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The latest release from Intrada, expected to begin shipping next week but available to order now, is a two-disc Deluxe Edition of the score to the 2018 prequel SOLO: A STAR WARS STORY, featuring a greatly expanded version of the score by John Powell, incorporating themes by John Williams including his new "The Adventures of Han."

The latest releases from Dragon's Domain include THE ERNEST GOLD COLLECTION VOLUME 2, which includes two of the final scores from the Oscar-winning composer, the Western biopic Tom Horn and the TV minseries Gore Vidal's Lincoln; the score for the Japanese live-action feature G-SAVIOUR, composed by John Debney and Louis Febre; and CD-R releases of THE JOE HARNELL COLLECTION VOL. 2, featuring Senior Trip and Scared Silly; FAIRYTOPIA by Eric Colvin; RAGE by Louis Febre; and SAVATE by Kevin Kiner.


Good Omens 2
 - David Arnold - Silva 
La Ternura
 - Fernando Velazquez - Quartet
Lo scopone scientifico
 - Piero Piccioni - Quartet
Tre fratelli
 - Piero Piccioni - Quartet  


All Dirt Roads Taste of Salt - Sasha Gordon, Victor Magro
At the Gates - Julia Newman
Beyond Utopia - Adam Taylor, Taylor Page
Four Daughters - Amin Bouhafa
Helen's Dead - Adam Westbrook
The Lady Bird Diaries - Paul Brill
The Marsh King's Daughter - Adam Janota Bzowski
Open - Clifton Hyde
Radical - Pascual Reyes Llanas, Juan Pablo Villa 
Rustin - Branford Marsalis
What Happens Later - David Boman


November 10 
Sleepaway Camp - Frankie Vinci - 1984 Publishing   
Solo: A Star Wars Story
- John Powell, John Williams - Intrada
Zombie Town
 - Ryan Shore - MovieScore Media
November 17
Divinity - DJ Muggs, Dean Hurley - Sacred Bones
The Witcher: Season 3 - Joseph Trapanese - Sony
December 1
Maestro - Leonard Bernstein - Deutsche Grammophon
My Animal - Augustus Muller - Nude Club
Scream VI - Brian Tyler, Sven Faulconer - Varese Sarabande
December 8 
Killers of the Flower Moon - Robbie Robertson - Sony
December 15

I predatori di Atlantide
 - Guido & Maurizio De Angelis - Beat 
La Donna Invisible - Ennio Morricone - Beat
 - 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
The Ernest Gold Collection Vol. 2
- Ernest Gold - Dragon's Domain
- Eric Colvin - Buysoundrax [CD-R]
- John Debney, Louis Febre - Dragon's Domain
Gli Italiani e l'industria
 - Piero Umiliani - Kronos 
Godzilla Minus One
 - Naoki Sato - Rambling (Import) 
Guido & Maurizio De Angelis: Television Soundtracks Collection
 - Guido & Maurizio De Angelis - Beat
The Joe Harnell Collection Vol. 2
- Joe Harnell - Five Jays [CD-R]
La polizia incrimina la legge assolve
 - Guido & Maurizio De Angelis - Beat 
Laurence Rosenthal: Music for Film and Television - Laurence Rosenthal - Silva
- Louis Febre - Buysoundtrax [CD-R]
 - Loek Dikker - Caldera
Savate - Kevin Kiner - Buysoundtrax [CD-R]


