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The Academy of Motion Picture Arts and Sciences has announced shortlists for the nominations in ten categories, including the two music categories:

MUSIC (ORIGINAL SCORE)
 
“American Fiction” - Laura Karpman
“American Symphony” - Jon Batiste
“Barbie” - Mark Ronson, Andrew Wyatt
“The Boy and the Heron” - Joe Hisaishi
“The Color Purple” - Kris Bowers
“Elemental” - Thomas Newman
“The Holdovers” - Mark Orton
“Indiana Jones and the Dial of Destiny” - John Williams
“Killers of the Flower Moon” - Robbie Robertson
“Oppenheimer” - Ludwig Goransson
“Poor Things” - Jerskin Fendrix
“Saltburn” - Anthony Willis
“Society of the Snow” - Michael Giacchino
“Spider-Man: Across the Spider-Verse” - Daniel Pemberton
“The Zone of Interest” - Mica Levi
 
MUSIC (ORIGINAL SONG)
 
“It Never Went Away” from “American Symphony”
“Dear Alien (Who Art In Heaven)” from “Asteroid City”
“Dance The Night” from “Barbie”
“I’m Just Ken” from “Barbie”
“What Was I Made For?” from “Barbie”
“Keep It Movin’” from “The Color Purple”
“Superpower (I)” from “The Color Purple”
“The Fire Inside” from “Flamin’ Hot”
“High Life” from “Flora and Son”
“Meet In The Middle” from “Flora and Son”
“Can’t Catch Me Now” from “The Hunger Games: The Ballad of Songbirds & Snakes”
“Wahzhazhe (A Song For My People)” from “Killers of the Flower Moon”
“Quiet Eyes” from “Past Lives”
“Road To Freedom” from “Rustin”
“Am I Dreaming” from “Spider-Man: Across the Spider-Verse”

Shortlists for the other eight categories can be found at the bottom of this column* 


The Hollywood Foreign Press Association has announced this year's Golden Globe nominations, including the following music categories: 

BEST ORIGINAL SCORE, MOTION PICTURE 
 
THE BOY AND THE HERON - Joe Hisaishi
KILLERS OF THE FLOWER MOON - Robbie Robertson
OPPENHEIMER - Ludwig Göransson
POOR THINGS - Jerskin Fendrix
SPIDER-MAN: ACROSS THE SPIDER-VERSE - Daniel Pemberton
THE ZONE OF INTEREST - Mica Levi

BEST ORIGINAL SONG, MOTION PICTURE 
 
“ADDICTED TO ROMANCE” - She Came to Me -   Bruce Springsteen and Patti Scialfa
“DANCE THE NIGHT” - Barbie -  Caroline Ailin, Dua Lipa, Mark Ronson and Andrew Wyatt
“I’M JUST KEN” - Barbie -  Mark Ronson, Andrew Wyatt
“PEACHES” - The Super Mario Bros. Movie -  Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond, and John Spiker
“ROAD TO FREEDOM” - Rustin -  Lenny Kravitz
“WHAT WAS I MADE FOR?” - Barbie -  Billie Eilish and Finneas 

CDS AVAILABLE THIS WEEK

Bloodline
 - Ennio Morricone - Quartet
Dad
 - James Horner - Quartet 
Heidi/Jane Eyre
 - John Williams - Quartet
The House Where Evil Dwells
 - Ken Thorne - Dragon's Domain 
Lee Holdridge and His Orchestra
 - Lee Holdridge, various - Buysoundtrax 
Seance on a Wet Afternoon/Katharine Hepburn
 - John Barry - Quartet
Society of the Snow
 - Michael Giacchino - Quartet 
Tess
 - Philippe Sarde - Music Box  
Venom
 - Michael Kamen - Quartet 


IN THEATERS TODAY

All of Us Strangers - Emilie Levienaise Farrouch
Anyone But You - Este Haim, Christopher Stacey
Aquaman and the Lost Kingdom - Rupert Gregson-Williams
Freud's Last Session - Coby Brown
The Iron Claw - Richard Reed Parry
Migration - John Powell
Society of the Snow - Michael Giacchino - Score CD on Quartet


