CDS AVAILABLE THIS WEEK
Che c'entriamo noi con la rivoluzione? - Ennio Morricone - Beat
John Wick: Chapter 4 - Tyler Bates, Joel J. Richard - Rambling
La trappola scatta a Beirut/Il successo - Ennio Morricone - Beat
IN THEATERS TODAY
Anatomy of a Fall - no original score
Dangerous Waters - Zac McNeil
Herd - Alexander Arntzen
Joan Baez: I Am a Noise - Sarah Lynch
The Mission - Danny Bensi, Saunder Jurriaans
My Love Affair with Marriage - Kristian Sensini
Old Dads - Christopher Willis
The Road Dance - Carlos Jose Alvarez
Silver Dollar Road - Alexei Aigui
COMING SOON
October 20
A Charlie Brown Thanksgiving - Vince Guaraldi - LMFP
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
Doctor Who: Revenge of the Cybermen - Carey Blyton, Peter Howell - Silva
Doctor Who: Time and the Rani - Keff McCulloch - Silva
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
THIS WEEK IN FILM MUSIC HISTORY
October 13 - Lee Konitz born (1927)
October 13 - Berto Pisano born (1928)
October 13 - Paul Simon born (1941)
October 13 - Recording sessions begin for Miklos Rozsa’s score to Woman of the Town (1943)
October 13 - Maurice Jarre records his score for The Last Tycoon (1976)
October 13 - Lud Gluskin died (1989)
October 13 - Dave Pollecutt died (2001)
October 13 - Raoul Kraushaar died (2001)
October 14 - Bill Justis born (1926)
October 14 - Thomas Dolby born (1958)
October 14 - Recording sessions begin for Bronislau Kaper's score for Two Loves (1961)
October 14 - Richard Markowitz’s score for The Wild Wild West episode “The Night of the Glowing Corpse” is recorded (1965)
October 14 - Benh Zeitlin born (1982)
October 14 - Leonard Bernstein died (1990)
October 14 - Alan Silvestri begins recording his score for Predator 2 (1990)
October 14 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “Cardassians” (1993)
October 15 - Dag Wiren born (1905)
October 15 - Haim Saban born (1944)
October 15 - Fumio Hayasaka died (1955)
October 15 - Simon Boswell born (1956)
October 15 - Franz Reizenstein died (1968)
October 15 - Kevin Kliesch born (1970)
October 15 - Lalo Schifrin begins recording his score to THX- 1138 (1970)
October 15 - Henry Mancini begins recording his score for Jacqueline Susann’s Once Is Not Enough (1974)
October 15 - Ron Jones records his score for the Star Trek: The Next Generation episode "Lonely Among Us" (1987)
October 15 - Jay Chattaway records his score for the Star Trek: Voyager episode “Pathfinder” (1999)
October 15 - Igo Kantor died (2019)
October 16 - Leo F. Forbstein born (1892)
October 16 - Bert Kaempfert born (1923)
October 16 - Allan Zavod born (1945)
October 16 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “Misadventure” (1964)
October 16 - Maurice Jarre begins recording his score for Taps (1981)
October 16 - Art Blakey died (1990)
October 16 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Year of Hell, Part I” (1997)
October 16 - David Bell records his scores for the Enterprise episodes “Terra Nova” and “Dear Doctor” (2001)
October 16 - Albert Elms died (2009)
October 16 - Pete Rugolo died (2011)
October 17 - Luiz Bonfa born (1922)
October 17 - Around the World in Eighty Days premieres in New York (1956)
October 17 - Bullitt opens in New York (1968)
October 17 - Nicholas Britell born (1980)
October 17 - Basil Poledouris records his score for the Twilight Zone episode “A Message from Charity” (1985)
October 17 - Jay Livingston died (2001)
October 17 - Vic Mizzy died (2009)
October 17 - Rob Walsh died (2018)
October 18 - Frederick Hollander born (1896)
October 18 - Rene Garriguenc born (1908)
October 18 - Allyn Ferguson born (1924)
October 18 - John Morris born (1926)
October 18 - Peter Best born (1943)
October 18 - Howard Shore born (1946)
October 18 - Miklos Rozsa begins recording his score for East Side, West Side (1949)
October 18 - Bernard Herrmann begins recording his score to The Wrong Man (1956)
October 18 - Wynton Marsalis born (1961)
October 18 - Sergio Moure de Oteyza born (1969)
October 18 - Cristobal Tapia de Veer born (1973)
October 18 - Pete Carpenter died (1987)
October 18 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Game” (1991)
October 19 - Fiorenzo Carpi born (1918)
October 19 - George Fenton born (1949)
October 19 - Victor Young begins recording his score to Scaramouche (1951)
October 19 - Johnny Harris records his score for the Buck Rogers in the 25th Century episode “Return of the Fighting 69th” (1979)
October 19 - Jack Nitzsche records the electronic passages for his Jewel of the Nile score (1985)
October 19 - Recording sessions begin on James Newton Howard’s score for Falling Down (1992)
October 19 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “True Q” (1992)
October 19 - Svend Erik Tarp died (1994)
DID THEY MENTION THE MUSIC?
