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A Charlie Brown Thanksgiving - Vince Guaraldi - LMFP
Dogman - Eric Serra - Because Music
The Great Escaper - Craig Armstrong - Sony (import)
Night After Night - James Newton Howard - Sony 
The Super Mario Bros. Movie - Brian Tyler - iam8bit   


A.K.A. Mr. Chow - Sunny Levine, Robert Logan
Butcher's Crossing - Leo Birenberg
The Canterville Ghost - Eimear Noone, Craig Stuart Garfinkle
KillHer - Michael Teoli
Killers of the Flower Moon - Robbie Robertson
Malibu Horror Story - Joshua James Lim
More Than Ever - Jon Balke
Nyad - Alexandre Desplat
Pain Hustlers - James Newton Howard, Michael Dean Parsons
Perlimps - Andre Hosoi
The Persian Version - Rostam Batmanglij
The Pigeon Tunnel - Philip Glass, Paul Leonard-Morgan
Robert Irwin: A Desert of Pure Feeling - Federico De Caroli 


October 27
Sleepaway Camp - Frankie Vinci - 1984 Publishing
Yentl: 40th Anniversary Edition - Michel Legrand - Sony
November 10 
Zombie Town
- Ryan Shore - MovieScore Media
November 17
The Witcher: Season 3 - Joseph Trapanese - Sony
December 1
Scream VI - Brian Tyler, Sven Faulconer - Varese Sarabande
December 15
- Richard Harvey - Silva
Date Unknown

Doctor Who: Revenge of the Cybermen
 - Carey Blyton, Peter Howell - Silva
Doctor Who: Time and the Rani
 - Keff McCulloch - Silva
El Cuco
- Diego Navarro - MovieScore Media
Gli Italiani e l'industria
 - Piero Umiliani - Kronos 
Godzilla Minus One
- Naoki Sato - Rambling (Import) 
Good Omens 2
 - David Arnold - Silva
Guido & Maurizio De Angelis: Television Soundtracks Collection
 - Guido & Maurizio De Angelis - Beat
He Never Left
- Randin Graves - Howlin' Wolf
La polizia incrimina la legge assolve
 - Guido & Maurizio De Angelis - Beat 
La Ternura
- Fernando Velazquez - Quartet
Laurence Rosenthal: Music for Film and Television
 - Laurence Rosenthal - Silva
Lo scopone scientifico
- Piero Piccioni - Quartet
North Star/The Great Elephant Escape
 - Bruce Rowland - Dragon's Domain
- Loek Dikker - Caldera
Spaced Invaders
 - David Russo - Dragon's Domain 
Tre fratelli
- Piero Piccioni - Quartet