COMING SOON

January 12
Atlas
 - Ronald Stein - Kronos
Los Mercados
 - Paul Sawtell, Bert Shefter - Kronos
Missions
- Etienne Forget - Music Box
Uomini e mari
 - Francesco De Masi - Kronos
Date Unknown

The Bionic Woman: Vol. 5
 - Joe Harnell - Buysoundtrax [CD-R]
Blastfighter
 - Fabio Frizzi - Beat
The Daniel Licht Collection Vol. 2
 - Daniel Licht - Dragon's Domain [CD-R]
El Cuco
 - Diego Navarro - MovieScore Media
Gli Italiani e l'industria
 - Piero Umiliani - Kronos 
Guido & Maurizio De Angelis - Colonne Sonore Delle Serie TV Dal 1985 Al 1998
 - Guido & Maurizio De Angelis - Beat 
The Joe Harnell Collection Vol. 3 
- Joe Harnell - Five Jays [CD-R]
Piedone d'egitto
 - Guido & Maurizio De Angelis - Beat 
Plane - Marco Beltrami, Marcus Trumpp - Rambling (import)
Runaway: The Early Works of David Shire
 - David Shire - Caldera
Squadra Antimafia
 - Goblin - Beat


THIS WEEK IN FILM MUSIC HISTORY

December 22 - Alfi Kabiljo born (1935)
December 22 - Guido De Angelis born (1944)
December 22 - Michael Bacon born (1949)
December 22 - Miklos Rozsa begins recording his score to Tribute to a Bad Man (1955)
December 22 - Dominic Frontiere records his score for The Invaders episode “The Experiment” (1966)
December 22 - Fred Steiner's scores for the Star Trek episodes "By Any Other Name" and "The Omega Glory" are recorded (1967)
December 22 - Gordon Zahler died (1975)
December 22 - James Horner begins recording his score for Honey, I Shrunk the Kids (1988) 
December 22 - Joe Strummer died (2002)
December 23 - Georg Haentzschel born (1907)
December 23 - Ross Edwards born (1943)
December 23 - Daniele Amfitheatrof begins recording his score for Devil's Doorway (1949)
December 23 - Elmer Bernstein begins recording his replacement score to Saddle the Wind (1957)
December 23 - The 7th Voyage of Sinbad opens in New York (1958)
December 23 - Corey Allen Jackson born (1968)
December 23 - Walter Greene died (1983)
December 23 - Devonte Hynes born (1985)
December 23 - Georges Delerue begins recording his score for Sin of Innocence (1985)
December 23 - Jeff Alexander died (1989)
December 24 - Franz Waxman born (1906)
December 24 - Carlo Rustichelli born (1916)
December 24 - Mike Curb born (1944)
December 24 - Recording sessions begin for Hugo Friedhofer’s score for Bride of Vengeance (1948)
December 24 - Ray Colcord born (1949)
December 24 - Richard LaSalle records his score for the Land of the Giants episode “The Secret City of Limbo” (1969)
December 24 - Bernard Herrmann begins recording his score for It’s Alive (1973)
December 24 - Bernard Herrmann died (1975)
December 24 - Alec Wilder died (1980)
December 24 - Richard Rodney Bennett died (2012)
December 25 - Nathaniel Shilkret born (1889)
December 25 - Pete Rugolo born (1915)
December 25 - To Kill a Mockingbird opens in Los Angeles (1962)
December 25 - Christian Henson born (1971)
December 25 - Charles Chaplin died (1977)
December 25 - James Brown died (2006)
December 26 - Morgan Lewis born (1906)
December 26 - Albert Sendrey born (1911)
December 26 - Ira Newborn born (1949)
December 26 - Bernard Herrmann begins recording his score for 5 Fingers (1951)
December 26 - Stephen Graziano born (1954)
December 26 - Roger Neill born (1963)
December 26 - Tom Howe born (1977)
December 26 - Pablo Sorozabal died (1988)
December 26 - Curtis Mayfield died (1999)
December 27 - Oscar Levant born (1906)
December 27 - Benedetto Ghiglia born (1921)
December 27 - Victor Young begins recording his score for The Proud and Profane (1955)
December 27 - John Williams begins recording his score to The Empire Strikes Back (1979)
December 27 - Kenneth Wannberg records his score for the Twilight Zone episode “Still Life” (1985)
December 27 - Lars Erik-Larsson died (1986)
December 27 - Buxton Orr died (1997)
December 27 - Isaak Shvarts died (2009)
December 28 - Mischa Spoliansky born (1898)
December 28 - Garry Sherman born (1933)
December 28 - Captain Blood released in theaters (1935)
December 28 - Recording sessions begin for Bronislau Kaper's score to Invitation (1952)
December 28 - Richard Band born (1953)
December 28 - Alex North begins recording his score to All Fall Down (1961)
December 28 - Paul Hindemith died (1963)
December 28 - Rahman Altin born (1971) 

