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Varese Sarabande is expected to announce a new CD Club release today.


 - Manuel De Sica - Digitmovies
...E poi, non me rima se nessuno
 - Bruno Nicolai - Digitmovies 
 - Alexandre Desplat - Rambling
Il Giustiziere (The Human Factor)
 - Ennio Morricone - Quartet 
Io sono l'abisso/La ragazza nell nebbia
 - Vito Lo Re - Digitmovies 
Le foto proibite di una signora per bene
 - Ennio Morricone - Beat 
L'ultimo uomo di Sara
 - Ennio Morricone - Quartet 
The Retaliators - Kyle Dixon, Michael Stein - Better Noise 
Space: 1999
 - Ennio Morricone - Beat
Squadra Antigangsters
 - Goblin - Beat 


Bunker - Andrew Morgan Smith
Cocaine Bear - Mark Mothersbaugh
iMordecai - Matthew Kajcienski 
Jesus Revolution - Brent McCorkle
Juniper - Marlon Williams, Mark Perkins
Luther: The Fallen Sun - Lorne Balfe
Mummies - Fernando Velazquez
My Happy Ending - David Schweitzer
Northern Shade - Robert Lydecker
Who Are You People - Aaron Zigman
Winnie-the-Pooh: Blood and Honey - Andrew Scott Bell 


March 3
Interview with the Vampire 
- Daniel Hart - Milan
March 10
Beyond the Screen: Film Works on Piano - Rachel Portman - Sony (import)
March 17
Blonde - Nick Cave, Warren Ellis - Invada
The Conversation
 - David Shire - Silva
March 31
A Man Called Otto - Thomas Newman - Mercury
This England - David Holmes - Universal (import)
April 14
Babylon - Justin Hurwitz - Interscope
May 5 
God of War: Ragnarok - Bear McCreary - Sony
Date Unknown
I tre spietati/Requiescant/O'cangaceiro
- Riz Ortolani - Beat 
Il Mercenario - Ennio Morricone - Beat
Nino Rota: War and Peace et al
- Nino Rota - Capriccio
Shogun Assassin
 - W. Michael Lewis, Mark Lindsay - Buysoundtrax  