October 20 - Adolph Deutsch born (1897)
October 20 - Frank Churchill born (1901)
October 20 - Tom Petty born (1950)
October 20 - Thomas Newman born (1955)
October 20 - Lucien Moraweck died (1973)
October 20 - Ron Jones records his score for the Star Trek: The Next Generation episode "Booby Trap" (1989)
October 21 - Joseph Mullendore born (1914)
October 21 - Malcolm Arnold born (1921)
October 21 - John W. Morgan born (1946)
October 21 - Brian Banks born (1955)
October 21 - Lyle Workman born (1957)
October 21 - Jerry Goldsmith records his replacement score for Seven Days in May (1963)
October 21 - David Newman begins recording his score for Bill & Ted's Excellent Adventure (1987)
October 21 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Melora” (1993)
October 21 - Gregory Smith records his score for the Star Trek: Deep Space Nine episode “The Assignment” (1996)
October 21 - David Shire begins recording his score for Rear Window (1998)
October 21 - Gianni Ferrio died (2013)
October 22 - Joseph Kosma born (1905)
October 22 - Giorgio Gaslini born (1929)
October 22 - Ed Welch born (1947)
October 22 - Greg Hawkes born (1952)
October 22 - Hans J. Salter begins recording his score for The Far Horizons (1954)
October 22 - Miklos Rozsa begins recording his score to Bhowani Junction (1955)
October 22 - Marc Shaiman born (1959)
October 22 - Hugo Friedhofer begins recording his score to Never So Few (1959)
October 22 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "Body in the Barn" (1963)
October 22 - Nuno Malo born (1977)
October 23 - Manos Hadjidakis born (1925)
October 23 - Gary McFarland born (1933)
October 23 - Recording sessions begin for Dimitri Tiomkin’s score for Lost Horizon (1936)
October 23 - Graeme Revell born (1955)
October 23 - Jonathan Wolff born (1958)
October 23 - David Kitay born (1961)
October 23 - Duane Tatro’s score for The Invaders episode “The Prophet” is recorded (1967)
October 23 - Duane Tatro records his only Mission: Impossible score, for the episode “Ultimatum” (1972)
October 23 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “Rejoined” (1995)
October 23 - David Bell records his score for the Star Trek: Deep Space Nine episode “Treachery, Faith and the Great River” (1998)
October 23 - Paul Baillargeon records his score for the Enterprise episode “The Andorian Incident” (2001)
October 23 - Ray Ellis died (2008)
October 24 - Bill Wyman born (1936)
October 24 - Ernest Irving died (1953)
October 24 - John Frizzell born (1966)
October 24 - David Bell records his score for the Star Trek: Deep Space Nine episode “Sacrifice of Angels” (1997)
October 24 - Merl Saunders died (2008)
October 25 - Konrad Elfers born (1919)
October 25 - Don Banks born (1923)
October 25 - Recording sessions begin for Alex North's score to I'll Cry Tomorrow (1955)
October 25 - Bronislau Kaper begins recording his score to The Brothers Karamazov (1958)
October 25 - Alexander Courage's "Plato's Stepchildren," the last score composed for the original Star Trek series, is recorded (1968)
October 25 - Billy Goldenberg begins recording his score for Duel (1971)
October 25 - Benny Golson records his score for the Mission: Impossible episode “Blues” (1971)
October 25 - David Shire begins recording his score for Max Dugan Returns (1982)
October 25 - Richard Hazard begins recording his score for Airplane 2: The Sequel (1982)
October 25 - Recording sessions begin for W.G. Snuffy Walden’s score for The Stand (1993)
October 25 - Recording sessions begin for Danny Elfman’s score for Good Will Hunting (1997)
October 26 - Bob Cobert born (1924)
October 26 - Jacques Loussier born (1934)
October 26 - Victor Schertzinger died (1941)
October 26 - Recording sessions begin for Roy Webb's score to Fixed Bayonets (1951)
October 26 - Curt Sobel born (1953)
October 26 - Richard La Salle records his score for the Buck Rogers in the 25th Century episode “Unchained Woman” (1979)
October 26 - Howard Shore begins recording his score for She-Devil (1989)


THE BURIAL - Michael Abels

"Betts’ direction is clean and unfussy, and Michael Abels’ score never resorts to excessive mawkishness, such that 'The Burial' nicely coasts along on its formulaic track. Gary’s playfully adversarial relationship with opposing counsel Mame Downes (Jurnee Smollett) provides the proceedings (and Gary and O’Keefe’s quest) with an additional racially complicated layer; in one of the film’s best scenes, Gary and Downes, a Harvard-educated 'python,' discuss the ongoing O.J. Simpson trial and their prosecutorial/defense dreams. Smollett, Ruck, Athie, and Camp, unfortunately, aren’t offered more than two dimensions in which to operate, and their third-act appearances at, or disappearances from, center stage are handled awkwardly. That’s even more pronounced when it comes to Jones; despite nailing his comedic lines, he fails to make O’Keefe more than a good-natured cipher. At 126 minutes, things tend to drag, even as certain subplots and characters demand greater elaboration."
Nick Schager, The Daily Beast 
"But there aren’t nearly enough of these moments. Too often, 'The Burial' indulges its Willie side, as one legal drama trope after another is pulled out, from the surprise witness to the devastating cross-examination. The case’s racial and class issues are powerful, given the film’s presentation of the Loewen Group’s predatory targeting of poor Black communities, but they’re frequently cheapened by sluggish speechifying or a sentimental stirring of the soundtrack."
Chris Barsanti, Slant Magazine 

