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The latest release from Intrada is an expanded, two-disc release of the score for the Michael Bay-Jerry Bruckheimer 1996 action hit THE ROCK, starring Sean Connery, Nicolas Cage (not Michael Caine, as previously reported in this colum - obviously!) and Ed Harris, and composed by Nick Glennie-Smith, Hans Zimmer and Harry Gregson-Wiliams.

This week La-La Land is releasing an expanded, remastered "ultimate cut" of Harry Manfredini's score for director Steve Miner's stylish 3-D entry in the popular slasher series, FRIDAY THE 13TH: PART 3.


Anthology II: Movie Themes 1976-1988 - John Carpenter - Sacred Bones 
Boys on the Run
 - Bill Conti - Music Box 
Friday the 13th: Part 3 - Harry Manfredini - La-La Land
The Rock - Nick Glennie-Smith, Hans Zimmer, Harry Gregson-Williams - Intrada Special Collection 

Sounds of Cinecitta: The Silver Age of Italian Film Music, Vol. 1
 - Fred Bongusto, Stelvio Cipriani, Peppino De Luca, Romano Mussolini, Daniele Patucchi, Gino Peguri, Carlo Pes, Gian Piero Reverberi, Gregorio Garcia Segura, Teo Usuelli - Quartet
 - Philippe Rombi - Music Box      


Aberrance - Ochsuren Davaasuren, Jargal Oyunerdene 
The Burial - Michael Abels
Cat Person - Heather McIntosh
Dicks: The Musical - Marius De Vries, Karl Saint Lucy (score); Aaron Jackson, Josh Sharp, Karl Saint Lucy (songs)  
The Exorcist: Believer - David Wingo, Amman Abasi
Foe - Oliver Coates, Park Jiha, Agnes Obel 
Honor Student - Claude Foisy
Mercy Road - John Curran
Miranda's Victim - Holly Amber Church
Plan C - Nathan Halpern
The Royal Hotel - Jed Palmer
She Came to Me - Bryce Dessner - Score CD on Warner Classics
Strange Way of Life & The Human Voice - Alberto Iglesias - Score CDs on Quartet
When Evil Lurks - Pablo Fuu 


October 20
Night After Night - James Newton Howard - Sony
October 27
Yentl: 40th Anniversary Edition - Michel Legrand - Sony
November 17
The Witcher: Season 3 - Joseph Trapanese - Sony
December 1
Scream VI - Brian Tyler, Sven Faulconer - Varese Sarabande
Date Unknown

Gli Italiani e l'industria
 - Piero Umiliani - Kronos 
Good Omens 2
 - David Arnold - Silva
Guido & Maurizio De Angelis: Television Soundtracks Collection
- Guido & Maurizio De Angelis - Beat
La polizia incrimina la legge assolve
- Guido & Maurizio De Angelis - Beat 
Laurence Rosenthal: Music for Film and Television
 - Laurence Rosenthal - Silva
North Star/The Great Elephant Escape
 - Bruce Rowland - Dragon's Domain
Spaced Invaders
 - David Russo - Dragon's Domain
The Super Mario Bros. Movie - Brian Tyler - iam8bit 