November 3 - John Barry born (1933)
November 3 - Hal Hartley born (1959)
November 3 - Richard Markowitz records his score for The Wild Wild West episode “The Night That Terror Stalked the Town” (1965)
November 3 - Daniel Pemberton born (1977)
November 3 - Olafur Arnalds born (1986)
November 3 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Price" (1989)
November 3 - Jerry Bock died (2010)
November 4 - Laurence Rosenthal born (1926)
November 4 - John Charles born (1940)
November 4 - Craig Safan records his score for the Twilight Zone episode “Teacher’s Aide” (1985)
November 4 - Velton Ray Bunch records his score for the Star Trek: Enterprise episode “The Augments” (2004)
November 5 - Joseph Liebman born (1911)
November 5 - Elmer Bernstein begins recording his score for Fear Strikes Out (1956)
November 5 - Jonny Greenwood born (1971)
November 5 - Michel Legrand begins recording his score for The Mountain Man (1979)
November 5 - Les Baxter begins recording his score for The Beast Within (1981)
November 5 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Battle" (1987)
November 5 - James Newton Howard begins recording his score for Grand Canyon (1991)
November 5 - Dennis McCarthy records his score for the Enterprise episode “The Communicator” (2002)
November 5 - Jay Chattaway records his score for the Star Trek: Enterprise episode “North Star” (2003)
November 6 - Ernest Irving born (1878)
November 6 - Peter Matz born (1928)
November 6 - Arturo Sandoval born (1949)
November 6 - Recording sessions begin for Max Steiner’s score for The Caine Mutiny (1953)
November 6 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "Behind the Locked Door" (1963)
November 6 - John Barry begins recording his score for Hanover Street (1978)
November 6 - Jay Chattaway records his score for the Enterprise episode “Civilization” (2001)
November 6 - Francesco De Masi died (2005)
November 7 - Hans Erdmann born (1882)
November 7 - William Alwyn born (1905)
November 7 - Jimmie Haskell born (1936)
November 7 - Dimitri Tiomkin records the soundtrack LP for Wild Is the Wind (1957)
November 7 - Duane Tatro’s score for The Invaders episode “The Captive” is recorded (1967)
November 7 - James Horner begins recording his score for Uncommon Valor (1983)
November 7 - Leonard Rosenman records his score for the Amazing Stories episode "No Day at the Beach" (1985)
November 7 - Shorty Rogers died (1994)
November 7 - Dennis McCarthy records his score for the Star Trek: Voyager episode “The Q and the Gray” (1996)
November 7 - Richard Robbins died (2012)
November 7 - Paul Buckmaster died (2017)
November 7 - Francis Lai died (2018)
November 8 - Arnold Bax born (1883)
November 8 - Mark Suozzo born (1953)
November 8 - The Ten Commandments opens in New York (1956)
November 8 - Nicholas Carras records his score for She Demons (1957)
November 8 - Gerald Fried records his score for the Lost in Space episode "Castles in Space" (1967)
November 8 - Robert Drasnin records his score for the Mission: Impossible episode “Nerves” (1971)
November 8 - Patrick Williams records his score for The Streets of San Francisco episode “In the Midst of Strangers” (1972)
November 8 - Gino Marinuzzi Jr. died (1996)
November 9 - Roger Edens born (1905)
November 9 - Burrill Phillips born (1907)
November 9 - Gabriel Migliori born (1909)
November 9 - Jerry Goldsmith begins recording his score for Lonely Are the Brave (1961)
November 9 - Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “The X Factor” (1965)
November 9 - Lalo Schifrin begins recording his score for Sol Madrid (1967)
November 9 - Johnny Harris records his score for The New Adventures of Wonder Woman episode “Skateboard Wiz” (1978)
November 9 - Dave Grusin begins recording his score for Tootsie (1982)
November 9 - Alfred Ralston died (1988)
November 9 - Yves Baudrier died (1988)
November 9 - Stanley Myers died (1993)
November 9 - Paul Baillargeon records his score for the Star Trek: Deep Space Nine episode “The Siege of AR-558” (1998)


BLUE GIANT - Hiromi Uehara
"More than most films, pianist and composer Hiromi Uehara had an outsized role in shaping 'Blue Giant.' With saxophonist Tomoaki Baba and drummer Shun Ishiwaka, Uehara performs original compositions in addition to her orchestral score. They’re great. They’re perhaps not as mind-melting as the performances in film, with Dai nearly going Super Saiyan as he glows and bends space around him, but great nonetheless. Recorded with improvisational solos, the music reflects the film’s somewhat unique production pipeline. During combo recordings, the team at studio NUT recorded motion-capture footage of the musicians to use in their animation, which is where things start to fall apart."
Autumn Wright, Paste Magazine 