CAT PERSON - Heather McIntosh

"The portrayal of Margot’s inner monologue -- a key element of the story -- is similarly handled in ways both good and bad. Quick-cut fantasy sequences in which Margot is actually attacked by Robert feel jarring and unnecessary, mostly because Jones’ solid performance already suggests her terror at appropriate moments and because Fogel has a damn fine time shooting other scenes with a horror-film feel (also aided by Heather McIntosh’s nerve-shredding score). A more complex sequence in which Margot imagines Robert unpacking his relationship worries to a therapist (Fred Melamed) works better, but nothing is as good as Margot talking to herself (literally) during an unnerving sex scene."
Kate Erbland, IndieWire 
"Scenes like the one where Robert drops off some food for Margot, who is working late in a campus lab, confirm this sense. The juvenescence of their relationship -- confined mostly to texting -- makes each interaction fraught with the danger of a fatal misstep. Small acts like how Robert hands her the treats or reaches for her arm activate Margot’s anxiety as she imagines him lunging at or attacking her. DP Manuel Billeter, boosted by composer Heather McIntosh, creates a visual language that moves easily between placidity and terror. Jones ('CODA') and Braun ('Succession') bolster the believability of these moments; their performances induce the appropriate levels of second-hand embarrassment."
Lovia Gyarkye, The Hollywood Reporter

MIJA - Helado Negro
"All of these emotions are expressed through music, which forms the backbone of the film. Ecuadorian-American avant-pop artist Helado Negro wrote the score for the film, and the soundtrack is stuffed with tracks from Latinx indie acts like Divino Niño, Omar Apollo, Buscabulla, KAINA, and The Marias. These supplement the two artists who actually appear as themselves in 'Mija': Cuco, the bedroom-pop sensation Doris is managing at the beginning of the film, and Jacks Haupt, a Chicana teenager from Dallas obsessed with Amy Winehouse and Lana Del Rey who Doris scouts on Instagram."
Katie Rife, 
THE MOUNTAIN - Chloé Thévenin 
"So where does all this lead? Definitely not where you’d expect. The set-up suggests an eventual 'Into the Wild' kind of catastrophe, but without giving too much away, the payoff is a bit more 'Altered States,' albeit with an alien anthropological bent, so to speak. It all begins when Pierre sets off, solo, to investigate something that fell, or maybe crashed, into a glacier crevasse. The very nearly tactile imagery provided by cinematographer Alexis Kavyrchine and the sparse but evocative electronic score by Chloé Thévenin gives the journey an even more enigmatic form than it might have had otherwise. Salvador's movie wants to penetrate something elemental in the viewer; if you can give in to its vision in good faith, it might just do that for you."
Glenn Kenny, 

REPTILE -  Yair Elazar Glotman
"Shot by Michael Gioulakis (the cinematographer of 'Us,' 'Old,' and 'It Follows'), 'Reptile' looks the part of a pitch-black crime procedural, genuinely. Likewise, composer Yair Elazar Glotman (work on 'Joker' and 'All Quiet On The Western Front') helps keep the mood taut and stark."
Rodrigo Perez, The Playlist 

"Set in the New England suburb of Scarborough, the film, written by Benjamin Brewer, Singer, and del Toro, struggles early on to find its footing. It’s a film afraid to let us independently feel, opting for an overbearing score and clunky cross-cutting to hold our hand through the early investigation."
Robert Daniels, IndieWire 

"Yair Elazar Glotman and Arca’s score is central to the film’s portentousness, providing an ominous aural complement to Mike Gioulakis’s dour visuals. From the start, 'Reptile' suggests its destination is doom, and that remains true as it expands to include additional clues regarding its central mystery. For Tom, the most promising lead winds up being Eli (Michael Pitt), a stringy haired creep who blames Will and Camille for the death of his father (brought about by the purchase of their farm). Like Sam, Eli is such an obvious type that it’s difficult to believe he did the dirty deed. Still, Pitt is comfortable playing scuzzy unhinged loners and his scenes with Del Toro boast a charged intensity that compensates for his character’s two-dimensional conception, as well as the somewhat too-convenient bombshells he eventually drops in the detective’s lap."
Nick Schager, The Daily Beast 
"That these worlds will eventually collide in deception, revelation and further violence is never in doubt, because Singer’s directorial agenda is to have us questioning the motives of everyone, everywhere, always, whether it helps the story along or not (or even make sense). While there’s nothing wrong with a pervasive mood of mistrust -- it was a defining feature of the ’70s thriller’s heyday, from 'The Conversation' to 'The Parallax View' -- it’s the sole note here, drifting in variations of unease that feel cribbed from other sources: One moment is Pakula-esque, another like something out of 'Fargo,' the next recalling Fincher. Even the dissonant, things-aren’t-right score from Yair Elazar Glotman seems borrowed from a haunted-house movie."
Robert Abele, Los Angeles Times 