DID THEY MENTION THE MUSIC?

BAD AXE - Stephanie Kowal
 
"So it’s a little movie, or at least an intimate movie, and some scenes will make you laugh in recognition and more scenes will make you a bit sniffly, both in happiness and sadness. I’d have felt those emotions even without an overbearing score that leaves no reaction to chance. It’s not a love letter to a Michigan town, but it’s a love letter to overcoming adversity with the help of family, of business, of identity."
 
Daniel Fienberg, The Hollywood Reporter 

LEAVE THE WORLD BEHIND - Mac Quayle

"I also didn’t have much expectation for a film released by Netflix, who, despite David Fincher’s recent insistence has the best 'quality control' out of all the streamers producing original content, has abysmal quality control and tends to put their money into the fakest movies imaginable -- especially, I feel, when it comes to their action/thrillers (ironically, not including Fincher’s own recent Netflix production, 'The Killer'). Yet what I got from Esmail’s sophomore feature (his first since 2014’s ill-received rom-com 'Comet'), was akin to sci-fi blockbusters of yesteryear with a light, practically Spielbergian touch and sense of adventure, bolstered by a score from Mac Quayle that imbues wonder and intrigue and an excruciating acceleration of tension. Suddenly, the apocalypse felt fun -- at least, to watch on a movie screen."
 
Brianna Zigler, Paste Magazine 
 
"To talk too much about what happens in 'Leave the World Behind' risks diluting the adrenaline of experiencing the movie. Esmail borrows from the playbook of popular series like 'The Twilight Zone' -- Mac Quayle’s dark soundtrack is an immediate throwback -- as well as 'Black Mirror,' but only so much as to convey the haunting dread of knowing something bizarre is happening and we don’t know or understand what."
 
Kristen Lopez, The Wrap

"Technically the feature is extremely well crafted, with striking widescreen cinematography by Tod Campbell and expert production design -- a mixture of elegance and decay -- by Anastasia White. However, the overbearing score by Mac Quayle, who may be best known for his work on 'American Horror Story,' too often crushes any subtlety that might have existed in the script. You come away depressed but not entirely convinced by this film’s dire warnings about the disintegration of a divided America."
 
Stephen Farber, The Hollywood Reporter 
 
WISH - Julia Michaels, Benjamin Rice (songs); Dave Metzger (score)
 
"For all the film’s adoration of the Disney Company, and it’s back to basic approach of celebrating a great villain (and, boy, is this movie’s villain amazing), Jennifer Lee and Allison Moore’s screenplay often feels underwritten, with characters who are delightful but lacking that wee bit of verisimilitude to make them jump off the page. Make no mistake, “Wish” is a darling film with fantastic music and amazing voice performances, but the story does feel a bit like a house of cards waiting to be poked. The two biggest things that make 'Wish' so enchanting are its animation and its music, with the latter giving us some of the best Disney songs since 'Frozen.' Asha’s title song 'Wish' is a rousing ballad that is this year’s 'Let It Go' while even her opening song, 'Welcome to Rosas,' has a Latin vibe reminiscent of 'Encanto.' But it’s really King Magnifico’s villain song, 'This is the Thanks I Get,' that is the true bop. Julia Michaels’ lyrics create a frustrated mood on par with some of the great villain songs of the ’90s, especially 'Be Prepared' from 'The Lion King.' Pine’s voice, like De Bose’s, conveys such passion that will leave you singing the song for hours."
 