DIVINITY - DJ Muggs, Dean Hurley
"Excruciatingly original, the cinematography by Danny Hiele (a music video Director known for working with Lizzo, Nicki Minaj, Kendrick Lamar, Kanye West, and Frank Ocean) is literally some transportive, next-level sh*t. The film comes with a strobing seizure warning, but it’s not something bludgeoning like Gaspar Noé or Harmony Korine might relentlessly blast you with. Instead, so dreamy and peculiar, one’s eye could roll back into their head at any tame moment, just seemingly overwhelmed by the blissful euphoria of this maximalist imaginativeness. Picture, if you can, Guy Maddin, an LSD overdose, and the creepy, illusory, uncanny marvel of 'Jason and The Argonauts'-esque stop motion techniques utilized to glue your eyes open while drops of who knows what are plopped into your sockets to make this drug-induced journey peak that much more. A trippy score by DJ Muggs (Cypress Hill, House Of Pain) and Dean Hurley ('Twin Peaks') only elevates the film’s heavenly rapture."
Rodrigo Perez, The Playlist

"A standout at January’s Sundance Film Festival, 'Divinity' (in theaters Oct. 13) straddles the line between the old and the new -- a fitting scenario for a film about the chasm between morality and eternity. Shot on grainy black-and-white 16mm and scored to ominously electronic compositions by Cyprus Hill’s DJ Muggs and Dean Hurley, Alcazar’s maiden feature is set in an unspecified future time and place on an Earth whose population has been radically transformed by Divinity, an elixir that allows users to live forever."
Nick Schager, The Daily Beast

FINGERNAILS - Christopher Stracey
"Dismantling the idea of romance as a goalpost in ways that are at once fantastic and plain, 'Fingernails' moves between daytime workplace surrealism and revelatory nighttime conversations. The fluent camerawork by Marcell Rév and Yorgos Zafeiris’ editing capture a striking geometry in Toronto locations, grounding the story’s moody restraint in a dynamic cityscape -- a place where life can take you by surprise. Throughout, composer Christopher Stracey’s score is in tune with Anna’s ravenous need to believe, exquisitely expressed by Buckley, as is Amir’s by Ahmed. It’s not the brief visions of gore that make a lasting impression, but Anna’s cries of confusion and Amir’s quiet reassurances. It’s the longing not just to trust your own heart, but to hear it over all the noise masquerading as data."
Sheri Linden, The Hollywood Reporter 
FIVE NIGHTS AT FREDDY'S - The Newton Brothers
"Tammi, who made her directorial debut with the effectively chilling 2019 indie supernatural western 'The Wind' and helmed installments of Hulu‘s anthology 'Into the Dark,' levels up with confidence, creating a world within Freddy’s walls that feels soul-curdled but never unwelcoming to the sensitive Abby. Cinematographer Lyn Moncrief’s camera creeps with a watchful presence, finding dynamic compositions that keep the film’s mostly single location setting interesting and foreboding, while a pulsing score by the Newton Brothers and lived-in production design by Marc Fisichella evoke nostalgia so sensory you can almost smell the dank carpets underneath the neon lights and dusty arcade machines."
Jen Yamato, Los Angeles Times 
THE KILLER - Trent Reznor, Atticus Ross

"In theory, 'The Killer' could be seen as a film about the ruthlessness of the gig economy, disguised as a crime thriller. It sends the Killer through a Russian nesting doll of missions until there’s little delineation between his personal life and his profession. But Fincher and Walker have little to say about anything they present on screen, or the fleeting thematic subtext they introduce. The film is airtight in its construction, but slight in its artistic objectives. Beyond Trent Reznor and Atticus Ross’ nerve-wracking score, there really isn’t that much to it."
Siddhant Adlakha, Polygon 
"Once again partnering with cinematographer Erik Messerschmidt ('Mank,' 'Mindhunter'), Fincher shoots his action with pinpoint precision, his camera movements scrupulous and his staging fastidious, with lens flares sharply splitting the frame and shadows and window fog tersely bifurcating Fassbender’s visage. Aesthetically, The Killer is as clean and efficient as its protagonist, and that form-content harmony extends to Trent Reznor and Atticus Ross’ electronic score of ominous tones and heartbeat thuds (which mirror the killer’s skill at lowering his pulse). Fincher’s clinical approach has no use for Melville’s forlorn romanticism, yet it fits the material like the gloves that Fassbender dons before getting down to his dirty business."
Nick Schager, The Daily Beast 