"I saw 'Reptile,' the new Netflix homicide thriller, at home on a link and decided to watch it with subtitles, since this is the sort of moody cop noir about life in the shadows where there’s a lot of murmuring going on. And I didn’t want to miss a clue. This means, of course, that the subtitles will keep cueing you with descriptives like 'sinister music' or 'quiet ominous music,' and I couldn’t help but notice that this happened around 50 times. So much quietly sinister ominous music! That’s fair game for the genre, though it’s laid on a bit thick in 'Reptile,' and that’s an emblem of the film’s aesthetic, which might be described as understated overstatement....This all adds up to: The killer must be one sick f--k, a sensation enhanced by the way that Grant Singer, the first-time director of 'Reptile,' draws on the greatest film of the genre, Michael Mann’s 'Manhunter' (the bite marks, the white carpeting, the blond hair, the quietly sinister ominous music). But in 'Reptile,' a movie whose very title implies that we’re watching the story of a venomous maniac, the whole grisly-creepy vibe is itself a red herring.  'Reptile' comes on as 'smart,' but the movie, for all its sinister-ominous-music atmosphere, is opportunistic enough -- or maybe just enough of a consumer product -- to swallow its own premise, if not its own tail."
Owen Gleiberman, Variety

"Singer, like Taylor, reaches for the ineffable. The director, who’s helmed music videos for pop music royalty up until this point, is obsessed with controlling atmosphere and setting the mood. He crowds 'Reptile' with gripping sequences, suspenseful moments, dramatic pauses and surprising levity -- elements that, despite their overuse, keep the audience on edge and strategically blur the lines between dreams and reality. A malevolent score by Berlin-based composer Yair Elazar Glotman, with an assist from Venezuelan musician Arca, helps calibrate this tension and adds to the movie’s overall mysterious air."
Lovia Gyarkye, The Hollywood Reporter
STRANGE WAY OF LIFE - Alberto Iglesias

"When, to the celestial score of composer Alberto Iglesias, Silva answers Jake’s question of what two men could do alone in a ranch together, his simplicity lands with a thunderous truthfulness. Leave it to Almodóvar to take our breath away right before galloping into the sunset."
Carlos Aguilar, The Los Angeles Times

"Of course, Almodóvar doesn’t tailor himself for the Western so much as he forces the Western to tailor itself for him. All the genre tropes that squeeze their way into 'Strange Way of Life,' from milky white skylines to Mexican standoffs, serve the tempestuous and typically Almodóvar-ian emotions that burn inside its characters. Lest you forget it, Alberto Iglesias’ score is always there to remind you, its see-sawing strings evoking Hitchcock instead of Ford. Almodóvar has said that he built this short around the loaded conversation that Silva and Jake share the morning after their make-up romp -- that he was compelled by the idea of allowing two queer cowboys to articulate the same emotions that Ennis del Mar had to choke down his throat. Even without fuller context, it’s palpably cathartic to watch Hawke and Pascal share their characters’ hearts with all the freedom promised by the Wild West." 
David Ehrlich, IndieWire 
"'Strange Way of Life' was produced by Saint Laurent Productions, which gives some of this piece, especially a flashback to a young Joe and Silva getting frisky under some spilling wine barrels, the sense that this is a fashion advertisement as much as it is a movie. However, Pascal and Hawke counter the vibrant colors that one would expect with 'Almodóvar and Saint Laurent.' They ground the short with an appropriately surly performance from Hawke and a gentle one from Pascal. It also helps to have a notable pedigree alongside Almodóvar that includes luscious cinematography from José Luis Alcaine ('Volver,' 'The Skin I Live In') and a beautiful score from another regular collaborator, the great Alberto Iglesias."
Brian Tallerico, 
365 DAYS: THIS DAY - Patryk Komór, Dominic Buczkowski-Woytaszek 
"Then Laura discovers hubs being groinally intimate with his ex-girlfriend Anna (Natasza Urbanska) at a party. Flinging her phone into the sea, Laura, never one to engineer her own escapes, husks 'take me away from here' to Nacho. They abscond to another paradise island and another paradise villa, differentiated from Massimo’s mainly because the furnishings are predominantly wicker. They have sex -- or do they? Is it perhaps all a dream? The eternal gauziness of DP Bartek Cielica’s ’90s music-video cinematography, set to the omnipresent off-brand rock-pop contributions from incredibly overworked composers Patryk Komór and Dominic Buczkowski-Woytaszek, make it very hard to tell Laura’s softcore fantasies from Laura’s softcore reality."
Jessica Kiang, Variety