October 6 - Stanley Myers born (1933)
October 6 - David Raksin records his score for Daisy Kenyon (1947)
October 6 - Tommy Stinson born (1966)
October 6 - Giuseppe Becce died (1973)
October 6 - James Horner begins recording his score for 48 HRS. (1982)
October 6 - William Butler born (1982)
October 6 - Nelson Riddle died (1985)
October 6 - Ron Jones records his score for the Star Trek: The Next Generation episode "Who Watches the Watchers" (1989)
October 6 - James Horner begins recording his score for Jack the Bear (1992)
October 6 - Jay Chattaway records his score for the Star Trek: Voyager episode “Scientific Method” (1997)
October 7 - Franz Waxman begins recording his score for A Christmas Carol (1938)
October 7 - Gabriel Yared born (1949)
October 7 - Richard Markowitz records his score for The Wild Wild West episode “The Night of a Thousand Eyes” (1965)
October 7 - Marco Beltrami born (1966)
October 7 - Thom Yorke born (1968)
October 7 - Robert Drasnin records his score for the Mission: Impossible episode “The Play” (1968)
October 7 - Hans Zimmer begins recording his score for The Thin Red Line (1998)
October 8 - Walter Schumann born (1913) 
October 8 - Toru Takemitsu born (1930)
October 8 - Gavin Friday born (1959)
October 8 - Michael Abels born (1962)
October 8 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “Consider Her Ways” (1964)
October 8 - Frank Skinner died (1968)
October 8 - Richard Markowitz records his score for the Mission: Impossible episode “Robot” (1969)
October 8 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “The Last Outpost” (1987)
October 8 - David Bell records his score for the Star Trek: Deep Space Nine episode “Take Me Out to the Holosuite” (1998)
October 9 - Camille Saint-Saens born (1835)
October 9 - Bebo Valdes born (1918)
October 9 - Rod Temperton born (1949)
October 9 - Barry Gray begins recording his score for Thunderbirds Are Go (1966)
October 9 - Leonard Rosenman begins recording his score for A Man Called Horse (1969)
October 9 - Steve Jablonsky born (1970)
October 9 - Sean Lennon born (1975)
October 9 - Bill Conti begins recording his score for The Fourth War (1989)
October 9 - Cliff Eidelman begins recording his score for Star Trek IV: The Undiscovered Country (1991)
October 10 - Giovanni Fusco born (1906)
October 10 - John Green born (1908)
October 10 - Marco Antonio Guimaraes born (1948)
October 10 - David Raksin begins recording his score for Whirlpool (1949)
October 10 - Midge Ure born (1953)
October 10 - Giant opens in New York (1956)
October 10 - Valentine McCallum born (1963)
October 10 - Andrea Morricone born (1964)
October 10 - Hugo Montenegro begins recording his score for Hurry Sundown (1966)
October 10 - Hawaii opens in New York (1966)
October 10 - Walter Scharf records his score for the Mission: Impossible episode “The Ransom” (1966)
October 10 - Michael Giacchino born (1967)
October 10 - Vince DiCola begins orchestral recording sessions for his Rocky IV score (1985)
October 10 - William Goldstein records his scores for the Twilight Zone episodes “The Card” and “Time and Teresa Golowitz” (1986)
October 10 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Remember Me” (1990)
October 11 - Art Blakey born (1919)
October 11 - Laura opens in New York (1944)
October 11 - Buddy Bregman begins recording his score for The Delicate Delinquent (1957)
October 11 - Alexander Hacke born (1965)
October 11 - Michel Legrand begins recording his score for The Happy Ending (1968)
October 11 - Henry Mancini begins recording his score for The Moneychangers (1976)
October 11 - Neal Hefti died (2008)
October 12 - Ralph Vaughan Williams born (1872)
October 12 - Joseph Kosma born (1905)
October 12 - Franz Waxman begins recording his score to The Silver Chalice (1954)
October 12 - Chris Botti born (1962)
October 12 - John Williams records his score for the Lost in Space episode "My Friend, Mr. Nobody" (1965)
October 12 - Gil Melle begins recording his score for The Andromeda Strain (1970)
October 12 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Schisms” (1992)


ABANDONED - Michelle Osis
"Each phantasmal element is eventually dialed up to 11, setting up a murderous, Jack Torrance-ish finale that sadly never comes. (The film’s actual ending -- upbeat but reactionary -- is sure to lose as many audiences as it wins over.) Instead, the film stays in its singular, elemental mode, cycling through the various noises and apparitions, only with more flickering lights (the usual 'Why does nobody turn a damn light on around here?' syndrome), more preternatural visits, and with an increasingly hyperactive string accompaniment. Which is all to say that it quickly exhausts its key ideas. And you can hear the warning shot during the first act when Squire tries to add to his delicate chamber piece a play-within-a-play involving Alex’s troubles euthanizing a litter of sick pigs; the parallels of this side story to the broader plot are so undisguised as to be uninteresting, and the turmoil and tension of his planning and then firing the bolt gun is subdued, to say the least."
Oliver Weir, The Playlist 

CASSANDRO - Marcelo Zarvos

"Embellished with bold makeup and encased in glitzy costumes, the exóticos’ unabashed showiness is a bright light in this dingy, testosterone-y environment. In a beautifully subtle shot that -- set to the romantic horns of Marcelo Zarvos’ score -- follows Saúl’s gaze to one such performer, they transfix Saúl’s attention and, in doing so, suggest to him a possible way out of his go-nowhere rut."
Nick Schager, The Daily Beast 
"Oscar winner Roger Ross Williams (“Life, Animated”) not only knows it, but possesses special insights into Cassandro’s story, having profiled “The Man Without a Mask” Saúl Armendáriz for his 2016 short film of the same name. Thanks to the dream casting of Mexican star Gael García Bernal as “the Liberace of Lucha Libre,” “Cassandro” arrives with a kind of instant credibility, which Williams protects by eschewing any sign of camp, opting instead for stately, respectful cinematography and a wistful horn score from composer Marcelo Zarvos. The director downplays the effete character’s flashy sense of showmanship (to a degree), instructing costume designer Mariestela Fernández not to overdo it with the sequins. As with the troweled-on mascara in “The Eyes of Tammy Faye,” being accurate might actually have been less believable.
Peter Debruge, Variety 