February 24 - Fred Steiner born (1923)
February 24 - Michel Legrand born (1932)
February 24 - Franz Waxman begins recording his score for Captains Courageous (1937)
February 24 - George Harrison born (1943)
February 24 - Rupert Holmes born (1947)
February 24 - Manuel De Sica born (1949)
February 24 - Paul Sawtell and Bert Shefter record their score for It! The Terror from Beyond Space (1958)
February 24 - Elmer Bernstein begins recording score to The World of Henry Orient (1964)
February 24 - Franz Waxman died (1967)
February 24 - Jerry Goldsmith records his score for Crosscurrent (1971)
February 24 - Roy Budd begins recording his score to The Carey Treatment (1972)
February 24 - Walter Scharf died (2003)
February 24 - Svatopluk Havelka died (2009)
February 24 - Mychael Danna wins the Original Score Oscar for Life of Pi (2013)
February 24 - Ludwig Goransson wins his first Oscar, for the Black Panther score (2019)
February 25 - George Duning born (1908)
February 25 - Don Randi born (1937)
February 25 - Erich Wolfgang Korngold begins recording his score for The Sea Wolf (1941)
February 25 - Victor Reyes born (1962)
February 25 - Penka Kouneva born (1967)
February 25 - Jerry Goldsmith begins recording his score for Outland (1981)
February 25 - Haim Mazar born (1983)
February 25 - Laurence Rosenthal records his score for To Heal a Nation (1988)
February 25 - Jay Chattaway records his score for the Star Trek: Enterprise episode “Divergence” (2005)
February 25 - Ennio Morricone wins an Honorary Oscar, "for his magnificent and multifaceted contributions to the art of film music;" Gustavo Santaolalla wins his second consecutive Best Score Oscar, for Babel (2007)
February 26 - Hagood Hardy born (1937)
February 26 - Bernard Herrmann wins his only Oscar, for the All That Money Can Buy score (1942)
February 26 - Richard LaSalle records his score for the Land of the Giants episode “Graveyard of Fools” (1970)
February 26 - Moisey Vainberg died (1996)
February 26 - John Lanchbery died (2003)
February 26 - Ludovic Bource wins the Original Score Oscar for The Artist (2012)
February 26 - Justin Hurwitz wins Oscars for La La Land’s score and original song “City of Stars” (2017)
February 27 - The first score Oscar is awarded, to Victor Schertzinger and Gus Kahn's score to One Night of Love; however, Academy policy at the time awards the Oscar to the head of the studio's music department, Louis Silvers (1935)
February 27 - Leigh Harline, Ned Washington, Paul J. Smith win Best Score Oscar for Pinocchio (1941)
February 27 - Recording sessions begin for Bronislau Kaper's score to A Life of Her Own (1950)
February 27 - Mort Glickman died (1953)
February 27 - Elmer Bernstein begins recording his score for True Grit (1969)
February 27 - Joseph Mullendore records his score for the Land of the Giants episode “Return of Inidu” (1969)
February 27 - Leith Stevens records his score for the Land of the Giants episode “Rescue” (1969)
February 27 - Herbert Don Woods records his score for the Buck Rogers in the 25th Century episode “The Crystals” (1981)
February 27 - George Duning died (2000)
February 27 - Nathan Scott died (2010)
February 27 - Trent Reznor and Atticus Ross win the Original Score Oscar for The Social Network (2011)
February 28 - Albert Elms born (1920)
February 28 - Pierre Jansen born (1930)
February 28 - Charles Bernstein born (1943)
February 28 - Loek Dikker born (1944)
February 28 - Mike Figgis born (1948)
February 28 - David Raksin begins recording his score for The Next Voice You Hear (1950)
February 28 - Edward Shearmur born (1966)
February 28 - Murray Gold born (1969)
February 28 - Jerry Goldsmith records his score to the Twilight Zone: the Movie segment "It's a Good Life" (1983)
February 28 - Armando Trovajoli died (2013)
February 28 - Ezra Laderman died (2015)
February 28 - Ennio Morricone wins his only “competitive” Oscar for The Hateful Eight score (2016)
February 28 - Andre Previn died (2019)
February 29 - Herbert Stothart wins Original Score Oscar for The Wizard of Oz (1940)
February 29 - Mervyn Warren born (1964)
March 1 - Leo Brouwer born (1939)
March 1 - Jose Nieto born (1942)
March 1 - Tony Ashton born (1946)
March 1 - Bernard Herrmann begins recording his score for The Man in the Grey Flannel Suit (1956)
March 1 - Nino Oliviero died (1980)
March 1 - David Newman begins recording his score for Talent for the Game (1991)
March 1 - John Barry begins recording his score for Indecent Proposal (1993)
March 1 - Laurence Rosenthal begins recording his score for Inherit the Wind (1999)
March 1 - James Horner begins recording his score for The Boy in the Striped Pajamas (2008)
March 1 - Lucio Dalla died (2012)
March 2 - Marc Blitzstein born (1905)
March 2 - Richard Hazard born (1921)
March 2 - Mario Zafred born (1922)
March 2 - Lost Horizon premieres in San Francisco (1937)
March 2 - Andrzej Korzynski born (1940)
March 2 - Alfred Newman wins Oscar for The Song of Bernadette score (1944)
March 2 - Larry Carlton born (1948)
March 2 - Ralph Schuckett born (1948)
March 2 - Jerry Fielding records his score for Advise & Consent (1962)
March 2 - Basil Poledouris begins recording his score to Big Wednesday (1978)
March 2 - Antoni Komasa-Lazarkiewicz born (1980)
March 2 - Jerry Goldsmith records his score to the Twilight Zone: The Movie segment "A Nightmare at 20,000 Feet" (1983)
March 2 - Serge Gainsbourg died (1991)
March 2 - Recording sessions begin on Toru Takemitsu’s score for Rising Sun (1993)
March 2 - John Debney records his score for the Star Trek: Deep Space Nine episode “The Nagus” (1993)
March 2 - Goffredo Petrassi died (2003)
March 2 - Malcolm Williamson died (2003)
March 2 - Steven Price wins Oscar for Gravity score (2014)


