' is as a deadpan comedy set in a horror-movie universe, with the upside-down morality and pitch-black humor that the description implies. Bits from famous horror movies are lifted for comedic purposes: Take the film’s use of Goblin-esque musical cues accompanied by Romero-esque shambling whenever a new ghost is introduced. This cheekiness is pleasing, and the originality of Oh’s vision cannot be denied. But it’s also impossible to ignore that 'Jethica' is somehow both chaotic and slow -- both, often, to a fault. Still, an ambitious misfire is always preferable to something safe and flavorless. And nothing about 'Jethica' is safe."
Katie Rife, 

"John Bowers’ score is a lo-fi pleasure, with its five-note piano motif and its rubbery thrum giving off a very Carpenter vibe. And Danny Madden’s clever, echoey sound design is also evocatively creepy (and particularly nightmarish, given Kevin’s habit of endlessly calling out to the object of his obsession, for those of us who happen to be called Jessica). But having set up the horror quite impeccably, Ohs makes the daring choice to switch into a more overtly comic register, albeit played with a straight face, before ending on a strangely touching note of closure and something akin to redemption."
Jessica Kiang, Variety 
LEONOR WILL NEVER DIE - Alyana Cabral, Pan 

"The execution of this B-movie by talented first-time feature director and screenwriter Escobar may be the best thing about 'Leonor Will Never Die.' It’s a loving reenactment of late 20th-century pulp cinema, down to the cheesy syncopated score, the chop-socky fists of fury, and the gruesomely creative ways by which to dispatch a bad guy. (Hammered nail in the eye, anyone?) But when a television set thrown from an upstairs window lands Leonor in the hospital, where she lies in a hypnagogic state – the transitional space of consciousness between wakefulness and sleep -- the comatose patient then physically intrudes into the movie playing inside her head to become the character who will save her action hero, a sly metaphor for self-actualization if there ever was one."
Steve Davis, The Austin Chronicle 
"When it comes to Escobar’s film within a film, one need not be conversant in the particulars of ‘70s and ‘80s Filipino exploitation movies to appreciate her amusingly specific pastiche, because certain details are universally culty: the lurid colors of grainy film stock, zoom-ins, overwrought menace, a chugging bass-and-synthesizer score (courtesy of Alyana Cabral and Pan de Coco), and fight scenes of unfussy blockiness that occasionally require a slow-motion stunt being shown two times in a row."
Robert Abele, Los Angeles Times 
"Leonor’s adventures in the film within the film -- 'Ang Pagbabalik ng Kwago,' or 'The Return of Kwango' -- play like an affectionate sendup of cornball heroics. The punches whiff, the sound effects are clumsy, and the score by Alyana Cabral and Pan De Coco is deadpan hysterical."
Amy Nicholson, Variety
A LOVE SONG - Ramzi Bashour
"In that bone-deep melancholy, and in the broad outlines of its story, 'A Love Song' may also call to mind other screen portraits of people subsisting along the frayed margins of society, including Robin Wright’s recent 'Land' and works from indie auteurs Debra Granik and Kelly Reichardt. If the film doesn’t exactly transcend its familiarity (the elegiac tone, the sun-baked, wind-swept scenery, the wistful acoustic guitar score), it succeeds, often with understated magnificence, in finding ways to sidestep it -- to make you not mind in the slightest. That’s thanks in large part to the wonderful central duo, the indelibly expressive texture of their faces and timbre of their voices. They give the movie spark and feeling, as do the seamless sense of place, gorgeous country-folk-blues-rock soundtrack and gentle absurdist flourishes that suggest influences from Jim Jarmusch and Gus Van Sant to the Coen brothers at their least caustic and Wes Anderson at his least arch. With its unflashy confidence and finely calibrated emotion, 'A Love Song' leaves you excited to see what the writer-director does next, perhaps in less charted territory."
Jon Frosch, The Hollywood Reporter 

THE MEAN ONE - Yael Benamour
"'The Mean One' has a handful of inspired lines, e.g., 'Time to roast this beast!' but the production values, editing, score and photography are average at best, and we’re left with a film that will be remembered mostly for a cleverly twisted marketing hook.
Richard Roeper, Chicago Sun-Times 
RRR - M.M. Keeravani