CLARA SOLA - Ruben De Gheselle
"If Clara threatens to implode under the strain, it’s not for lack of strength. Araya’s performance is so riveting because her wracked physicality allows the character to appear both helpless and indomitable all at once, equal parts hunched and coiled, something fawn-like but feral. That same animistic volatility is suffused into the atmosphere of a film that calls frequent attention to Carla’s connection with nature, as Sophie Winqvist Loggins’ semi-delirious handheld cinematography and Ruben De Gheselle’s trembling violin score combine to suggest that Carla is being seduced back to the earth -- that she’s gradually rejecting the mortal world that had always rejected her in return."
David Ehrlich, IndieWire 

"At first, the movie connects with that stillness; it sits back and quietly observes, with little or no music for long stretches. When the music does come in, it’s usually spare: plucked strings and little else. The look and feel of the film is grounded in earth and mud and bugs and rain, but there’s also a gentle mysticism at work that’s familiar to lovers of South and Central American cinema."
Steve Pond, The Wrap 

THE CREATOR - Hans Zimmer
"If 'The Creator' feels too bluntly obvious about all its aforementioned cinematic influences -- and it might to some audiences -- there are still many compelling elements worth aweing over on top of its scale/ a brilliantly engaging score by composer Hans Zimmer, and beautifully grimy and lo-lit photography by Greig Fraser ('The Batman,' ‘Rogue One,’ 'Dune') and his apprentice Oren Soffe. Fraser left the project midway because of his obligations to 'Dune: Part Two,' and in truth, was only present during pre-production, but the film unquestionably smacks of his distinct chiaroscuro style.
Rodrigo Perez, The Playlist

"And yet 'The Creator' -- like 'Godzilla' before it, and even 'Rogue One' to a certain extent -- is redeemed by the pyrrhic victories of Edwards’ post-human vision as much as it’s lifted by the majesty of his forward-thinking technique. Yes, it helps that the director has a classic eye for staging action, that he gives his movies room to breathe, and that he knows that the perfect 'Kid A' needle-drop (the album, not the song) can do more for a story about the next iteration of 'human' life than any of the tracks from Hans Zimmer’s score."
David Ehrlich, IndieWire 

"To his massive credit, 'The Creator' looks stunning: Edwards and his team of designers have built a world that feels only two steps removed from our own, filled with eye-catching designs for everything from handguns to hovercraft to the robots themselves. Co-cinematographers Greig Fraser and Oren Soffer soak the world in moody shadow blended with grounded, gritty realism (as per Fraser’s work on 'Rogue One' and 'The Batman'). Hans Zimmer’s score is appropriately booming and Zimmeresque, though it doesn’t quite escape the wall-of-sound feel of many of his previous blockbuster works."
Clint Washington, Consequence

"However, after narrowly escaping capture while hiding out with Joshua’s old military buddy Drew (Sturgill Simpson), the two fugitives get thrust into some wayward plotting in a final act that builds to heartrending sacrifice and a ridiculously cloying romantic closing image. It’s in these climactic scenes especially that Edwards’ sophisticated world-building skills run up against his weakness for movie-ish hokum, syrupy emotion and philosophical platitudes, the latter emphasized by the soaring choral passages of Hans Zimmer’s score."
David Rooney, The Hollywood Reporter 
DUMB MONEY - Will Bates
"Gillespie also slyly uses a lot of energetic hip-hop and rock needledrops to reinforce the anti-establishment themes, while Will Bates’ synth-heavy score accentuates the techy vibe with a bit of a heist undertone throughout. And all the props for the sheer cheek of using Cardi B’s 'WAP' as a first needledrop to both establish the excess of hedge fund manager Gabe Plotkin’s (Seth Rogen) obnoxious wealth, and forever connect that song with the protagonist’s social media handle, Roaring Kitty. No notes."
Tara Bennett, Paste Magazine 
"Gillespie’s direction can’t help but remind of Adam McKay’s approach to the stock market in 'The Big Short,' mixed with little touches of 'The Social Network' (the first time we see Keith sit down at his YouTube setup in his basement, it reminds of Mark Zuckerberg getting in the zone, right down to Will Bates’ thematically similar score), but it’s the fragmentation of this story into different perspectives that makes it stand out. The way Blum and Angelo evenly distribute the narrative makes it so 'Dumb Money' feels more about the community than the individual, as the hyenas attempt to take out the lions. Especially as the stock starts to soar and money starts to become ridiculously high for the people who need it, 'Dumb Money' shows how such a remarkable occurrence would be life-changing, whereas, for the higher-ups, it’s an inconvenience that will eventually be righted."
Ross Bonaime, Collider