"Joanna Hogg’s 'The Eternal Daughter' feels like stepping into a Halloween mood board. Less compelling to me was the story about a mother and her documentary filmmaker daughter (both played with precision and humor by Tilda Swinton) revisiting a significant family home, now a stately bed and breakfast, to mine memories for the daughter’s upcoming film. I was, instead, more captivated by the technical work encompassing this story: The lightly gothic architecture of the hotel with its spires and looming gargoyles, the perpetual blanket of swirling fog and howling wind, the understated cemetery which shares the grounds, the delicate flute melody that evokes something not of this world, the occasional splash of light from an exit sign pooling an eerie neon green into the hotel hallway. Nearly every establishing shot in 'The Eternal Daughter' harkens to a landscape painting in an episode of classic 'Scooby-Doo,' in a film that feels like it was made over 50 years ago. It wasn’t until the film’s conclusion that I realized this latter homage was entirely intentional, when a swell of violin and a stylized title card aroused the sensation of having watched the kind of ghost story that doesn’t get made anymore, in a film industry that no longer exists."
Brianna Zigler, Paste Magazine

IN FROM THE SIDE - Matt Carter
"'In from the Side' looks to be quite the labor of love from Carter, who actually gets credited as director, co-writer, co-producer, cinematographer, editor and even costume designer and composer of the score. Carter also gets namechecked for sound design, visual effects and animation for the closing titles, so it is safe to say that he needed at least a few collaborators to offer some feedback. (In one of the rugby scenes, Carter’s efforts as a composer sound awfully close to Daft Punk’s 'TRON: Legacy' score.)"
Dan Callahan, The Wrap 
A MAN CALLED OTTO - Thomas Newman
"Within the opening moments of 'A Man Called Otto,' the second adaptation of Fredrik Backman’s novel 'A Man Called Ove,' you can see the problems inherent in this retelling. Otto Anderson (Tom Hanks) is a grumpy man in his 60s who we first see at a hardware store. He rudely tells the employee (played by 'Please Don't Destroy''s John Higgins) that he would like to cut the length of rope he wants himself, then complains when he's overcharged pennies for what he is buying. The whole time, Thomas Newman's quirky score hints at a jovial story underneath the crotchety man we see before us. After quickly visiting his retirement party and some prickly interactions with his neighbors, we discover that Otto bought this rope with the intention to hang himself in his living room."

Ross Bonaime, Collider 

"Outside of those two, it’s a woefully zipless character roster, with the casting of Hanks’ youngest son as his younger self something of a gimmicky misfire, and Mike Birbiglia wasted as a real estate villain. Then again, Forster’s haphazard direction is so checked-out it’s painful -- he shows no interest in giving anyone a scene that isn’t wholly about snapping something into place, and his comedy mise-en-scène and timing in even the simplest moments of humor is flat. And the less said about Thomas Newman’s phoned-in score, the better."
Robert Abele, The Wrap 
"Magpie director Marc Forster has tried his hand at an almost comical number of genres, including misery porn ('Monster’s Ball'), meta-comedy ('Stranger Than Fiction'), zombie action-horror ('World War Z'), Bond thriller ('Quantum of Solace'), and literary-adaptation awards bait ('Finding Neverland'). The latter marked Forster’s first collaboration with 'Otto' screenwriter David Magee, who’s twice been Oscar-nominated for his work adapting prestige books -- 'Finding Neverland' and 'Life of Pi' -- and here is working off the blueprint of Hannes Holm’s 2015 Swedish-language adaptation of 'A Man Called Ove,' itself a two-time Oscar nominee. Forster and Magee seem perfectly pedigreed for the project, and that is perhaps the crux of the problem for me: I suspect this light comic take on paralyzing grief works much better on paper. On film, goosed along by Thomas Newman’s jaunty score and a generically weepy power ballad co-written and performed by Hanks’ wife and producing partner, Rita Wilson, the effect is hollow, placating. They’ve turned themes of great love, loss, and the will to keep going into … easy listening."
Kimberley Jones, The Austin Chronicle 