Kristen Lopez, The Wrap 

"Still, it might have worked, at least a little, if the songs weren’t so dull. Not unlike 'Frozen,' the music of 'Wish' does have a Broadway-ready feel -- particularly one climactic piece whose performance already seems designed for the stage, not the screen -- but there’s a hollowness and predictability to the tunes and lyrics. Again, it feels like a series of imitations, at times combining the rat-tat-tat wordplay of Lin-Manuel Miranda ('Encanto,' 'Moana') and the show-tune-y self-awareness of Robert and Kristen Lopez ('Frozen') but with none of their actual charm or spark. The music in 'Wish' seems to have been conceived and written not to advance the story or provide beauty but to fill an industrial need. (There is one exception, 'Knowing What I Know Now,' a rollicking, drum-drenched anthem performed by Asha and her friends against multicolored dancing shadow puppets of Magnifico that gives us a glimpse of the far more visually and sonically exciting movie 'Wish' could have been.)"
 
Bilge Ebiri, New York
 
"The songs are also a mixed bag. DeBose makes a wonderful addition to the Disney princess (or not-quite-princess) roster: Her theme -- an empowering anthem á la 'Let It Go' -- is beautiful, and the choice to have Asha sing it twice (once alone, and once as part of a collective) is charming and clever. Other musical numbers, such as Magnifico’s 'The Thanks I Get,' are lackluster, the bouncy beat painfully reminiscent of generic radio fodder like Imagine Dragons’ 'On Top of the World' rather than the musical theater sensibilities of your classic Disney villain song."
 
Ursula Munoz S., Paste Magazine 
 
"Oddly -- and rather fascinatingly -- this is a film about a spiritual revolution. Can Asha, a humanist, convince the islanders to reject the man in the embroidered robe who preaches that he alone is a conduit for miracles? In 'I’m a Star,' a jaunty anthem aimed squarely at theater camps, the songwriters Benjamin Rice and Julia Michaels tout the awesome power of nature (and Disney stock) with this lyrical clunker: 'When it comes to the universe, we’re all shareholders.' The standout tune, 'Knowing What I Know Now,' is propelled by heavy, marvelous percussion; the rest are earnest and generic, although DeBose’s staccato cadence does its best to puncture the saccharine. Even Magnifico’s peevish number, 'This Is the Thanks I Get?!,' is overstuffed with chipper doo-doo-doos and might, to the cynical, sound like a fitting birthday song for the hard-working media conglomerate: 'I give and give and give and give,' he huffs. 'You’d think they’d all be content.'"
 
Amy Nicholson, New York Times 
 
"'Wish' has an allegorical undercurrent about powerful men holding the dreams of the lower classes hostage with vague promises of future prosperity and how it dehumanizes them. But all that plays second fiddle to talking animals, butt jokes, and maybe the least inspiring collection of trademark Disney songs since the dark days of 'Brother Bear' and 'Home on the Range.' That will be enough for parents to placate children for the foreseeable further once the film hits Disney+, and granted, Disney of all companies probably doesn’t want to get too deep in the weeds on exploring class inequality, but it’s not like the film offers much to invest in otherwise."
 
Justin Clark, Slant Magazine 
 
"The songs are similarly all indebted to better songs that came before them, though some of them do extend beyond just the Disney canon. The 'Welcome to Rosas' introduction song, for instance, just sounds like a lesser version of 'Encanto''s fast-paced family meet-and-greet. The group number 'Knowing What We Know Now' sounds eerily like 'Why We Build the Wall' from 'Hadestown,' even though it has completely different connotations. The exception is perhaps 'This Wish,' the movie’s big 'I Want' song, where DeBose lets her voice soar. But that can’t make up for the egregious 'I’m a Star,' a didactic group number with talking animals and plants that feels like a 'Family Guy' cutaway making fun of Disney movies. It also contains the line 'When it comes to the universe, we’re all shareholders,' which really just emphasizes that this movie was designed for maximum return on Disney’s investment."
 
Petrana Radulovic, Polygon
 
"Despite the passive nature of his foul(ish) scheme, Magnifico is Disney’s best villain since 'Tangled.' The screenplay, by Allison Moore and 'Frozen''s Jennifer Lee, makes him a populist type who’ll be all-too familiar these days. The 'Star Trek' actor gives him a whiny entitlement that gets full airing in his big musical number ‘This is the Thanks I Get?!’, one of a handful of strong tunes by songwriters Julia Michaels and Benjamin Rice."
 