"It isn’t inherently a problem that 'Dumb Money' goes for a more dramatic tone than its title and subject matter imply. But the film never manages to capture the thrills and commentary of its big inspiration, David Fincher’s 'The Social Network,' even while borrowing that film’s aesthetic and the tone of its score."
Rafael Motamayor, Polygon 

FAIR PLAY - Brian McOmber
"But 'Fair Play' goes nowhere surprising with that premise, which is why, after the ecstatic opening, a feeling of dreariness cut with anxiety descends. Or is it anxiety cut with dreariness? The sound design, emphasizing the ceaseless hum of city living -- the elevated train, a vacuum cleaner, another 4:30am wake-up alarm -- coupled with Brian McOmber’s scratchy-insides score, puts the film’s resting heart rate at around two-beats-shy-of-a-panic-attack. It’s an ugly place to be stuck for two hours: a credible depiction of human nature at its worst, sure, but not an especially illuminating one. Still, there’s nerviness here, and undeniable skill. I’d like to see what Domont does next."
Kimberley Jones, The Austin Chronicle

"But the writer-director’s control is undeniable, making sharp use of a score by Brian McOmber to modulate the tone, with its juddering strings and needling synths at times like a ticking clock."
David Rooney, The Hollywood Reporter 
A MAN OF INTEGRITY - Peyman Yazdanian
"Lest you think this is all a bit much for one family to endure, Rasoulof’s storytelling acumen is firmly in the realm of propulsive, detail-driven ethical thriller built on its character’s actions, rather than mere punching-bag melodrama. And it goes somewhere, most importantly, with its ideas, leaving you after its final, devastating image with something to think about instead of simply abandoned with your rage or pity. Rasoulof is aided, too, by Ashkan Ashkani’s no-frills cinematography, an abiding grayness that seems to infect interiors as well as exteriors (even, by increments, the thermal cave that is Reza’s refuge) in addition to Peyman Yazdanian’s judiciously used, sparse score."
Robert Abele, The Wrap 

"The quiet tech work takes a back seat to the drama. Ashkan Ashkani’s unemphatic cinematography focuses on the natural world around the gritty farm, the rough country roads and the plain facades of public buildings, along with a few special locations like the magical cave where Reza goes to find peace. Stand-out visuals include a raucous bird attack on the pond and a blaze, but both are brief interludes in the larger drama. Peyman Yazdanian’s well-heeled score also sticks to the background."
Deborah Young, The Hollywood Reporter

"That wouldn’t be such a problem if 'The Unheard Tapes' weren’t just as single-mindedly salacious as its title implies; if it made a genuine effort to ask why Monroe’s legacy has proven so irresistible, rather than simply exploiting the fact that it continues to be. But the groan-worthy opening shots of Summers poring over his old files under a swell of overly suspenseful music -- as if that were something the author would ever feel compelled to do without the cameras around -- anticipate the kind of flimsy and superficial true-crime exposé that’s made straight-to-streaming documentaries seem like such unserious business."
David Ehrlich, IndieWire 
"What saves the doc to some extent is the wealth of fabulous archival material, expertly assembled by editor Gregor Lyon and accompanied by Anne Nikitin’s melancholy score. And of course, there’s Monroe herself, whose magical allure and haunting loneliness transcend even this ham-handed treatment."
David Rooney, The Hollywood Reporter 