DICKS: THE MUSICAL - Marius De Vries, Karl Saint Lucy (score); Aaron Jackson, Josh Sharp, Karl Saint Lucy (songs)
"Believe it or not, the music itself helps. Besides a bit by Megan Thee Stallion that feels overproduced compared to the rest of the movie, the music here kinda rules. It probably helped to have Marius de Vries as the music producer, given his pedigree that includes 'La La Land,' 'Moulin Rouge!,' and 'Romeo + Juliet.' The musical numbers are legitimately well-done -- funny, witty, and sometimes even moving. Jackson and Sharp are at their best when projecting ridiculous lyrics into each other’s faces, and Lane & Mullally are having an absolute blast."
Brian Tallerico, RogerEbert.com
"The new colleagues’ relationship is frosty at first: 'You have long hair like a girl,' Craig tells Trevor; 'you have short hair like a lesbian girl,' Trevor replies, expertly wielding the rapier wit of a peeved eight-year-old. But eventually, the pair team up to reunite their folks. One potential obstacle is that their father, Harris, is decidedly not heterosexual. Cue the song 'Gay Old Life,' in which Harris details his fabulous queer existence and introduces the aforementioned creatures, his beloved Sewer Boys. (Jackson and Sharp wrote the passable songs with Karl Saint Lucy and Marius de Vries, and their staging is mostly anemic.)"
Elisabeth Vincentelli, The New York Times
"The only truly memorable number is a slickly produced bop performed by Megan Thee Stallion, who’s excellent as the boss at the Vroomba parts factory before the movie runs out of use for her, but the rest of the tunes are all credible Broadway riffs that the cast belts out with aplomb; it’s impressive that Jackson and Sharp can hold their own against Lane and Mullally, and their enthusiasm compensates whenever their range falls short. And when enthusiasm alone can no longer keep the ship afloat, sheer audacity rides to the rescue, as 'Dicks' ends with an inevitable but satisfying eruption of bad behavior that feels so good -- one that leaves you wondering just how much funnier and more transgressive this movie could have been had it allowed itself to go that hard from the start."
David Ehrlich, IndieWire
"With two dozen other songs penned by Jackson and Sharp, along with composers Marius de Vries and Karl Saint Lucy, musical homage (all those crotch-level lyrics aside) is affectionately paid to the songbooks of Menken & Ashman and 'The Book of Mormon''s Matt Stone, Robert Lopez and Trey Parker."
Michael Rechtshaffen, The Hollywood Reporter
THE EXORCIST: BELIEVER - David Wingo, Amman Abbasi
"Green inserts flashes of some awful-seeming, more twisted version of possession -- the black-and-white vision that filled advertisements ahead of the movie. But we never see that version of the story come to fruition -- there are only snippets of it, set off by blasts of music. It’s hard to know how these inserts relate to the movie’s plot, but as it stands, they feel like windows into a better, scarier, and more interesting version of the movie, and completely out of step with the version we actually got. The minor hints of demonic activity all build toward an exorcism that’s the worst and most damning part of 'Believer.'"