"The Killer needs this. Despite the calm he projects, his own habits betray him to us. His racing heart beeps out from his wrist monitor. His mantras ('stick to the plan' and 'prevent empathy') grow desperate. He clings to his routine like a security blanket. The façade of detachment, present in all assassin movies, doesn’t last long amid the thrumming soundscape from Trent Reznor and Atticus Ross. What persists is the feeling that we’re all on the cusp of living like him."
Jacob Oller, Paste Magazine 
"Reunited with 'Se7en' scriptwriter Andrew Kevin Walker for this adaptation of long-running French graphic novel series 'Le Tueur,' Fincher isn't really that interested in the actual mechanics of assassination: Even though the Killer mentions rare and devious methods of murder, almost every death comes courtesy of that most unskilled and brutish of weapons, a gun. Rather fascinatingly, the Killer doesn't compare himself to other professionals, but to straight-ahead serial killers, totally deflating any mythologizing. Instead, it's really a character study of a working-class stiff, of the kind that Raymond Carver would enjoy, who would work in a factory that sounds like the score by Trent Reznor and Atticus Ross, barely music but more rhythmical pops, fizzes, and growls."
Richard Whittaker, The Austin Chronicle 

"One can sense Fincher's passion for this project in every frame as he returns to themes that have long interested him: obsession, perfectionism, and power. It helps a great deal that he brings along several of his most accomplished collaborators, including cinematographer Erik Messerschmidt ('Gone Girl'), editor Kirk Baxter ('The Social Network'), and even Trent Reznor & Atticus Ross to handle the score. On a technical level, 'The Killer' hums like few films of its type in recent years just because of the pedigree of the team behind it. One senses they all have the same perfectionism as the notoriously detailed filmmaker, and this is the kind of production that rewards that sense of detail. It’s not a film that should be rough around the edges -- it succeeds because it’s as finely tuned as one of The Killer’s jobs."
Brian Tallerico,
"Throughout, Fincher’s careful pacing and austere attention to detail are used to emphasize the unreality of 'The Killer''s story, its absurdist tone proving an ideal counterpoint to the tightly wound tension that’s heightened as ever by Trent Reznor and Atticus Ross’s throbbing score. It’s a masterful balancing act, as the director dabbles in the pleasures of genre without ever allowing this outlandish scenario to be treated with more respect than it deserves."
David Robb, Slant Magazine

"A subplot or twist might have elevated Andrew Kevin Walker’s script above speech bubbles, but a shadowy fight set-piece, Erik Messerschmidt’s cinematography, and Trent Reznor and Atticus Ross’s score make for sleek entertainment."
Tara Brady, The Irish Times 
"Aesthetically, Oscar-winning 'Mank' director of photography Erik Messerschmidt marks another less fruitful collaboration for Fincher, with the film’s cinematography feeding into the classic references the director aims to evoke without much flair in the tailing of this quiet, deadly predator. Similarly, 'The Social Network' duo Atticus Ross and Trent Reznor pen a moody score that unfortunately plays second fiddle to a soundtrack much more interested in the easily recognizable beats of the aforementioned Morrisey/Marr group and English trip-hop band Portishead."
Rafaela Sales Ross, The Playlist
"'The Killer' re-teams Fincher with 'Seven' screenwriter Andrew Kevin Walker, and it marks a seeming return to the type of dark thrillers on which he first cut his teeth to great success. Much like Fincher’s previous films, 'The Killer' is meticulous in its assemblage. Kirk Baxter’s editing is assured, and the movie hums and throbs with a knotty energy that in its best moments abets its protagonist’s steely determination. Fincher augments Atticus Ross and Trent Reznor’s atonal score and some disconcerting urban sound design work from Ren Klyce with a roster of songs from The Smiths, which are featured as his assassin’s soundtrack of choice."
Brent Simon, The Onion AV Club 
"Interludes of water imagery and the breaking surface of the ocean do their unspoken part, even if it’s become something of a filmic cliché in conveying someone’s between-worlds mind-set. Thankfully, Yves Cape’s cinematography is resplendent enough in capturing the transformative scenery to allow for the occasional impressionistic dollop of blue, tranquil gurgling. Jon Balke’s score is a spare accompaniment that knows when to italicize the unease and when to color in the serenity."
Robert Abele, Los Angeles Times 
NYAD - Alexandre Desplat
"This is all perfectly complimented by the score from Alexandre Desplat. This story is about triumph and exceeding expectations and the composer expertly evoke this in the viewer whenever a swimming sequence takes place. From Nyad's most terrifying encounters in the water (like an unnerving jellyfish event) to her being just a few miles away from getting to Florida's shore, the score accompanies these shots perfectly, with pauses now and then to gain momentum. 'Nyad' may use the well-known formula of the underdog eventually proving everyone wrong, but it doesn't feel that formulaic much due to the teamwork on screen and behind the scenes in this film. With Bening and Foster making strong leads and Chin and Vasarhelyi tapping into their partnership as co-directors, this Netflix original deserves its praise."
Isabella Soares, Collider 
“Nyad” often looks fantastic when Nyad battles the sea but disappointingly flat when chronicling her story on land. It’s head-scratching since the cinematographer is Claudio Miranda of “Life of Pi” and “Top Gun: Maverick” fame. Vasarhelyi and Chin have better luck collaborating with composer Alexandre Desplat, yet another memorable score, and editor Christopher Tellefsen, who does his best to make their mixing of natural and dramatic footage work.
Gregory Ellwood, The Playlist 