WHAT JOSIAH SAW - Robert Pycior

"Grim, bleak, and displaying a predominantly muddy color palate -- all greens, greys, browns -- as well as a nervous breakdown of a score by Robert Pycior, Vincent Grashaw's 'What Josiah Saw' is a tough watch. It's often terrifying (Pycior's score gave me more than one jolt), and provocative, taking place in the thick of a family dynamic so sick and twisted there's no way out. All of the doorways are just black squares, leading nowhere. The film features bold gritty performances from Robert Patrick, Nick Stahl, Scott Haze, and Kelli Garner -- playing the members of the fractured Graham family, haunted (literally) by the past, and also trapped by it. 'What Josiah Saw' unfolds at a stately pace, with scenes dragging out (the fortune teller exchange is an obvious example), the run-time lengthened unnecessarily. The family trauma is so clotted-thick, a faster pace and tightened-up editing might have eradicated the slow-motion underwater feel of the whole."
Sheila O'Malley, 
"Still, they lay a foundation of fear that slips into your subconscious and makes the conclusion all the more devastating. It all ends up lingering in a manner that lays you completely flat. The rising up of the score in such moments, starting with quieter strings that initially sneak around underneath the scene, soon reaches a fever pitch. It is as if a supernatural orchestra is screaming at Eli in a desperate warning to no avail. The use of slow motion as things descend into chaos with a ringing sound subsuming everything is fleeting yet frightening, playing up the fear as we realize how truly doomed these characters are. The fact that it feels like nothing they do will alter their fate only makes it all the more insidious. As everything fades away around Eli, and he seems to finally understand what is coming, the film leaves us with a quiet moment where he is passed out on the floor. The key moments where the score drops completely out, leaving us with only the sound of blows landing or even nothing at all, remain as riveting as they are revelatory. All of this is expertly yet delicately disorienting and dreadful, a testament to Grashaw’s patient direction as he drags us further into his vicious vision. By the time it comes together, and we see how things were worse than we could've ever imagined, it will leave you wishing you could take a shower for your spirit. The bleak reality we and the characters will soon face is that there may be no getting clean from the grime that has infested their very souls. Salvation may soon be foreclosed from them forever."
Chase Hutchinson, Collider

"The more Eli and Mary’s troubled lives are explored, the less likely it seems that what Josiah saw was simply God offering the family an opportunity to save Miriam’s soul. And if you had any doubts that something more sinister was going on, the ear-piercing score will fix that right up for you -- that, or the menacing Southern Gothic imagery. (If the sight of three kids standing in a corn field with paper bags over their heads doesn’t set off some major alarms for you, then I don’t know what will.) Leading up to its exhilarating third act, the film is the definition of a slow burn. Grashaw isn’t at all concerned with adhering to the agile pacing of a standard horror movie. Instead, he allows meandering, sometimes inconsequential conversations to play out in full, while confidently breezing over important plot details. Sometimes 'What Josiah Saw''s lethargic tempo edges on boring, and the less-invested viewer might check out fully during its longer scenes. But those who stick it out will undoubtedly feel a catharsis similar to watching boiling bubbles spring out of a pot after patiently watching water stand stagnant. This would have had an even stronger effect, too, if Grashaw hadn’t felt the pressure to liven things up with a screeching violin score, or the out of place and stale horror sequences that are haphazardly peppered throughout."
Aurora Amidon, Paste Magazine 


Screenings of older films in Los Angeles-area theaters.