Austen Goslin, Polygon
"It is at about this point that the familiar strains of Mike Oldfield’s 'Tubular Bells' fade into the soundtrack, as if to tell the audience don’t worry, you don’t have to deal with anything new anymore. 'The Exorcist: Believer' returns Chris MacNeil to the franchise after a 50 year absence, and it turns out that she wrote a book and did some speaking tours, and now knows quite a bit about possessions, so she’s ready to take a more active role in fighting the forces of darkness."
William Bibbiani, The Wrap
"Back in the role for the first time since 1973, it's heartening to see the 90-year-old Burstyn looking so strong and beautiful, but from the moment she appears, 'The Exorcist: Believer' loses one IQ point per minute. Green drops the ambiguity, forgets about the homeless people, and throws away the analogy between a possessive father and a possessive demon. He also abandons the careful pacing and subdued mood of the film's first half. In their place, he piles on jump scares, digital effects, sentimental music, and a succession of inspirational speeches: the priests aren't the only people in the story who deliver sermons."
Nicholas Barber, BBC.com
"The religion-vs.-science debate part of 'The Exorcist: Believer' is the definition of musty. And though the film presents itself as a 'new' take on 'The Exorcist,' it spends a lot of time bending over backwards to reference the old take, from a fresh version of 'Tubular Bells' that sounds like it was recorded by Bruce Hornsby to the 90-year-old Ellen Burstyn reprising the role of Chris MacNeil. It seems that after Regan’s exorcism, Chris wrote a book and went around the world, lecturing audiences about what she saw, even as Regan herself disappeared. Chris hasn’t heard from her since."
Owen Gleiberman, Variety
"DP Michael Simmonds, who shot Green’s 'Halloween' trilogy, gives 'Believer' a moody look, with lots of brooding night scenes and an unhealthy pallor that takes hold as the situation gets hairier. Editor Tim Alverson keeps the action churning and goes admirably light on jump scares. And the music by David Wingo and Amman Abbasi turns up the tension, even if there’s nothing here to rival the needling effectiveness of Mike Oldfield’s 'Tubular Bells,' which makes a welcome return in key moments, albeit in a remix that nixes the bells. That watered-down version of an inspired horror theme is symptomatic of a movie that starts out full of promise but fumbles the material as the stakes get higher. It’s no surprise that 'Believer' is less terrifying than its venerable progenitor. That it’s considerably less daring than a movie made half a century ago compounds the disappointment."
David Rooney, The Hollywood Reporter
FOE - Park Jiha, Oliver Coates, Agnes Obel
"Evocatively shot by Mátyás Erdély and scored by Oliver Coates, Park Jiha and Agnes Obel, 'Foe' has atmosphere to spare. Alas, it ultimately doesn’t know what to do with it, and resorts to leaning into (oft-nude) Mescal’s histrionics. Let off the proverbial leash in the film’s second half, the leading man goes overboard, wailing, fuming, cackling, and furiously punching walls, but the more energy he exerts, the less Junior feels genuine, and not in an intentional way. Issues regarding artificial intelligence, amour, completeness, rebirth and fresh starts are all fundamental to Davis and Reid’s tale, yet the director’s oblique plotting grows wearisome and his final act’s drama frequently verges on the laughable -- and, in its big-revelation scene, tips over into it, after which a prolonged coda reveals that the entire affair is about becoming real via the synthetic."
Nick Schager, The Daily Beast
"The difference is that our curiosity is compounded by the weight of genre expectations and thematic symbolism, while Hen and Junior have grown numb to the alien desolation of the landscape around them (vividly portrayed by the Winton Wetlands of Australia). They can’t hear the pleading strains of Park Jiha and Oliver Coates’ masterful score (although the piano composition that Agnes Obel wrote for Hen to play serves as a conduit), or appreciate the inertia of the film’s accelerating timeline."