THE PERSIAN VERSION - Rostam Batmanglij 
"It’s sentimental, to be sure, and exuberant. (Yes, every party needs some version of the Electric Slide, and Rostam Batmanglij’s score, and his credit-remix of that girl power anthem, is a hoot.) But blink and you’ll miss the glance between Shirin and little Leila (Chiara Stella), the one that speaks to a connection that may yet salvage a mother-daughter bond -- the one that insists that wanting to have fun can be revolutionary."
Lisa Kennedy, Variety 

PRISCILLA - Phoenix, Son of Raphael

"By turns dreamy and dark-edged, it’s a twisted fairy tale that begins with a chaste kiss in a bedroom and ends with Priscilla locked in a tower of sorts, and Coppola tells it with unobtrusive flair. There’s none of 'Marie Antionette''s postmodern edge in its treatment of period, as if the filmmaker is mindful of distracting from her subject. Her trademark anachronistic soundtrack choices and Phoenix’s score blend seamlessly in with ’60s tunes. (The owners of Elvis’s music didn’t grant permission to use his songs.)"
Phil de Semlyen, Time Out
"Music by French synth-pop band Phoenix fits with Coppola’s firm command of mood in ways that recall the Air soundtrack for 'The Virgin Suicides,' further enhanced by a multitude of sharp song choices. The use of Dolly Parton’s original 'I Will Always Love You' as Priscilla makes her exit is beautiful."
David Rooney, The Hollywood Reporter
SPEAK NO EVIL - Sune “Køter” Kølster 

"The worst is so much more unsettling and terrifying than you can even imagine. Directed by Tafdrup, who co-wrote the screenplay alongside Mads Tafdrup, 'Speak No Evil' fits perfectly alongside the likes of Ari Aster‘s 'Hereditary' and 'Midsommar.' This isn’t a film filled with jump scares and gallons of blood. Instead, 'Speak No Evil' is a feature that will get under your skin, clawing its way deeper each minute -- just like the sparse but ominous score from Sune 'Køter' Kølste [sic], which assaults the audience more and more as the film progresses."
Charles Barfield, The Playlist 
"And while the clues of impending horror emerge long before this episode of camaraderie -- signaled by Sune Kølster’s unnerving orchestral score from the opening frames -- nothing can fully prepare you for the appalling dark places 'Speak No Evil' is headed to." 
Carlos Aguilar, 