"For every story beat told through action, there’s another expressed through M. M. Keeravani’s music. The themes composed for Ram, especially when he’s in uniform, arrive with terrifying western horns, which blare whenever he jumps into action, while Bheem’s compositions feel more Earthy, creating a connection between him and nature through spiritual vocal chants and more traditional wooden instruments. As the duo’s friendship grows deeper, the lines between these kinds of compositions begin to blur. The film may not have many dance sequences, but the one major number -- 'Naatu Naatu,' which went viral several months ago for the way Ram and Bheem dance energetically arm-in-arm -- becomes its own euphoric mini-movie about friendship and revolution, with its own subplot running throughout the choreography. Modern Hollywood blockbusters tend to have one or two standout scenes, but nearly every scene of 'RRR' feels like it could be somebody’s favorite, so even its gargantuan 188 minute running time feels like a breeze."
Siddhant Adkalkha, IndieWire 
"Jr NTR (the common abbreviation for N.T. Rama Rao Jr.) and Ram Charan, both Telugu superstars in their own right, show off those skills in the rousing “Naatu Naatu,” RRR’s only real musical production number. (Another song, 'Etthara Jenda,' plays over the end credits, and Bheem puts his defiance into song while being punished for his revolutionary activities.) Longtime Rajamouli collaborator M.M. Keeravani provides music for these numbers, along with a title song and instrumental compositions designed to get audiences to their feet."
Katie Rife, 
"While 'RRR' certainly has a lot on its mind for what its themes mean for then and now, Rajamouli never forgets to ramp up the tension and craft some of the most impressive action sequences this side of the Fury Road. Whether it’s a hair-raising rescue attempt, a hand-to-hand brawl, a 'Rambo'-esque finale filled with bow-and-arrows and spears or, yes, a jungle cat assault on an uppity soiree, Rajamouli’s momentum and M.M. Keeravani‘s pulse-pounding score rattle the theater and imprint the same 'did you just see that?' spirit of mayhem and adrenaline as some of the previous decade’s best action sequences."
Cory Woodroof, The Playlist 
THE SON - Hans Zimmer

"Whereas 'The Father' made its audience feel exactly what the eponymous character was feeling, 'The Son' tells instead of shows, reminding the audience at every stop how they should feel, whether directly through dialogue, or Hans Zimmer’s grandiose score that builds or tears down the audience at its will. Zeller has made a world so bleak and so suffocating, we begin to feel just how trapped Nicholas feels -- even if not in the way that Zeller intended."
Ross Bonaime, Collider 
"We feel visually short-changed with 'The Son,' too, which is all the more disappointing when we remember how excellent production design, framing and direction in 'The Father' helped us feel disorientated and claustrophobic, like its dementia-suffering protagonist. Here, the use of space feels less sophisticated, with a rather dull colour palette of dove grey and chalky blue, as well as largely uninspiring directorial choices. There's a gratingly over-used and cloying score that saps away any dramatic tension, which -- paired with some histrionic acting at the film's close -- makes you think how much better a performance Hugh Jackman gave as a man whose life is on the brink of ruin in 2019's sorely underseen 'Bad Education.'"
Steph Green, 
"While Zeller’s psychodramas are serious to a fault, they toy with distorted reality, designed to keep the audience as disoriented as the respective title characters. But in this case, there are too few gray areas in the character study, and McGrath is too green an actor to fool anyone into thinking Nicholas is getting it together. That makes the drama one of grim inevitability, appropriately accompanied by Hans Zimmer’s somber orchestral score."
David Rooney, The Hollywood Reporter 

"It's never clear what destination this film is heading toward, or what climax we're climbing up to. The score by Chanda Dancy turns unbearably soapy and melodramatic as we fast-forward to Houston's 2009 performance on Oprah, and then her life in Los Angeles in 2012. These events are boxes on a checklist. They would bloat the movie if a scene ever played long enough to fulfill the definition of a scene."
Robert Daniels, 
"All this ends up doing a disservice to both Ackie and Houston herself. Everything is so broadly sketched that the story is less painted by numbers as much as it is merely tracing over the outlines. If you look hard enough, you can start to just make out some profound points in time. The problem remains that this requires a great deal of strain as they are so scattered and superficial that none of them ever stand out. Even when these moments do arise, the film works against itself in how they are presented. This isn’t in terms of the direction of the scenes themselves, as Lemmons has a sharp eye for creating some revealing and striking compositions in the more quiet, intimate moments. Rather, it is the haphazard editing and the overbearing generic score that proves increasingly grating. One such scene comes when Houston talks with Davis about her growing struggles. It could have been a breath of fresh air for how focused it was on the precise emotional beats as opposed to the broad narrative ones. Ackie captures the internal tumult of the character in what she doesn't say as much as what she does, pulling back the curtain ever so slightly on some of what was troubling her. Disappointingly, the moment is cut away from far too soon and was compromised by a score that sounds dangerously close to temp music that was just left in. What should have been an emotional high point falls flat, leaving little to no sense of its lasting significance."
Chase Hutchinson, Collider 
WOMEN TALKING -  Hildur Guðnadóttir
"There is no shortage of rhetorical force -- or sharp, acerbic humor -- to be harvested from these ideas, but Polley never lets the dialogue tilt too far into abstraction. 'Women Talking' may be something of a thought experiment (it bills itself early on as “an act of female imagination”), but the stakes and consequences are hardly theoretical. While Polley wisely keeps the assaults off-screen, she layers in quick, subliminal cuts to bloodied sheets and bruised thighs; she wants us to know what it would cost the women to even consider the act of forgiveness, let alone embrace it. She also shows us -- in quick, dreamlike glimpses of once-happy homes and children at play, often accompanied by Hildur Guðnadóttir’s beautiful score — what it would cost them to leave this world behind."
Justin Chang, Los Angeles Times 
"The debate that unfolds around forgiveness in 'Women Talking' remains a radical one throughout, one that differentiates between forgiveness that’s often seen as 'permission to do more of the same' and true, unforced forgiveness. Equally invigorating is the women’s logical dissection of the unapologetic autonomy that sets 'leaving' and 'fleeing' apart. Aiding the astonishingly analytical conversation is Hildur Guðnadóttir’s inquisitory score of deep strings, complementing the film’s serious tone with flourishes of lightness and positivity."
Tomris Laffly, The Wrap