David Ehrlich, IndieWire
"There’s plenty of atmosphere in the imagery of Erdély’s cinematography and Patrice Vermette’s bleak production design, and in the eerie sounds of a wide-ranging score by Oliver Coates, Park Jiha and Agnes Obel. But the questions 'Foe' is pondering -- about creating human consciousness, connections, even love in artificial replacements -- are too predetermined to be provocative. Better to look to a more boldly imaginative consideration of the subject, like 'Ex Machina,' for stimulating answers."
David Rooney, The Hollywood Reporter
GOOD MADAM - Simon Ratcliffe
"It’s nice to know that the Black lady who sings 'hmmmmmm-HMMMMMM' on the soundtrack to symbolize Black trauma in American movies has international equivalents. In the hideously offensive South African horror film 'Good Madam,' she’s replaced by a cacophony of African chants and drums while all manner of terrible things occur onscreen. One character is nearly killed by her toothbrush. Another character, a domestic, is seen on her hands and knees scrubbing a floor so violently that her hands are shredded to bits. The sound mix repeatedly plays the scraping of numerous types of cleaning brushes so loudly that it sounds like a pterodactyl scratching itself. Without fail, anytime something bad is about to happen to stressed out mother Tsidi (Chumisa Cosa), the chants invade the soundtrack. The subtitles should say 'humming mournfully' whenever that happens."
Odie Henderson, RogerEbert.com
HIT THE ROAD - Payman Yazdanian
"'Hit the Road' begins with a delicate score, a tranquil moment that’s quickly interrupted by the static of a cellphone, one that’s not supposed to be in the car with the family of four that’s on the run. The younger brother (Sarlak) has smuggled it in, the beginning of many antics from this child whose disruptive nature breaks up the dread of what’s to come at the end of the family’s journey. The young kid is to believe his older brother (Simiar) is going away to get married to a beautiful wife, but the reality is much bleaker, as the family races off to a future where their son is safe from the oppressive Iranian government, but far away from them."
Jenny Nulf, The Austin Chronicle
"There is a sparseness to Hit the Road that reveals the intuitiveness of Panahi’s filmmaking, his grasp of these characters and how they tug and poke at each other, and his understanding of the ways fear, paranoia, and loss turn us into people we might not like, let alone recognize. Given all that success, one of 'Hit the Road''s only missteps is its overly manipulative use of Payman Yazdanian’s piano score, which never feels quite right in a film that is otherwise so self-assured (especially as it cycles through pre-Iranian Revolution pop classics for the family to sing along to). In Farsi, the film’s title is 'Jadde Khaki,' which literally translates to 'dirt road' -- a thoroughfare open to travelers, but earthy, raw, and unfinished. The choice to travel upon it can be an act of trespass or transformation, and Hit the Road honors the irreversibility of both."
Roxana Hadadi, New York
THE INVENTOR - Alex Mandel
"If all of that sounds way too heady for an animated movie, it is in theory, but not in execution. The minimalist, cartoony stop-motion character design (reminiscent of the human characters in the classic Rankin/Bass stop-motion specials) is both whimsical and charming, which means even the most complicated ideas imparted by them come across warm and accessible. The 2D animations are where da Vinci’s more abstract ideas are expressed and even then, when he’s wrestling with heavy concepts like death or regret, they are gracefully expressed to land effectively with both children and adult viewers. The shift between styles creates a sense of momentum and adds fluid energy to The Inventor as a whole, allowing the different mediums to illustrate the variety of inventiveness contained within da Vinci’s brain. Alex Mandel’s lively and infectious score also keeps the film vibrant, featuring instruments from da Vinci’s era like violins and lutes which underscore the uplifting optimism at the heart of his pursuits. Mandel also wrote nine original songs for the film which are sung by the voice cast, with Ridley and Cotillard’s efforts the most memorable of the pack."