"Since 'Speak No Evil' is a horror film, at least as indicated by the ominous music over the opening frames, it’s apparent as soon as those words are uttered that the worst will indeed happen. Despite their overwhelming generosity (or maybe because of it), there’s something faintly off about Patrick and Karin, a suspicion that only increases once Bjørn, Louise, and their preteen daughter, Agnes (Liva Forsberg), arrive at their shabby rural abode. Patrick and Karin seem almost too happy to have guests, and as the weekend progresses, they display a sense of familiarity that slowly unsettles Bjørn and Louise. Meanwhile, the Dutch couple’s young son, Abel (Marius Damslev), who’s afflicted with a condition that caused him to be born without a tongue, is given to crying fits that are casually dismissed by his parents."
Mark Hanson, Slant Magazine 
"Tafdrup’s clever use of music adds a sonic dissonance to the most seemingly benign moments in the film. An ominous drone will reach its crescendo as we look out onto a breathtaking Tuscan valley, or as Louise and Bjørn chat with friends in their living room. At one point, the typical horror soundtrack ramps up as the crowd breaks into applause at Agnes’ elementary school concert, as if to indicate some sort of menace lurking beneath the pleasant surroundings. In fact, the menace is Bjørn’s boredom, and his unwillingness to second guess the Dutch couple’s intentions. 'I think perhaps it would be a little impolite to decline,' Bjørn says to a dubious Louise at dinner."
Susannah Gruder, IndieWire 

"For a while it’s not entirely clear where 'Speak No Evil' is going, although the ominous music, conspicuous title and chilly cinematography certainly point toward a dire destination. There’s more than a whiff of both Michael Haneke and Ruben Östlund to the proceedings, except the characters never emerge as fully as they do in the best of those filmmakers’ works."
Geoff Berkshire, Los Angeles Times 
"A grim final destination is all the more upsetting because the over-the-top melodrama of Sune Kolst’s orchestral score, applied straightaway to a simple opening shot of a car driving down a road at night, suggests we’re in store for an outlandish black comedy. (In press materials the director does describe it as a 'satirical horror movie,' something spectators may well argue with.) That expectation seems reasonable for quite a while, as Danes Louise (Sidsel Siem Koch) and Bjorn (Morten Burian) meet the Dutch pair Patrick (Fedja van Huet) and Karin (Karina Smulders) at a Tuscan resort villa. The couples are about the same age, as are their respective children, Agnes (Liva Forsberg) and the rather withdrawn Abel (Marius Damslev). By the end of their stay, the two nuclear units are spending all their time together, with Bjorn particularly drawn to uninhibited Patrick’s friendship. In addition to Kolste’s original score, there is key deployment of a Monteverdi choral chamber piece that was also prominently placed in Agnes Jaoui’s fine 2004 'Look at Me' -- a movie as warmly redemptive as this one is icily ruthless."
Dennis Harvey, Variety 

"Tafdrup, who co-wrote this third feature with his brother Mads Tafdrup, opens with a foreboding taste of what’s to come as the headlights of a car drill a tunnel through a darkened woodland road, instantly stoking fear for the two passengers pulled from the vehicle. Sune 'Køter' Kølste’s [sic] score is almost comically malevolent, even more so when its jagged discordance is heard against tranquil settings like a swimming pool in sun-kissed Italy. That subversive device of slathering ominous music over benign images cranks up the dread throughout. While the psychotic nastiness here is a much more slow-burn affair, there are frequent hints of the influence of Michael Haneke’s original Funny Games. The degree of sadism manifested in Patrick’s violence and Karin’s icy calm makes the climactic action play like arthouse torture porn -- perhaps with less substance than meets the eye. But strong performances from the four leads, plus the film’s unsettling visuals and crafty use of score, sound and strategic silence make it both a tough watch and impossible to look away from. Seeing Bjørn and Louise’s faces dissolve from passive uneasiness to abject terror is bone-chilling stuff."
David Rooney, The Hollywood Reporter 


Screenings of older films in Los Angeles-area theaters.