"Otto’s story, one where tragedy is often accompanied by a treacly pop song or a cue from one of Thomas Newman’s lesser scores, takes the least challenging road to tearjerker city. That’s unfortunate coming from Forster, a versatile director who’s shown a deft emotional touch before, as in 2004’s affecting, 'Finding Neverland.' Here, the story’s brush strokes are so broad that you may find yourself grabbing your hankie, but then who hasn’t teared up at a beautifully written greeting card? And he can’t give much legitimacy to flashbacks of a young Otto, played with very little screen presence by Hanks’ son, Truman, courting his soon-to-be wife, Sonya. Their relationship, which begins on a train and takes a melodramatic turn on a bus, is wholly unbelievable which makes Otto’s undying love for her an article of faith not effective storytelling."
Mark Keizer, The Onion AV Club

NANNY - Bartek Gliniak, Tanerélle

"The film's horror elements feel not only hindered by budget but overall apathetic. 'Nanny' has a great, atmospheric score, and it would have sufficed in building tension without the inclusion of poor-CGI moments that completely interrupt the film’s otherwise solid cinematography. If 'Nanny' was less focused on checking the box of “horror” and instead just committed to its successful surrealist tone, it would have felt more seamless. Saving the horror elements for the latter part of a film is not an ineffective strategy, but in “Nanny” they feel noticeably out of place. The impression they leave is fleeting, and the majority of these moments feel thrown in or confused, much like the movie's organization."
Peyton Robinson, 
"While Bartek Gliniak and Tanerélle’s score does a lot of traditional 'horror movie!' work -- lots of strings, plenty of foreboding tones -- Jusu opts to turn her attention to the more edifying elements of Aisha’s life, including a budding romance with Malik, the doorman in Amy and Adam’s building (a charming Sinqua Walls). It’s also Malik who introduces her to his clairvoyant grandmother Kathleen (Leslie Uggams), who seems to see plenty others can’t (or won’t). Too often, however, that includes Jusu, whose interest in showing the full range of Aisha’s life feels like a misdirect toward the meat of the film."
Kate Erbland, IndieWire 

"Much like a diamond, a good documentary has a lot more than meets the eye. Even the world’s most fascinating subject matter can become tedious in the wrong hands, and director Jason Kohn clearly understands the need for a good story and compelling interview subjects, delivering on both in his gripping documentary 'Nothing Lasts Forever.' By turns engaging and flashy, the film probes the narratives propping up the multi-billion dollar diamond industry and posits that it’s all a house of cards. With a peppy original score, a flurry of colorful characters, and a disruptive subject matter, 'Nothing Lasts Forever' is an invigorating study of how myths are made. Traveling the world in pursuit of its subjects, 'Nothing Lasts Forever' weaves its disparate parts together with a killer original score by Logan Nelson. Throughout various tunes, the jaunty orchestral compositions wouldn’t feel out of place in a Bond film, or the opening credits of the next 'House of Cards.' Like Raden’s winning energy, the music is another layer of artistry that elevates the film beyond its obviously thorough research and access. Synthetic or organic, it gives 'Nothing Last Forever' that extra bit of shimmer."
Jude Dry, IndieWire 