Tara Bennett, Paste Magazine
"Despite its heavy-duty subject matter, the film co-directed by Capobianco and Pierre-Luc Granjon is filled with welcome humor of both the visual and verbal varieties. The animation features many amusing touches and there are some wonderfully sly jokes, such as the Mona Lisa being exhibited to crowds that immediately swell to the point where no one can see it. When a royal figure tells Leonardo his plan to inspire a renaissance, the elderly artist muses, 'A Renaissance? Hum, I like the sound of that!' There are also several lively musical numbers (perhaps too many), composed by Alex Mandel, that provide diverting respites from the talky proceedings."
Frank Scheck, The Hollywood Reporter
NO ONE WILL SAVE YOU - Joseph Trapanese
"The score by Joseph Trapanese ('The Witcher') is especially worthy of praise, with shrill, stabbing violins and brooding synths that punctuate a soundscape of gasping breaths and indecipherable guttural roars and chittering. Both Dever and Trapanese are the undisputed MVPs of this film, carrying a majority of the dramatic and emotional weight of 'No One WIll Save You' through their combined efforts."
Toussaint Egan, Polygon
"Jump scares in it aren’t scary; musically, it presses the gas pedal way too hard to try and captivate, and color-wise, its comatose green and desaturated look doesn’t do it a lot of favors either. It’s not pretty; it’s not enjoyable or scary, nor does it offer anything insightful, interesting, or new to say about this world and alien invasion milieu."
Rodrigo Perez, The Playlist
"The expertly crafted details of 'No One Will Save You' make it stand out from the crowd of similar genre fare. The score and the sound design play a huge role in making the film an effective and horrifying romp through the rural area in which Brynn finds herself the target of an alien invasion. The music of the film, composed by Joseph Trapanese, is practically its own character, guiding the audience through moments of emotion and the occasional bit of levity while striking just the right chord of terror as Brynn fights for her life against the imposing alien creatures who've made themselves at home in her house. In accompaniment with the music, the sound design of the movie adds its own layer of horror. The alien creatures themselves have an unnerving guttural tone and the things that go bump in the night induce the kind of fear that makes you feel as though you're holding your breath along with Brynn."
Samantha Coley, Collider
PAW PATROL: THE MIGHTY MOVIE - Pinar Toprak
"Action sequences and their aesthetics have evolved. Scenes that show the team functioning as a well-oiled machine are exhilarating, but pull double duty narratively, propelling the characters and their conflicts further. It’s also fun to see this turn into a family affair with returning player Kim Kardashian West -- who perfectly voices prissy poodle Delores -- accompanied by her children North and Saint in supporting roles. Composer Pinar Toprak’s evocative score is complementary without being pushy, enhancing character drive. Fur, water, lasers, fire and cloud elements are visually dazzling, while the climactic face-off between the puppy protagonists and their adversary feels electrically charged in these capable animators’ hands."
Courtney Howard, Variety
REVOIR PARIS - Anna von Hausswolff
"Mia’s involves reconciling one broken relationship with the allure of a possible new one, a narrative thread that toggles uneasily between acuity in its details and a regrettable predictability. Where it’s all happening, however, is an aural/visual asset -- Paris captured in all its sensorial intimacy and roar by Stéphane Fontaine’s cinematography and Anna von Hausswolff’s churning score. When Winocour sets a scene in front of the calming beauty of Monet’s 'The Water Lilies' at the Musée de L’Orangerie, it’s art getting the superstar cameo treatment."
Robert Abele, Los Angeles Times
SHE CAME TO ME - Bryce Dessner
"One of the most ambitious and impressive aspects of 'She Came to Me' is the music, including two operatic fragments that are included in the film (along with the burbling orchestral score written by Bryce Dessner). It raises the interesting idea of what the project might be if it were an actual comic operetta, where the music and visual elements could be primary and the improbability of the performances and plot would be less of a distraction."