November 3
BIRDY (Peter Gabriel) [Los Feliz 3]
DUNE (Toto) [Alamo Drafthouse]
KILL BILL VOL. 1 (RZA) [New Beverly]
PAN'S LABYRINTH (Javier Navarrete) [Vidiots] 
PERFECT BLUE (Masahiro Ikumi) [Vidiots]
PRINCE OF DARKNESS (John Carpenter, Alan Howarth) [Los Feliz 3]
ROSEMARY'S BABY (Christopher Komeda) [Nuart]
THE SHINING (Wendy Carlos, Rachel Elkind) [Vidiots]
TEOREMA (Ennio Morricone), FISTS IN THE POCKET (Ennio Morricone) [Academy Museum]
TOUCH OF EVIL (Henry Mancini), THE LADY FROM SHANGHAI (Heinz Roemheld) [New Beverly]

November 4
ADAPTATION (Carter Burwell) [Alamo Drafthouse]
BLOW OUT (Pino Donaggio) [Alamo Drafthouse]
COCO (Michael Giacchino) [Vidiots]
CRUISING (Jack Nitzsche) [Los Feliz 3]
DUNE (Toto) [Alamo Drafthouse]
ELECTION (Rolfe Kent) [Vidiots]
THE GOLD RUSH (Charles Chaplin) [New Beverly]
KIKI'S DELIVERY SERVICE (Joe Hisaishi) [Alamo Drafthouse]
NOWHERE [Landmark Westwood]
PAPRIKA (Susumu Hirasawa) [BrainDead Studios]
ROAD HOUSE (Michael Kamen) [Vidiots]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
TENACIOUS D IN THE PICK OF DESTINY (Andrew Gross, John King) [New Beverly]
THAT SPLENDID NOVEMBER (Ennio Morricone) [Academy Museum]
TOUCH OF EVIL (Henry Mancini), THE LADY FROM SHANGHAI (Heinz Roemheld) [New Beverly]
WHERE THE WILD THINGS ARE (Carter Burwell) [Academy Museum]
XANADU (Barry DeVorzon, John Farrar, Jeff Lynne) [Vidiots]

November 5
AGUIRRE, THE WRATH OF GOD (Popol Vuh) [Los Feliz 3]
BLOW OUT (Pino Donaggio) [Alamo Drafthouse] 
DOUBLE INDEMNITY (Miklos Rozsa) [Academy Museum]
THE GOLD RUSH (Charles Chaplin) [New Beverly]
I AM CUBA (Carlos Farinas) [Los Feliz 3]
KIKI'S DELIVERY SERVICE (Joe Hisaishi) [Alamo Drafthouse]
A POEM IS A NAKED PERSON [BrainDead Studios]
THE SIXTH SENSE (James Newton Howard) [BrainDead Studios]
TOUCH OF EVIL (Henry Mancini), THE LADY FROM SHANGHAI (Heinz Roemheld) [New Beverly]
TROLLS (Christophe Beck), TROLLS WORLD TOUR (Theodore Shapiro) [Aero] 
THE VIRGIN SUICIDES (Air) [BrainDead Studios]

November 6
ADAPTATION (Carter Burwell) [Alamo Drafthouse]
BLOW OUT (Pino Donaggio) [Alamo Drafthouse]  
DUNE (Toto) [Alamo Drafthouse] 
HALLOWEEN (Tyler Bates) [Los Feliz 3]
JURASSIC PARK (John Williams) [Alamo Drafthouse]

November 7
BLOW OUT (Pino Donaggio) [Alamo Drafthouse]
DUNE (Toto) [Alamo Drafthouse]  
THE SEVENTH SEAL (Erik Nordgren), BILL & TED'S BOGUS JOURNEY (David Newman) [New Beverly]

November 8
ADAPTATION (Carter Burwell) [Alamo Drafthouse] 
ARIEL [Los Feliz 3]
BLOW OUT (Pino Donaggio) [Alamo Drafthouse]
DAZED AND CONFUSED [Alamo Drafthouse]
JURASSIC PARK (John Williams) [Alamo Drafthouse] 
THE PILLOW BOOK [BrainDead Studios]
THE SEVENTH SEAL (Erik Nordgren), BILL & TED'S BOGUS JOURNEY (David Newman) [New Beverly]
Y TU MAMA TAMBIEN [Academy Museum]

November 9
SACCO AND VANZETTI (Ennio Morricone) [Academy Museum[
THE SEVENTH SEAL (Erik Nordgren), BILL & TED'S BOGUS JOURNEY (David Newman) [New Beverly]
THE SPIRIT OF THE BEEHIVE (Luis de Pablo) [Aero]