Phil de Semlyen, Time Out 

"'Wish' is a mess, but there are ways it could be called an innovative one. In honor of the Disney centennial, co-directors Fawn Veerasunthorn and Chris Buck conceived Wish as an homage to the vintage 2-D look of the hand-painted Walt Disney classics, and as a result, the backgrounds and scenic design have the stippled look of watercolors painted on rough canvas. Unlike the Broadway-ready tunes of 'Frozen' or 'The Little Mermaid,' the song score by pop star Julia Michaels and collaborator Benjamin Rice is aimed squarely at the Soundscan and Billboard charts, a trend begun by 'Frozen 2' and fully embraced here. Most significantly, 'Wish' is a Disney fairytale set in a world that isn’t derived from a fairy tale source. The lore here is adapted from old Disney product, and the fairy tale references are to movies based on folk tales, not to the folk tales themselves.
 
Ray Greene, The Onion AV Club
 
"So where does all this very intentional Disney magic get us? Not as far as when the creators behind Disney films allow the magic to come organically from its characters. I feel like anyone with an annual pass to one of the parks will flip for a movie that my 12-year-old correctly noted was basically a commercial for the Disney 100 anniversary event still unfolding, but there’s still a sense that this is all not just manufactured magic but hollow magic, too. A couple of very strong musical numbers ultimately get 'Wish' off the ground after a rocky opening act, but the biggest problem here is that the film ends up being something true magic can never be: forgettable. The songs by Dave Metzger, Julia Michaels, and Benjamin Rice likely won’t produce a hit on the level of 'We Don’t Talk About Bruno,' but there are a couple of numbers that work thanks to clever musical composition and thematic thrust. The empowerment song in the woods after finding the wishing star is a bit muddled in storytelling -- is she the magical star, or has she been gifted something? -- but it’s playful and engaging in a way the movie is too rarely allowed to be. The film also gets a needed boost near the end from another group number in which Asha’s allies sing about what they know now. I could see both of these being a part of a Magic Kingdom stage show before Christmas."
 
Brian Tallerico, RogerEbert.com 

"Star’s own powers are a little fuzzy, but the first thing it does is spread stardust all over Asha, Valentino, and a whole mess of woodland flora and fauna (mushrooms, trees, rabbits, deer, owls, bears, and more -- oh my!), leading to a truly psychedelic and mildly hallucinogenic song-and-dance that, best we can tell, will do wonders to teach kiddos we’re all made of literal star-stuff. (It will also, we’re guessing, push a few traumatized tykes into an early interest in veganism.) 'I’m a Star' is one of the best musical offerings of 'Wish,' which toggles between new classic and forgettable ditty with startling regularity (anything and everything Pine sings is memorable, just as anything and everything DeBose sings at least sounds awesome)."
 
Kate Erbland, IndieWire 

"It’s the classic Disney model: Girl feels stuck, girl wants more, and girl fights her way to her happy ending. However, it feels like the studio has lost its vision, fumbling just about every step of the way. With 'Wish,' the story, the animation, and the songs are all a letdown, a complete misstep from beginning to end, creating a finished product that ultimately feels flat and lifeless. 'Wish' also has a huge villain problem: King Magnifico is as dull as they come, with seemingly no motivation for his evil turn. We’re told from the beginning that the king is honorable, a good man whose intentions are best for his people, but he’s so easily swayed to the darkness when Asha questions him one time. His wife, Queen Amaya (Cabral), doesn’t even feel pain once she sees he’s turning evil, which is an odd choice that feeds into the film’s lack of heart. There’s no motive, and even his big villain song is tonally strange -- a hoppy, dance-y tune where he claims people should be nicer to him because he 'pays their rent.' Gone are the days when Disney was brave enough to make villains like Frollo from 'The Hunchback of Notre Dame' or sinister souls like Ursula from 'The Little Mermaid.' It’s as if Disney is afraid of making a villain that’s truly terrifying and despicable now."
 