October 20
CORALINE (Bruno Coulais) [Vidiots]
DESPERATE LIVING (Chris Lobinger) [Academy Museum]

DRACULA, DRACULA'S DAUGHTER (Heinz Roemheld) [Alamo Drafthouse] 
THE EXORCIST [Alamo Drafthouse]
FLOWERS IN THE ATTIC (Christopher Young) [Vidiots]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
HIGH NOON (Dimitri Tiomkin) [UCLA/Hammer]
KNIFE IN THE WATER (Christopher Komeda) [Los Feliz 3]
LITTLE SHOP OF HORRORS (Alan Menken, Miles Goodman) [Alamo Drafthouse]
LOST IN TRANSLATION (Kevin Shields) [Los Feliz 3]
A NIGHTMARE ON ELM STREET (Charles Bernstein) [Vidiots]
THE SHAWSHANK REDEMPTION (Thomas Newman) [New Beverly]
TO LIVE AND DIE IN L.A. (Wang Chung) [Alamo Drafthouse]
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]

ALUCARDA (Tony Guefen) [Los Feliz 3]
BUG (Brian Tyler) [Alamo Drafthouse]
CAT PEOPLE (Giorgio Moroder) [Vidiots]
CRIMSON PEAK (Fernando Velazquez) [Alamo Drafthouse]
DRACULA, DRACULA'S DAUGHTER (Heinz Roemheld) [Alamo Drafthouse]
THE EXORCIST [Alamo Drafthouse]
THE EXORCIST [Landmark Westwood]
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]
RIFIFI (Georges Auric) [Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
TRICK 'R' TREAT (Douglas Pipes) [Landmark Westwood]
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]
THE BLACK CAT [Alamo Drafthouse]
THE BLING RING [Los Feliz 3]
CLEO FROM 5 TO 7 (Michel Legrand) [UCLA/Hammer]

CRIMSON PEAK (Fernando Velazquez) [Alamo Drafthouse]
THE EXORCIST [Alamo Drafthouse]
FRANKENWEENIE (Danny Elfman) [Vidiots]
LEONOR WILL NEVER DIE (Alyana Cabral, Pan de Coco) [Vidiots]
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]
OUT OF SIGHT (David Holmes) [Los Feliz 3]
TO LIVE AND DIE IN L.A. (Wang Chung) [Alamo Drafthouse]
THE UNTOUCHABLES (Ennio Morricone) [Academy Museum] 

October 23
BEETLEJUICE (Danny Elfman) [Alamo Drafthouse]
THE BIRDS (Remi Gassman, Oskar Sala, Bernard Herrmann) [Fine Arts] 
THE BLACK CAT [Alamo Drafthouse]
CREEPSHOW (John Harrison) [Los Feliz 3]
THE EXORCIST [Alamo Drafthouse]
THE GATES OF HELL (Fabio Frizzi), HOUSE BY THE CEMETERY (Walter Rizzati) [New Beverly]
A NIGHTMARE ON ELM STREET (Charles Bernstein) [Vidiots] 
ONIBABA (Hikaru Hayashi) [Vidiots]
RIFIFI (Georges Auric) [Los Feliz 3]
TO LIVE AND DIE IN L.A. (Wang Chung) [Alamo Drafthouse] 

October 24
BEETLEJUICE (Danny Elfman) [Alamo Drafthouse]
THE BLACK CAT [Alamo Drafthouse] 
DRACULA, DRACULA'S DAUGHTER (Heinz Roemheld) [Alamo Drafthouse]
THE EXORCIST [Alamo Drafthouse] 
THE GATES OF HELL (Fabio Frizzi), HOUSE BY THE CEMETERY (Walter Rizzati) [New Beverly] 
THE HOST (Byung-woo Lee) [Los Feliz 3]
LITTLE SHOP OF HORRORS (Alan Menken, Miles Goodman) [Alamo Drafthouse] 
LOLITA (Ennio Morricone) [Los Feliz 3]

October 25
BEETLEJUICE (Danny Elfman) [Alamo Drafthouse]
BUG (Brian Tyler) [Alamo Drafthouse]
CURE (Gary Ashiya), PULSE (Takefumi Haketa) [New Beverly]
THE EXORCIST [Alamo Drafthouse] 
EYES WITHOUT A FACE (Maurice Jarre) [Los Feliz 3]
THE IRON GIANT (Michael Kamen) [Academy Museum]
LITTLE SHOP OF HORRORS (Alan Menken, Miles Goodman) [Alamo Drafthouse]
REBECCA (Franz Waxman) [Vidiots] 