November 10
ALIEN (Jerry Goldsmith) [Egyptian]
CHARLIE'S ANGELS: FULL THROTTLE (Edward Shearmur) [New Beverly]
CHILDREN OF MEN (John Tavener) [Nuart]
THE LONG GOODBYE (John Williams) [Alamo Drafthouse]
MESSIAH OF EVIL (Phillan Bishop) [New Beverly]
PLAYTIME (Frances Lemarque) [Egyptian]
PIXOTE (John Neschling) [Los Feliz 3]
THE ROOM (Mladen Milicevic) [Landmark Westwood]
TWO MULES FOR SISTER SARA (Ennio Morricone) [Academy Museum]

November 11
ALPHAVILLE (Paul Misraki) [Egyptian]
AMERICAN PSYCHO (John Cale) [Vidiots]
BOOGIE NIGHTS (Michael Penn) [Egyptian]
FINDING OHANA (Joseph Trapanese) [Academy Museum]
GHOST WORLD (David Kitay) [Vidiots]
INTO THE MOUTH OF MADNESS (John Carpenter, Jim Lang) [New Beverly]
MESSIAH OF EVIL (Phillan Bishop) [New Beverly]
MONSTER (BT) [Aero] 
1900 (Ennio Morricone) [Academy Museum]
PIT AND THE PENDULUM (Les Baxter) [Los Feliz 3]
THE RED SHOES (Brian Easdale) [BrainDead Studios]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE ROOM (Mladen Milicevic) [Landmark Westwood]
THE SECRET OF NIMH (Jerry Goldsmith) [Vidiots]
SIMPLY IRRESISTIBLE (Gil Goldstein), 3 WOMEN [BrainDead Studios]
SOMETHING WILD (John Cale, Laurie Anderson) [Vidiots]

November 12
BABE: PIG IN THE CITY (Nigel Westlake) [UCLA/Hammer]
GILDA [Vidiots]
LAURA (David Raksin) [Academy Museum]
LOST IN TRANSLATION (Kevin Shields) [BrainDead Studios]
MESSIAH OF EVIL (Phillan Bishop) [New Beverly]
THE MIST (Mark Isham) [Alamo Drafthouse]
ONE HUNDRED AND ONE DALMATIANS (George Bruns) [New Beverly] 
SCOTT PILGRIM VS. THE WORLD (Nigel Godrich) [Egyptian]
SHORT TERM 12 (Joel P. West) [UCLA/Hammer]
SPY KIDS (John Debney, Danny Elfman, Harry Gregson-Williams, Los Lobos, Robert Rodgriguez) [Vidiots]
THE TIME MACHINE (Russell Garcia) [Los Feliz 3]
TRAINING DAY (Mark Mancina) [Vidiots]
VICTIMS OF SIN (Antonio Diaz Conde) [Los Feliz 3]
THE WEDDING SINGER (Teddy Castellucci) [Alamo Drafthouse]
WEST SIDE STORY  (Leonard Bernstein, Saul Chaplin, Johnny Green, Sid Ramin, Irwin Kostal) [Egyptian]
YOUNG SOUL REBELS (Simon Boswell) [Academy Museum]


Heard: Only the Brave (Trapanese); Adrift (Bertelmann); Skyscraper (Jablonsky); Arctic (Trapanese); Fukushima 50 (Iwashiro); Moonfall (Wander/Kloser); A Midsummer Night's Dream (Korngold); The Getaway (Fielding); As You Like It (Walton); Henry V (Walton); Ghost Dog: The Way of the Samurai (RZA); Hamlet (Walton); Randy Newman (Newman); Macbeth (Ibert)

Read: Brokenclaw, by John Gardner

Seen: Cure; Pulse [2001]; Priscilla; The Killer [2023]; Five Nights at Freddy's; Dracula [1931]; The Hateful Eight; Yi Yi; Freaks; Mark of the Vampire; Wings of Desire

Watched: Kolchak: The Night Stalker ("The Spanish Moss Murders"); Silicon Valley ("Meinertzhagen's Haversack," "Maleant Data Systems Solutions"); Legion ("Chapter 4"); 30 Rock ("Dealbreakers Talk Show #0001")

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