"Throughout the film, the score by Hildur Guðnadóttir ('Joker,' 'Chernobyl') is a deft blend of tradition and a sense of yearning, while the inclusion of the Monkees’ 'Daydream Believer' enriches a sequence involving a census taker that’s a beautiful pop of the surreal."
Sheri Linden, The Hollywood Reporter 


Screenings of older films in Los Angeles-area theaters.

February 10
BADLANDS (George Aliceson Tipton) [New Beverly]
BOOGIE NIGHTS (Jon Brion) [Aero]
THE GREAT McGINTY (Frederick Hollander), THE LADY EVE [Academy Museum]
MILLENIUM MAMBO (Giong Lim) [Los Feliz 3]
PARIS BLUES (Duke Ellington), A MAN CALLED ADAM (Benny Carter) [Academy Museum]
9 TO FIVE (Charles Fox) [Los Feliz 3]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
THE WEDDING SINGER (Teddy Castellucci), MUSIC AND LYRICS (Adam Schlesinger) [New Beverly] 
WILD AT HEART (Angelo Badalamenti) [Alamo Drafthouse]
WILD THINGS (George S. Clinton) [BrainDead Studios]

February 11
BLADE (Mark Isham), BLADE II (Marco Beltrami), BLADE: TRINITY (Ramin Djawadi) [New Beverly]
BOOGIE NIGHTS (Jon Brion) [Aero] 
D.E.B.S. (Steven Stern) [Los Feliz 3]
FLOWERS OF SHANGHAI (Yoshihiro Hanno, Duu-Chih Tu) [Los Feliz 3] 
FOR LOVE OF IVY (Quincy Jones), ANNA LUCASTA (Elmer Bernstein) [Academy Museum]
IF BEALE STREET COULD TALK (Nicholas Britell) [Los Feliz 3]
LA BELLE NOISEUSE [BrainDead Studios]
LOVE & BASKETBALL (Terence Blanchard) [Alamo Drafthouse]
MUR MURS [Academy Museum]
OLIVER & COMPANY (JAC Redford) [Academy Museum]
PITCH PERFECT (Christophe Beck, Mark Kilian) [Los Feliz 3]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
YOU'VE GOT MAIL (George Fenton) [Alamo Drafthouse]

February 12
BLADE (Mark Isham), BLADE II (Marco Beltrami), BLADE: TRINITY (Ramin Djawadi) [New Beverly]

BLUE VALENTINE (Grizzly Bear) [Los Feliz 3]
BOOGIE NIGHTS (Jon Brion) [Aero] 
FLOWERS OF SHANGHAI (Yoshihiro Hanno, Duu-Chih Tu) [Los Feliz 3] 
GIRLS TRIP (David Newman) [Los Feliz 3]
HIDDEN FIGURES (Hans Zimmer, Pharrell Williams, Benjamin Wallfisch) [Fine Arts]
LADY AND THE TRAMP (Oliver Wallace) [BrainDead Studios]
THE NAKED KISS (Paul Dunlap) [BrainDead Studios]
THE PALM BEACH STORY (Victor Young), THE MIRACLE OF MORGAN'S CREEK (Leo Shuken, Charles W. Bradshaw) [Academy Museum]
PONYO (Joe Hisaishi) [UCLA/Hammer]
RITA, SUE & BOB TOO (Michael Kamen) [BrainDead Studios]
SOME LIKE IT HOT (Adolph Deutsch) [Los Feliz 3]
YOU'VE GOT MAIL (George Fenton) [Alamo Drafthouse] 

February 13
BRIDESMAIDS (Michael Andrews) [Alamo Drafthouse]
MEAN GIRLS (Rolfe Kent) [Los Feliz 3]
MIDNIGHT (Frederick Hollander), THE GILDED LILY [New Beverly]
TIGHTROPE (Lennie Niehaus) [Los Feliz 3]