Jenny Nulf, The Austin Chronicle

"One of the biggest strengths of 'Wish' is the voice performances. Pine is having a good deal of fun as King Magnifico, playing the first straightforward Disney villain in an animated film in quite some time. Like the best villains, his perspective is somewhat understandable, but ultimately goes overboard. Similarly, DeBose’s performance brings this character and these songs to life in a way that this poor script and forgettable music simply can’t. The supporting cast is also quite impressive, as Asha’s group of seven friends -- mimicking the seven dwarfs -- includes Harvey Guillén, Evan Peters, and Ramy Youssef, and Disney stalwart Alan Tudyk is reliably fun as Asha’s goat Valentino, who eventually is granted the ability to talk by the star. But for a Disney musical, the songs in Wish are unremarkable, and it’s hard to imagine anyone leaving the theater humming any of these tunes. With songs by Julia Michaels and Benjamin Rice, each of these tracks sounds like they’re just a few degrees away from being solid entries into the Disney canon. DeBose’s 'This Wish,' should have been a rousing version of the 'I Want' song, but it just falls flat, while Pine’s 'This Is the Thanks I Get?!' only has any charm to it because Pine is behind the character. Especially coming off the huge success of 'Encanto''s soundtrack, 'Wish' is a complete musical disappointment."
 
Ross Bomaime, Collider 
 
"Yet it’s not as if there’s a lot of texture to the fight. 'Frozen' and 'Encanto,' the Disney animated landmarks of the last decade, both featured heroines tussling with their own natures. In 'Wish,' the lines are too cleanly drawn to tap our imaginations. The songs, by Julia Michaels and Benjamin Rice, are catchy, though in a consumable way that makes it hard not to notice how much they’re imitating the Lin-Manuel Miranda school of verbal aggression wrapped in hooks. Sorry, but there’s no 'We Don’t Talk About Bruno' or 'Let It Go' here. That may sound like a high bar, but it was Disney, with the quality of those songs (and those films), that raised the bar. The strategy behind 'Wish' seems to be: If we do an homage to enchantment, the audience will be enchanted. True magic, however, can’t be recycled."
 
Owen Gleiberman, Variety 

"Asha’s meeting with Magnifico starts off on promising ground. The two share stories of loss -- Asha’s father died when she was young, and Magnifico had his world taken from him under tragic, but vague, circumstances. They also duet on 'At All Costs,' one of the film’s best songs. DeBose is a boon to 'Wish,' granting depth and real emotion to every number in which she is featured. There are nods and gestures to the company’s history here that will delight longtime fans and a narrative aimed to empower, à la recent Disney films like 'Frozen' and 'Raya and the Last Dragon.' (The screenplay is written by 'Frozen''s Jennifer Lee and Allison Moore.) A hybrid animation style (a mix of 2D and 3D) blends Disney’s glittering past with its present, though it lacks sophistication and meticulousness. The music -- Julia Michaels and Benjamin Rice penned seven original songs and Dave Metzger composed the score -- attempts a similar type of fusion, mixing infectious contemporary pop beats with lyrics honoring singalong-friendly roots. The diverse cast deserves praise: Asha’s community is populated by a sturdy team of voice actors. Pine’s entertainingly performed Magnifico is the past -- a self-absorbed king whose fears propel him to cling to power and strip his constituents of their freedom. In 'This Is the Thanks I Get,' sung by Pine, one can hear the voice of every aggrieved adult offended by the fearlessness of younger generations. But the story is skittish when it comes to his motivations, which ultimately does the film a disservice because it makes his turn toward evil feel too abrupt and random. At the heart of 'Wish' is a topical and winning formula, so it’s a shame that it’s squandered for the sake of a lukewarm, ultimately safe conclusion. The film co-opts and parades a rebelliousness it doesn’t want to commit to: Good wins, but only within the existing structure. If our continuously unprecedented times have taught us any lessons, it’s that the present-day order will need nothing less than a total overhaul. If the last number of 'Wish'  -- a powerful reprise of 'This Wish' -- tells us anything, it’s that Asha and her people know that, too."
 
Lovia Gyarkye, The Hollywood Reporter 

THE NEXT TEN DAYS IN L.A.

Screenings of older films in Los Angeles-area theaters.