"Often echoing a thriller -- Logan Nelson’s nervy score doing a lot of the heavy lifting -- 'Nothing Lasts Forever' is both concise and wide-ranging. The film moves from the New York Diamond District to Salt Lake City to Botswana with remarkable speed, if not clarity. Kohn attempts to fit a lot into the film’s relatively short runtime (about 87 minutes). Predictably, a few things are only giving passing reference, including the status of conflict diamonds, GIA certification, and the exploitation of diamond miners. While the film would’ve benefitted from occasionally slowing down and laying out context, 'Nothing Lasts Forever' is zippy enough to provide a worthy introduction and, perhaps, inspire research after the credits roll."
Christian Gallichio, The Playlist
"On the surface, 'Nothing Lasts Forever' is a solid, investigative documentary, shot and scored like a tight art-house thriller: Kohn travels to Orapa, Botswana, where shots of a huge open-pit mine echo the beginning of the Safdie brothers’ 'Uncut Gems' (the rest of the film is every bit as tense and potentially mind-blowing as that movie). He takes us inside the Indian 'diamond city' of Surat, where he interviews a 'mixer' exploiting the fact that once the stones are cut and polished, they cannot be differentiated. He even follows Simic to several Chinese factories where synthetics are manufactured."
Peter Debruge, Variety
"Kohn’s interviews are mostly shot in straightforward fashion, but when the documentary is on the road, he and cinematographer Heloisa Passos mirror the paranoia-inducing framing of a ’70s conspiracy thriller, with composer Logan Nelson’s score mining that genre and sometimes the spritely kick of a heist film. Simic, who has the most interesting individual journey is the documentary, gives 'Nothing Lasts Forever' an unlikely underdog hero, but Kohn is very much aware that he’s dealing with the rich and powerful. Nobody watching at home will feel bad if they’re brought down, regardless of who does it or why."
Daniel Fienberg, The Hollywood Reporter 
PLANE - Marco Beltrami, Marcus Trumpp
"Otherwise, 'Plane' hits all the usual genre movie beats. The paint-by-numbers score and cinematography offer some tension but little excitement. The guns get bigger, the stakes get higher, Junmar’s gang shows a few unlucky passengers just how bad they can be; all hope seems lost, until it isn’t. One guy asks another, 'That’s your plan?,' and his compatriot responds, 'You got a better one?' -- not once, but twice."
Lena Wilson, The Wrap 
ROALD DAHL'S MATILDA THE MUSICAL - Songs: Tim Minchin; Score: Christopher Nightingale
"The new movie, for all its charms, doesn’t achieve or encourage anywhere near the same buzzing pro-literacy excitement. Neither, to be sure, did the stage show, but it was also sufficiently fresh and transporting that it scarcely mattered. A lot of its pleasures have happily made it to the screen intact, doubtless because its central creative trio -- director Matthew Warchus, book writer Dennis Kelly and composer-lyricist Tim Minchin -- have retained their equivalent roles behind the camera. And beneath those pleasures is a potent underlay of feeling: As pastel hues fill the screen and perky melodies and wicked-smart lyrics flood the soundtrack, a tale of a child’s tragic neglect and deep longing comes into focus. At the same time, one of Matilda’s most appealing qualities is her allergy to self-pity, her calm insistence that every kid deserves, and can exact, a measure of justice."
Justin Chang, Los Angeles Times 
"And wow, those musical numbers. With original music and lyrics by Tim Minchin, the songs and the accompanying choreography, by Ellen Kane, are full of energy and deliciously executed dance moves. The cast of children, many of whom in their film debut, are terrific. 'Revolting Children,' a song that fully embraces both definitions of 'revolting,' and the whimsical, dreamy longing of 'When I Grow Up' are among 'Matilda the Musical''s many highlights."
Amy Amatangelo, Paste Magazine 
"The new film is as faithful as can be to the stage musical, with performances bursting with earnest energy and holding peerless faith in that clever little girl. But both versions of 'Matilda the Musical' lose sight of the original spikiness of Dahl’s book (something captured horribly well in Danny DeVito’s 1998 live-action film adaptation) in favor of a cleaner, more harmonized portrait that puts forward catchy and clever songs (there’s no doubting Minchin) in the place of more complex reckonings with education, revolution, cruelty, and love that are just waiting to be dusted off the page."
Ella Kemp, IndieWire 
"However much you love a cast or even a source material, musicals as a genre can be a hard sell to audiences at the best of times. On more than one occasion, I’ve mentioned the M word to recommend something to people, and you can almost see them physically recoil. Now, add in the fact that it’s primarily a chorus of kids, and that can be an even bigger turn-off for a lot of audiences. However, if we’ve learned anything from the quality of Tim Minchin‘s work with the stage production, this is an award-winning combination. It’s been a little over a decade since the stage production landed, and 'Matilda the Musical' is the first opportunity he’s had to revisit, rework, and add a new song to the mix. Not all the songs from the stage musical make it here, and the ones that don’t always get used in their entirety. However, the way Minchin’s classic compositions have evolved and breathed new life into this vision is delightful. For instance, I have lost count of how many times I have heard the song 'When I Grow Up' since it debuted, but how it is presented here literally made me burst into tears. It touched something inside me in a way that it had never done before. The sentiment, coupled with the vision, hit differently, as people say. I wasn’t expecting that, but that’s a great way to describe this, and it’s probably a big part of why I’d recommend it so wholeheartedly."
Simon Thompson, The Playlist 