Liam Lacey, Original Cin
"Buoyed by a score from Bryce Dessner of the rock band the National, an original Bruce Springsteen song and the expert performances of its all-in ensemble, the film also casts a luminous aura around a first love, that of two high schoolers, Julian (Evan Ellison) and Tereza (Harlow Jane). He’s Patricia’s son and Steven’s stepson; she’s the daughter of their housekeeper, Magdalena (Joanna Kulig in a soulful turn). Tereza’s stepfather, Trey (Brian d’Arcy James), is a persnickety Civil War re-enactor and a court reporter."
Lisa Kennedy, The New York Times
"If you’re wondering how much quirk one movie can take, you’re not alone, raising the question of how it ever got cast, let alone made. Yet somehow, it did, even landing a tinkly score by Bryce Dessner of The National and an original Bruce Springsteen song for the end credits, appropriately titled 'Addicted to Romance.' Dessner has fun composing excerpts from two original operas, as does the design team staging those pieces. But 'She Came to Me' is a movie whose strained eccentricity gets positively goopy, conveying so little genuine feeling that the stakes for any of the characters never feel terribly high."
David Rooney, The Hollywood Reporter
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
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]
LA HAINE [Los Feliz 3]
THE OTHERS (Alejandro Amenabar) [Alamo Drafthouse]
POLTERGEIST (Jerry Goldsmith) [Vidiots]
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]
LE PROFESSIONEL (Ennio Morricone) [Los Feliz 3]
LOST IN TRANSLATION (Kevin Shields), THE BLING RING [Los Feliz 3]
THE OTHERS (Alejandro Amenabar) [Alamo Drafthouse]
OUT OF SIGHT (David Holmes) [Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE SHINING (Wendy Carlos, Rachel Elkind) [Landmark Westwood]
WALLACE AND GROMIT IN THE CURSE OF THE WERE-RABBIT (Julian Nott) [New Beverly]
October 15
DRACULA [Vidiots]
FRENZY (Ron Goodwin), TIGHTROPE (Lennie Niehaus) [New Beverly]
LE PETIT SOLDAT (Maurice Leroux) [Los Feliz 3]
THE MUPPETS TAKE MANHATTAN (Joe Raposo) [Vidiots]
THE OTHERS (Alejandro Amenabar) [Alamo Drafthouse]
POLTERGEIST (Jerry Goldsmith) [Alamo Drafthouse]
PSYCHO (Bernard Herrmann) [Alamo Drafthouse]
WALLACE AND GROMIT IN THE CURSE OF THE WERE-RABBIT (Julian Nott) [New Beverly]
October 16
AN AMERICAN WEREWOLF IN LONDON (Elmer Bernstein) [Los Feliz 3]
HEARTBEAT 100 (David Lautrec), RETURN OF THE DEMON (Chin-Yung Shing) [New Beverly]
KNIFE IN THE WATER (Christopher Komeda) [Los Feliz 3]
THE OTHERS (Alejandro Amenabar) [Alamo Drafthouse]
THE WITCHES OF EASTWICK (John Williams) [Vidiots]
October 17
CRUISING (Jack Nitzsche) [Alamo Drafthouse]
EYES WIDE SHUT (Jocelyn Pook) [Los Feliz 3]
THE OTHERS (Alejandro Amenabar) [Alamo Drafthouse]
POISON FOR THE FAIRIES (Carlos Jimenez Mabarak) [Los Feliz 3]
THE WORLD'S END (Steven Price), THIS IS THE END (Henry Jackman) [New Beverly]
October 18
APOLLO 13 (James Horner) [Academy Museum]
CRUISING (Jack Nitzsche) [Alamo Drafthouse]
THE OTHERS (Alejandro Amenabar) [Alamo Drafthouse]