February 14
AUDITION (Koji Endo) [Alamo Drafthouse]
BOOGIE NIGHTS (Jon Brion) [Aero] 
NOW, VOYAGER (Max Steiner) [Academy Museum]
SAVING FACE (Anton Sanko) [Los Feliz 3]
SEX AND THE CITY (Aaron Zigman) [Los Feliz 3]

February 15
AUDITION (Koji Endo) [Alamo Drafthouse]
IN BRUGES (Carter Burwell) [Aero]
36 FILLETTE (Maxime Schmitt) [BrainDead Studios]
TOMMY BOY (David Newman) [Los Feliz 3]

February 16
KNIFE + HEART (M83) [BrainDead Studios]
NOTHING BUT A MAN [Academy Museum]
TOKYO DRIFTER (Hajime Kaburagi) [Los Feliz 3]

February 17
BOOGIE NIGHTS (Jon Brion) [Aero] 
ESSE MUNDO E MEU (Lindolfo Gaya, Sergio Ricardo), THAT MAN OF MINE [Academy Museum]
I AM CURIOUS (YELLOW) [BrainDead Studios]
LE BONHEUR (Jean-Michel Defaye) [BrainDead Studios]
MILLENIUM MAMBO (Giong Lim) [Los Feliz 3] 
PERFECT BLUE (Masahiro Ikumi) [Nuart]
SID AND NANCY (Pray for Rain) [New Beverly]
STRAW DOGS (Jerry Fielding) [New Beverly]
TRUE ROMANCE (Hans Zimmer) [New Beverly]

February 18
APPROPRIATE BEHAVIOR (Josephine Wiggs) [UCLA/Hammer]
CRIMES OF PASSION (Rick Wakeman) [BrainDead Studios]
HAROLD AND MAUDE (Cat Stevens) [Alamo Drafthouse]
THE LAST DRAGON (Misha Segal) [New Beverly]
NIGHTS OF CABIRIA (Nino Rota) [BrainDead Studios]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart] 
SEBASTIANE (Brian Eno) [BrainDead Studios]
STRAW DOGS (Jerry Fielding) [New Beverly]
TOKYO DRIFTER (Hajime Kaburagi) [Los Feliz 3] 

February 19
CATCH ME IF YOU CAN (John Williams) [Academy Museum]
COFFY (Roy Ayers) [Alamo Drafthouse]
GLORY (James Horner) [Fine Arts]
GRADUATE FIRST (Voyage) [BrainDead Studios]
JUST ANOTHER GIRL ON THE I.R.T. (Eric Sadler) [BrainDead Studios] 
KAGERO-ZA [Los Feliz 3]
LILYA 4-EVER (Nathan Larson) [BrainDead Studios]
LOVE LETTER (Michio Mamiya) [Los Feliz 3]
RAY (Craig Armstrong) [Fine Arts]
STRANGERS ON A TRAIN (Dimitri Tiomkin) [Los Feliz 3]
TEN MINUTES TO LIVE [Academy Museum]
WORLD ON A WIRE (Gottfried Hungsberg) [Aero]
WRITTEN ON THE WIND (Frank Skinner) [Alamo Drafthouse]


The Pilot's Wife/The Tenth Man (Holdridge); The Quiet American (Armstrong); Born on the Fourth of July (Williams); Brighton Rock (Phipps); The Fast and the Furious (BT); Home Alone (Williams); The Fast and the Furious: Tokyo Drift (Tyler); JFK (Williams); Fast & Furious (Tyler)

Read: Quiller, by Adam Hall (aka Elleston Trevor)

Seen: Night of the Living Dead [1968]; Missing [2023]; RRR; Navalny; Ball of Fire; A House Made of Splinters

Watched: A Bay of Blood; NewsRadio ("Goofy Ball"); Never Take Candy from a Stranger; Monty Python's Flying Circus ("Live from the Grill-O-Mat Snack Bar, Paignton")

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Today in Film Score History:
April 21
Charles Fox begins recording his score for The New, Original Wonder Woman (1975)
David Bell records his score for the Star Trek: Deep Space Nine episode “Soldiers of the Empire” (1997)
Eddie Sauter died (1981)
Franz Waxman begins recording his score to The Story of Ruth (1960)
Georges Delerue begins recording his unused score for Something Wicked This Way Comes (1982)
Jerry Goldsmith begins recording his score to Wild Rovers (1971)
John McCabe born (1939)
Mundell Lowe born (1922)
Recording sessions begin for Michel Colombier’s score to Colossus: The Forbin Project (1969)
Steve Dorff born (1949)
Velton Ray Bunch records his score for the Star Trek: Enterprise episode “The Council” (2004)
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