"Cutting the long, episodic setup of Dahl’s story and hewing close to his own Tony-winning stage book, screenwriter Dennis Kelly skips right past Matilda’s life-changing discovery of literature, instead taking her advanced genius as, well, read. Also getting short shrift here are her gleefully vulgar, anti-intellectual parents, to the extent that all their numbers have been excised from Tim Minchin’s fizzy song score -- a shame, really, given how riotously they’re played by an ideally cast Stephen Graham and Andrea Riseborough, who at least luridly make off with the few scenes they’re given."
Guy Lodge, Variety 
THE SWIMMERS - Steven Price
"The sisters’ journey is one relentless nail-biter trauma after another. Hosaini films the CGI-enhanced Aegean sea as vast and endless, highlighting how perilous the journey must have felt for those involved. The sequence where Sara and Yusra pull the boat as they swim beside, however, is filmed with choppy editing and murky cinematography. While the aim is surely to make the audience feel what the sisters felt, the result is action that is hard to follow, with Steven Price hitting you over the head with his overly dramatic score."
Marya E. Gates, The Playlist 
"At nearly two and a half hours, Netflix’s Syrian migrant drama 'The Swimmers' is a long sit that goes to extraordinary efforts -- from a treacly score to constant reminders that its protagonists are, you know, swimmers -- to try and make you feel good, or at least feel anything. The problem is that the audience isn’t taken by the same rah-rah spiritedness that director Sally El Hosaini sets out to achieve, partially through overheated use of the pop-powered anthems of Sia. Who knew that radio-friendly hits like 'Titanium' and 'Unstoppable' could serve as potent theme songs for a drama about a pair of Syrian sisters who flee their war-bombed homeland for a better life in Europe?"
Ryan Lattanzio, IndieWire 
"But the script, penned by El Hosaini and Jack Thorne ('Wonder') and based on Yusra’s 2018 autobiography, 'Butterfly: From Refugee to Olympian,' also sees fit to throw in the sort of standard-issue, crowd-rousing victory finale (complete with composer Steven Price’s obligatory fanfares) that audiences have come to expect. Considering all that the siblings have overcome leading up to that point, the moment can’t help but register as a bit anti-climactic -- especially when those Olympics training sequences feel squeezed for time compared to the rest of the film’s deliberate, thoughtful pacing."

Michael Rechtshaffen, The Hollywood Reporter

"That’s a charming way of acknowledging both men’s advancing age, and charmed I was by the film in total, from those first typewriter keys banging away to Chet Baker hitting the thematic nail on the head with send-off song 'Do It the Hard Way.' (In between is a lively original score by Oliver and Clare Manchon.) The documentary makes it clear that Caro and Gottlieb’s path has not always been an easy one, with the camera devoting minutes to minutiae that made my nerdy heart zing -- their competing opinions on the function of a semicolon, a soliloquy on le mot juste, hushed research deep in the bowels of the LBJ Presidential Library here in Austin -- and never sanding down either Bob’s pricklier edges."
Kimberley Jones, The Austin Chronicles

"Eisenberg’s debut is a tale of two high-speed trains on parallel tracks that are struggling to meet, complete with warm cinematography from Benjamin Loeb ('Mandy,' 'After Yang') and a haunting score by Emile Mosseri (Minari) that sounds like it could’ve been made by TheRealZiggyKatz himself. 'When You Finish Saving the World' is often acidic to a point that might scare away some, but at its core, Eisenberg’s film is an endearing story of mother and son who were once so close, and now struggle to get what they need from each other anymore."
Ross Bonaime, Collider 

"As these scenarios play out, though, in the cool autumn grain of Benjamin Loeb’s 16mm cinematography and over an Emile Mosseri score that fills the non-diegetic holes between Ziggy’s songs and Evelyn’s calming classical with wheezing electronic-sounding motifs, the wincingly funny competes awkwardly with the emotional framework. It’s a problem Eisenberg will inevitably get better at the more he writes and directs movies with these types of thematically complicated characters. But for now it feels like a story caught between the punishing bite of social satire and a sensitive indie."
Robert Abele, Los Angeles Times 


Screenings of older films in Los Angeles-area theaters.