SAW X - Charlie Clouser

"All the 'Saw' signatures are there: a surprisingly tricky timeline, the open-ended narrative, the accelerated judder shots, tortures that put the American Guinea Pig films to shame, a ghastly color palette, and Charlie Clouser's deliciously atonal score. After the gimmicky 'Saw 3D: The Final Chapter,' the clunky semi-reboot of 'Jigsaw,' and the misguided 'Spiral: From the Book of Saw,' 'Saw X' feels like a welcome return to form."
Richard Whittaker, The Austin Chronicle 
"'That was a long one,' he tells the technician. (Boo-hoo.) Unfortunately, Kramer’s case is terminal. And as he smirks through the bromides of his support group and gets his last will and testament in order, you can almost believe -- barring one eyeball-sucking dream sequence -- that Bell has stumbled into a different franchise altogether. (Call it 'Sob.') This somber cello-scored intro becomes a passage, then an entire first act, and it’s impossible not to smile at how veteran 'Saw' editor-turned-director Kevin Greutert commits to the long game. As it happens, Kramer hears about an experimental treatment: a cocktail-surgery combo unapproved by the FDA. Though weak, he flies to a secret clinic in Mexico City, where a saintly team of doctors and helpers eases him back toward hope."
Joshua Rothkopf, Los Angeles Times
"Her gimmick is nuts, and in his three-card-monte-style editing, Borgli plays with our and Signe’s belief in the effectiveness of it, too, faking us out with twists revealed to be either dreams or nightmares. (The score, too, credited to Turns, humorously toggles between sentimental and Bernard Herrmann-esque as if trying to keep up with her mindset.)"
Robert Abele, Los Angeles Times 


Screenings of older films in Los Angeles-area theaters.

October 6
DRACULA [Alamo Drafthouse]
DUDE BRO PARTY MASSACRE III (Tyler Burton) [Vidiots]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
THE GOOD, THE BAD AND THE UGLY (Ennio Morricone) [Academy Museum]
HAPPINESS (Robbie Kondor) [New Beverly] 
HOUR OF THE WOLF (Lars Johan Worle) [BrainDead Studios]
LOST HIGHWAY (Angelo Badalamenti) [Los Feliz 3]
NOWHERE [Alamo Drafthouse]
PET SEMATARY (Elliot Goldenthal) [New Beverly]
SINGIN' IN THE RAIN (Nacio Herb Brown, Lennie Hayton) [Vidiots]
SORCERER (Tangerine Dream) [Los Feliz 3]
SUSPIRIA (Goblin) [Nuart]
TRUE ROMANCE (Hans Zimmer) [Aero]

October 7
BRAVE (Patrick Doyle) [Vidiots]
EYES WITHOUT A FACE (Maurice Jarre) [Vidiots]
FULL MOON IN PARIS (Elli) [Academy Museum]
THE IRON GIANT (Michael Kamen) [Aero]
IT FOLLOWS (Disasterpeace) [Vidiots]
NOWHERE [Alamo Drafthouse]
PACIFIC RIM (Ramin Djawadi) [Aero]
POLTERGEIST (Jerry Goldsmith) [Vidiots]
THE RAID: REDEMPTION (Mike Shinoda, Joseph Trapanese) [Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE ROOM (Mladen Milicevic) [Landmark Westwood]
SLEEPY HOLLOW (Danny Elfman) [Alamo Drafthouse]
STAND BY ME (Jack Nitzsche) [Academy Museum]
THE TINGLER (Von Dexter) [Academy Museum]

October 8
BENNY'S VIDEO [BrainDead Studios]
BLACK SWAN (Clint Mansell) [New Beverly]
THE CRAFT (Graeme Revell) [Alamo Drafthouse]
DAYS OF HEAVEN (Ennio Morricone) [Academy Museum]
ERNEST SCARED STUPID (Bruce Arnston, Kirby Shelstad) [New Beverly] 
FINAL DESTINATION (Shirley Walker) [Aero]
HENRY: PORTRAIT OF A SERIAL KILLER (Robert McNaughton, Ken Hale, Steven A. Jones) [BrainDead Studios]
HOLY MOTORS [Academy Museum] 
HOTEL TRANSYLVANIA (Mark Mothersbaugh) [Vidiots]
THE MAGICIAN (Erik Nordgren) [Los Feliz 3]
THE NIGHT OF THE HUNTER (Walter Schumann) [Vidiots]
SORCERER (Tangerine Dream) [Alamo Drafthouse]
2001: A SPACE ODYSSEY [Fine Arts]
2046 (Shigeru Umebayashi) [Vidiots]

October 9
HOLD THAT GHOST, WHO DONE IT? (Frank Skinner) [New Beverly]
ONE FLEW OVER THE CUCKOO'S NEST (Jack Nitzsche) [Los Feliz 3]
RAW (Jim Williams) [Vidiots]
THE THING (Ennio Morricone) [Alamo Drafthouse]
THE WICKER MAN (Paul Giovanni) [Aero]