THE WORLD'S END (Steven Price), THIS IS THE END (Henry Jackman) [New Beverly]
October 19
FRANKENSTEIN, BRIDE OF FRANKENSTEIN (Franz Waxman) [New Beverly]
MOANA (Mark Mancina) [El Capitan]
THE OTHERS (Alejandro Amenabar) [Alamo Drafthouse]
ROGUE (Francois Tetaz) [Los Feliz 3]
October 20
DESPERATE LIVING (Chris Lobinger) [Academy Museum]
FLOWERS IN THE ATTIC (Christopher Young) [Vidiots]
FRANKENSTEIN, BRIDE OF FRANKENSTEIN (Franz Waxman) [New Beverly]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
HIGH NOON (Dimitri Tiomkin) [UCLA/Hammer]
INVASION OF THE BODY SNATCHERS (Denny Zeitlin) [Aero]
KNIFE IN THE WATER (Christopher Komeda) [Los Feliz 3]
A NIGHTMARE ON ELM STREET (Charles Bernstein) [Vidiots]
NOWHERE [Nuart]
THE SHAWSHANK REDEMPTION (Thomas Newman) [New Beverly]
X: THE MAN WITH THE X-RAY EYES (Les Baxter) [Los Feliz 3
October 21
ADDAMS FAMILY VALUES (Marc Shaiman), CASPER (James Horner) [New Beverly]
BUG (Brian Tyler) [Alamo Drafthouse]
CAT PEOPLE (Giorgio Moroder) [Vidiots]
DRACULA, DRACULA'S DAUGHTER (Heinz Roemheld) [Alamo Drafthouse]
THE EXORCIST [Alamo Drafthouse]
THE EXORCIST [Landmark Westwood]
FROM THE LIFE OF THE MARIONETTES [Los Feliz 3]
GET OUT (Michael Abels) [Vidiots]
GIRLHOOD (Para One) [Academy Museum]
HOUSE ON HAUNTED HILL (Von Dexter) [Academy Museum]
THE MUMMY (Jerry Goldsmith) [New Beverly]
ONCE UPON A TIME IN THE WEST (Ennio Morricone) [Academy Museum]
REBECCA (Franz Waxman) [Vidiots]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE TWILIGHT SAGA: ECLIPSE (Howard Shore) [New Beverly]
THE WITCHES (Stanley Myers) [Vidiots]
October 22
ADDAMS FAMILY VALUES (Marc Shaiman), CASPER (James Horner) [New Beverly]
THE BIRDS (Remi Gassman, Oskar Sala, Bernard Herrmann) [Fine Arts]
CLEO FROM 5 TO 7 (Michel Legrand) [UCLA/Hammer]
CRIMSON PEAK (Fernando Velazquez) [Alamo Drafthouse]
FRANKENWEENIE (Danny Elfman) [Vidiots]
HAXAN: WITCHCRAFT THROUGH THE AGES [Los Feliz 3]
LITTLE SHOP OF HORRORS (Alan Menken, Miles Goodman) [Alamo Drafthouse]
MERMAIDS (Jack Nitzsche) [Vidiots]
THE MUMMY (Jerry Goldsmith) [New Beverly]
NOCTURAMA (Bertrand Bonello) [Academy Museum]
TO LIVE AND DIE IN L.A. (Wang Chung) [Alamo Drafthouse]
THE UNTOUCHABLES (Ennio Morricone) [Academy Museum]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Twister (Mancina); Fenfo (Something to Say) (Diawara); Dante's Peak (Frizzell); Afrique Victime (Moctar); Vieux Farka Toure (Toure); Titanic (Horner); Armageddon (Rabin); Buena Vista Social Club Presents Ibrahim Ferrer (Ferrer); Volcano (Silvestri); The Birth of Soul (Charles); Firestorm (Robinson); Cinema Retro Presents Radio Spots of 60's & 70's Cinema (various)
Read: Dimitri Tiomkin: A Portrait, by Christopher Palmer
Seen: Hairspray [1988]; The Exorcist: Believer; Dicks: The Musical; Foe; Fear and Desire; The Seafarers; Days of Heaven; Hold That Ghost; Who Done It?; She Came to Me; The Burial
Watched: Stolen Face; Space: 1999 ("The Last Enemy"); Monster from Green Hell; Star Trek: Strange New Worlds ("Strange New Worlds); Arrested Development ("Whistler's Mother)
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