February 24
AMELIE (Yann Tiersen) [New Beverly]
BETTY BLUE (Gabriel Yared) [BrainDead Studios]
THE CONFORMIST (Georges Delerue) [Los Feliz 3]
MANDY (Johann Johannsson) [Nuart]
MOULIN ROUGE (Craig Armstrong) [New Beverly]
POSSESSION (Andrzej Korzynski) [Alamo Drafthouse]
REDS (Stephen Sondheim, Dave Grusin) [Alamo Drafthouse] 
SCHOOL TIES (Maurice Jarre), THE MUMMY (Jerry Goldsmith), BLAST FROM THE PAST (Steve Dorff) [Aero]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
TWIN PEAKS FIRE WALK WITH ME (Angelo Badalamenti) [Alamo Drafthouse]
WATTSTAX [Alamo Drafthouse]

February 25
ATTACK THE BLOCK (Steven Price) [Los Feliz 3]
BRING IT ON (Christophe Beck) [Alamo Drafthouse]
THE CONFORMIST (Georges Delerue) [Los Feliz 3] 
HOWL'S MOVING CASTLE (Joe Hisaishi) [Landmark Westwood]
MY NEIGHBOR TOTORO (Joe Hisaishi) [Academy Museum]
PORTRAIT OF JASON [Academy Museum]
POSSESSION (Andrzej Korzynski) [Alamo Drafthouse] 
THE RED SHOES (Brian Easdale) [Aero]
THE RED TURTLE (Laurent Perez Del Mar), I LOST MY BODY (Dan Levy) [Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
TRAINING DAY (Mark Mancina) [Alamo Drafthouse]
TURNING RED (Ludwig Goransson) [Aero]
WATTSTAX [Alamo Drafthouse]

February 26
BRING IT ON (Christophe Beck) [Alamo Drafthouse] 
GLORY (James Horner) [Fine Arts]
LADY SINGS THE BLUES (Michel Legrand) [New Beverly]
MALCOLM X (Terence Blanchard) [Fine Arts]
NYMPHOMANIAC [BrainDead Studios]
POSSESSION (Andrzej Korzynski) [Alamo Drafthouse]
REDS (Stephen Sondheim, Dave Grusin) [Alamo Drafthouse]
SPACE JAM (James Newton Howard) [Alamo Drafthouse]
SPIDER BABY (Ronald Stein) [Los Feliz 3]
STAR WARS: THE FORCE AWAKENS (John Williams) [Academy Museum]
WATTSTAX [Alamo Drafthouse]

February 27
MANHUNTER (Michel Rubini, The Reds) [Los Feliz 3]
NO. 1 OF THE SECRET SERVICE (Leonard Young), THE BULLET MACHINE (Paul Ferris) [New Beverly]
POSSESSION (Andrzej Korzynski) [Alamo Drafthouse]
REDS (Stephen Sondheim, Dave Grusin) [Alamo Drafthouse] 
THE STUDENT (Los Natas) [Los Feliz 3]
TRAINING DAY (Mark Mancina) [Alamo Drafthouse]

February 28
CARNAL KNOWLEDGE [BrainDead Studios]
CURSE OF THE VOODOO (Brian Fahey), THE MILLION EYES OF SU-MURU (John Scott) [New Beverly]
NEAR DARK (Tangerine Dream) [Alamo Drafthouse]
PAULINA (Nicolas Varchausky) [Los Feliz 3]
POSSESSION (Andrzej Korzynski) [Alamo Drafthouse] 
REAR WINDOW (Franz Waxman) [Academy Museum]
TWIN PEAKS FIRE WALK WITH ME (Angelo Badalementi) [Alamo Drafthouse]

March 1
CROUCHING TIGER, HIDDEN DRAGON (Tan Dun), WING CHUN (Siu-Lam Tang, Sai-Cheong Wong) [New Beverly] 
MILLENNIUM MAMBO (Giong Lim) [Los Feliz 3]
NEAR DARK (Tangerine Dream) [Alamo Drafthouse] 
POSSESSION (Andrzej Korzynski) [Alamo Drafthouse]  
QUERELLE (Peer Raben) [BrainDead Studios]
TRAINING DAY (Mark Mancina) [Alamo Drafthouse]