October 10
ALUCARDA (Tony Guefen) [Los Feliz 3]
THE CRAFT (Graeme Revell) [Alamo Drafthouse]
THE HOLY MOUNTAIN (Alejandro Jodoworsky) [New Beverly]
OPERA [Alamo Drafthouse]
SORCERER (Tangerine Dream) [Alamo Drafthouse]
THE THING (Ennio Morricone) [Alamo Drafthouse] 
WILD THINGS (George S. Clinton) [Los Feliz 3]

October 11
DRACULA [Alamo Drafthouse]
THE HOLY MOUNTAIN (Alejandro Jodoworsky) [New Beverly]
THE HOST (Byung-woo lee) [BrainDead Studios]
MOOLAADE (Boncana Maiga) [Los Feliz 3]
WHAT'S LOVE GOT TO DO WITH IT (Stanley Clarke) [Academy Museum]

October 12
THE HOLY MOUNTAIN (Alejandro Jodoworsky) [New Beverly]
ONCE (Glen Hansard, Marketa Irglova) [Los Feliz 3]
SING STREET (Gary Clark) [Los Feliz 3]

October 13
CHRISTINE (John Carpenter, Alan Howarth) [New Beverly]
FRIDAY THE 13TH (Harry Manfredini) [Vidiots]
FRIDAY THE 13TH PART IV: THE FINAL CHAPTER (Harry Manfredini) [Alamo Drafthouse]
FRIDAY THE 13TH PART IV: THE FINAL CHAPTER (Harry Manfredini)  [Vidiots]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
JASON X (Harry Manfredini), HELLRAISER: BLOODLINE (Daniel Licht) [New Beverly]
THE OTHERS (Alejandro Amenabar) [Alamo Drafthouse]
SUSPIRIA (Thom Yorke) [Nuart]

October 14
BEGIN AGAIN (Gregg Alexander) [Los Feliz 3]
CABIN FEVER (Nathan Barr, Angelo Badalamenti) [New Beverly]
CORALINE (Bruno Coulais) [Vidiots]
EMITAI [Los Feliz 3]
FRENZY (Ron Goodwin), TIGHTROPE (Lennie Niehaus) [New Beverly]
THE FLY (Howard Shore) [Vidiots]
GET OUT (Michael Abels), SOCIETY (Phil Davies, Mark Ryder) [Alamo Drafthouse]
GHOSTBUSTERS (Elmer Bernstein) [Alamo Drafthouse]
THE HOWLING (Pino Donaggio) [Vidiots]
JENNIFER'S BODY (Theodore Shapiro, Stephen Barton) [Vidiots]
THE OTHERS (Alejandro Amenabar) [Alamo Drafthouse] 
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart] 
THE SHINING (Wendy Carlos, Rachel Elkind) [Landmark Westwood]

October 15
FRENZY (Ron Goodwin), TIGHTROPE (Lennie Niehaus) [New Beverly]
THE OTHERS (Alejandro Amenabar) [Alamo Drafthouse] 
POLTERGEIST (Jerry Goldsmith) [Alamo Drafthouse]
PSYCHO (Bernard Herrmann) [Alamo Drafthouse]


Meteor (Rosenthal); Snow Flower and the Secret Fan (Portman); Airplane! (Bernstein); Airplane II: The Sequel (Hazard); Backdraft (Zimmer); The Little Mermaid [1989] (Menken); The Little Mermaid [2023] (Menken); Alive (Howard); Timbuktu (Bouhafa); Daylight (Edelman); The Kick Inside (Bush); Hounds of Love (Bush); Independence Day (Arnold)

Read: Somebody's Fool, by Richard Russo

Seen: Female Trouble; The Creator; Dumb Money; Saw X; Fair Play; Futura; Invasion of the Body Snatchers [1956]; The Thing from Another World; Menace II Society

Watched: Succession ("Which Side Are You On?"); You're the Worst ("Odysseus"); The Wire ("Straight and True"); Trog; Alfred Hitchcock Presents ("The Big Switch")

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Comments (6):Log in or register to post your own comments
Excuse me, but Michael Caine never appeared in The Rock.

Excuse me, but Michael Caine never appeared in The Rock.

Would've made a neat movie, though.

Yep, loads of bloody doors to blow off.

I don't recall seeing Michael Caine in The Rock?

AAARGH! Sean Connery and Michael Caine have pretty much always been my favorite movie stars, so I guess I just needed to keep teaming them up.

Will fix.

Michael Caine actually played Nicolas Cage's father in The Weather Man, with Nicolas Hoult as the grandson, which I guess means Britishness skips a generation.

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