October 26
CURE (Gary Ashiya), PULSE (Takefumi Haketa) [New Beverly] 
FAMILY ROMANCE, LLC (Ernst Reijseger) [Aero]
PECKER (Stewart Copeland), CRY-BABY (Patrick Williams) [Academy Museum]
SPUTNIK (Oleg Karpachev) [Los Feliz 3]
TO LIVE AND DIE IN L.A. (Wang Chung) [Alamo Drafthouse]

October 27
THE BATTLE OF ALGIERS (Ennio Morricone, Gillo Pontecorvo) [Academy Museum]
EYES WITHOUT A FACE (Maurice Jarre) [Los Feliz 3]
FIRST BLOOD (Jerry Goldsmith) [Alamo Drafthouse]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
THE GUEST (Steve Moore) [Vidiots]
PSYCHO (Bernard Herrmann) [Aero]
RIFIFI (Georges Auric) [Los Feliz 3]
ROCKY BALBOA (Bill Conti) [Alamo Drafthouse]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
TALES FROM THE DARKSIDE: THE MOVIE (John Harrison, Chaz Jankel, Jim Manzie, Pat Regan, Donald Rubinstein) [New Beverly] 
YOU'RE NEXT (Mads Heldtberg, Jasper Lee, Kyle McKinnon, Adam Wingard) [Vidiots]

October 28
THE ADDAMS FAMILY (Marc Shaiman) [Vidiots]
BEETLEJUICE (Danny Elfman) [New Beverly]
CECIL B. DEMENTED (Basil Poledouris, Zoe Poledouris), A DIRTY SHAME (George S. Clinton) [Academy Museum]
THE FLY (Howard Shore) [New Beverly]
HALLOWEEN (John Carpenter) [Alamo Drafthouse]
HALLOWEEN (John Carpenter) [Vidiots]
THE LIZARDS (Ennio Morricone) [Academy Museum]
MONSTER HOUSE (Douglas Pipes) [Alamo Drafthouse]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
STOKER (Clint Mansell) [Los Feliz 3]
TREMORS (Ernest Troost) [Vidiots]
THE WITCHES (Stanley Myers) [Academy Museum]

October 29
BEETLEJUICE (Danny Elfman) [New Beverly]
DRACULA [Los Feliz 3]
DRACULA'S DAUGHTER (Heinz Roemheld) [Vidiots]
FIRST BLOOD (Jerry Goldsmith) [Alamo Drafthouse]
THE HATEFUL EIGHT (Ennio Morricone) [Academy Museum]
MONSTER HOUSE (Douglas Pipes) [Aero]
THE MUMMY, THE WOLF MAN [Alamo Drafthouse]
PARANORMAN (Jon Brion) [Vidiots]
WENDELL & WILD (Bruno Coulais) [Alamo Drafthouse]


Hard Rain (Young); Head (The Monkees); The Perfect Storm (Horner); Vertical Limit (Howard); The Core (Young); The Day After Tomorrow (Kloser/Wander); Ladder 49 (Ross); Flight of the Phoenix (Beltrami); War of the Worlds (Williams); United 93 (Powell); Poseidon (Badelt); World Trade Center (Armstrong); The Final Destination (Tyler); The Transformed Man (Shatner); Snakes on a Plane (Rabin); 2012 (Kloser/Wander); Tidal Wave (Lee)

Read: JR, by William Gaddis

Seen: The Holy Mountain; Cat Person; Anatomy of a Fall; Strange Way of Life; The Human Voice; Heartbeat 100; Return of the Demon; The World's End; This Is the End

Watched: Star Trek: Discovery ("Kobayashi Maru"); Barry ("Know Your Truth"); The Americans ("Operation Chronicle"); Bob's Burgers ("Moody Foody"); The Deuce ("Finish It"); Childrens Hospital ("Run, Dr. Lola Spratt, Run," "Ward 8"); Dollhouse ("A Love Supreme"); Documentary Now ("Globesman")

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