March 2
CARMEN JONES (Georges Bizet, Herschel Burke Gilbert) [Los Feliz 3]
CROUCHING TIGER, HIDDEN DRAGON (Tan Dun), WING CHUN (Siu-Lam Tang, Sai-Cheong Wong) [New Beverly]  
15 WAYS TO KILL YOUR NEIGHBOR (Gabriel Chwojnik) [Los Feliz 3]
ONE SINGS, THE OTHER DOESN'T (Francois Wertheimer) [Academy Museum]
POSSESSION (Andrzej Korzynski) [Alamo Drafthouse]  

March 3
IN BRUGES (Carter Burwell) [Nuart]
KILL BILL. VOL. 1 (RZA) [New Beverly]
LA DOLCE VITA (Nino Rota) [BrainDead Studios]
NEAR DARK (Tangerine Dream), RAVENOUS (Michael Nyman, Damon Albarn) [New Beverly]
NO COUNTRY FOR OLD MEN (Carter Burwell) [New Beverly]
THE PROWLER (Lyn Murray), LA BESTIA DEBE MORIR (Silvio Vernazza) [UCLA/Hammer]
THE SUMMIT (Alberto Iglesias) [Los Feliz 3]

March 4
BUCK AND THE PREACHER (Benny Carter) [Los Feliz 3]
THE ELEPHANT MAN (John Morris) [BrainDead Studios]
FREAKY FRIDAY (Rolfe Kent) [BrainDead Studios]
L.A. STORY (Peter Rodgers Melnick) [Los Feliz 3]
LOVE AND ANARCHY (Nino Rota, Carlo Savina) [Academy Museum]
MARY POPPINS (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [New Beverly]
THE MATRIX (Don Davis) [Alamo Drafthouse]
NEAR DARK (Tangerine Dream), RAVENOUS (Michael Nyman, Damon Albarn) [New Beverly]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SPEED RACER (Michael Giacchino) [New Beverly]
UPTOWN SATURDAY NIGHT (Tom Scott) [Los Feliz 3]
VIVRE SA VIE (Michel Legrand) [BrainDead Studios]

March 5
CASABLANCA (Max Steiner) [Fine Arts]
THE HANDS OF ORLAC [BrainDead Studios]
HOLLOW MAN (Jerry Goldsmith) [BrainDead Studios]
LUCY (Eric Serra) [BrainDead Studios]
MARY POPPINS (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [New Beverly] 
THE MATRIX RELOADED (Don Davis), THE MATRIX REVOLUTIONS (Don Davis) [Alamo Drafthouse]
THE MIRACLE WORKER (Laurence Rosenthal) [Fine Arts]
NEAR DARK (Tangerine Dream), RAVENOUS (Michael Nyman, Damon Albarn) [New Beverly]
THE PRODUCERS (John Morris) [Academy Museum]
SAMURAI WOLF (Toshiaki Tsushima) [Los Feliz 3]
SHILOH (Joel Goldsmith) [UCLA/Hammer]
THE VIRGIN SUICIDES (Air) [Alamo Drafthouse]


Heard: War Horse (Williams); Lincoln (Williams); The Fabelmans (Williams); The Book Thief (Williams); Star Wars: The Force Awakens (Williams); Schindler's List (Williams); Mel Brooks' Greatest Hits (Morris); Peter Pan (Wallace); The Producers (Morris); Peter Pan (Howard)

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

Seen: The Quiet Girl; Close; Marlowe [2023]; Of an Age; Argentina, 1985; Guillermo del Toro's Pinocchio; 2022 Oscar Nominated Documentary Shorts; Catch Me If You Can; The Batman

Watched: Justified ("Watching the Detectives"); Key & Peele ("Dueling Magical Negroes"); The Knick ("Where's the Dignity?"); Silicon Valley ("Runaway Devaluation"); Penny Dreadful ("Perpetual Night"); 30 Rock ("The Ones"); Person of Interest ("Judgment"); Unbreakable Kimmy Schmidt ("Kimmy Sees a Play!"); True Detective ("Now Am Found")

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