December 22
BAD SANTA (David Kitay) [Los Feliz 3]
COOLEY HIGH (Freddie Perren) [Academy Museum]
DR. SEUSS' THE GRINCH (Danny Elfman) [Alamo Drafthouse]
EDWARD SCISSORHANDS (Danny Elfman) [Nuart]
EYES WIDE SHUT (Jocelyn Pook) [New Beverly]
IT'S A MAD, MAD, MAD, MAD WORLD (Ernest Gold) [Egyptian]
IT'S A WONDERFUL LIFE (Dimitri Tiomkin) [Aero]
JACKIE BROWN [New Beverly]
MIAMI VICE (John Murphy) [Alamo Drafthouse]
THE NIGHT OF THE HUNTER (Walter Schumann) [Los Feliz 3]
PROMETHEUS (Marc Streitenfeld) [New Beverly]
THE RAPTURE (Thomas Newman) [BrainDead Studios]
TANGERINE [Los Feliz 3]
THIEF (Tangerine Dream) [Alamo Drafthouse]
TRAIN TO BUSAN (Young-gyu Jang) [Vidiots]
WILLIAM SHAKESPEARE'S ROMEO + JULIET (Craig Armstrong, Nellie Hooper, Marius De Vries) [Vidiots]

December 23
ARTHUR CHRISTMAS (Harry Gregson-Williams) [New Beverly]
BATMAN RETURNS (Danny Elfman) [Egyptian]
BLACK CHRISTMAS (Carl Zittrer) [Vidiots]
CROSSING DELANCEY (Paul Chihara) [Los Feliz 3]
DIE HARD (Michael Kamen) [Egyptian]
DOWNFALL (Stephan Zacharias) [BrainDead Studios]
ELF (John Debney) [Alamo Drafthouse]
ELF (John Debney) [Vidiots]
EYES WIDE SHUT (Jocelyn Pook) [New Beverly]
EYES WIDE SHUT (Jocelyn Pook) [Vidiots]
HOLIDAY AFFAIR (Roy Webb), THE SHOP AROUND THE CORNER (Frederick Hollander) [Aero]
HOME ALONE (John Williams) [Los Feliz 3]
IT'S A WONDERFUL LIFE (Dimitri Tiomkin) [Alamo Drafthouse]
IT'S A WONDERFUL LIFE (Dimitri Tiomkin) [Egyptian]
JINGLE ALL THE WAY (David Newman) [Landmark Westwood]
KISS KISS BANG BANG (John Ottman) [Los Feliz 3]
MEDIUM COOL [Academy Museum]
THE MUPPET CHRISTMAS CAROL (Paul Williams, Miles Goodman) [Vidiots]
THE NIGHT OF THE HUNTER (Walter Schumann) [Los Feliz 3]
THE NUTCRACKER AND THE FOUR REALMS (James Newton Howard) [Academy Museum]
SANTA CLAUS (Antonio Diaz Conde) [Arena Cinelounge] 
THE SHINING (Wendy Carlos, Rachel Elkind) [New Beverly]
THIRST (Cho Young-wuk) [Academy Museum]
THE WAGES OF FEAR (Georges Auric) [BrainDead Studios]

December 24
THE BISHOP'S WIFE (Hugo Friedhofer) [Los Feliz 3]
DIE HARD (Michael Kamen) [New Beverly]
DIE HARD (Michael Kamen) [Vidiots]
ELF (John Debney) [Aero]
ELF (John Debney) [Alamo Drafthouse] 
IT'S A WONDERFUL LIFE (Dimitri Tiomkin) [Egyptian] 
THE NIGHT OF THE HUNTER (Walter Schumann) [Los Feliz 3]
THE POLAR EXPRESS (Alan Silvestri) [Academy Museum]
TANGERINE [Los Feliz 3]
WHITE CHRISTMAS (Irving Berlin, Joseph J. Lilley) [Egyptian]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Vidiots] 

December 25
CAROL (Carter Burwell) [Alamo Drafthouse]
THE HATEFUL EIGHT (Ennio Morricone) [New Beverly]
A NIGHT AT THE OPERA (Herbert Stothart), GO WEST [New Beverly]

December 26
BRINGING UP BABY, BALL OF FIRE (Alfred Newman) [Aero]
CHILDREN OF PARADISE (Maurice Thieret, Joseph Kosma) [New Beverly]
FEMALE TROUBLE [Vidiots]
STAR TREK: FIRST CONTACT (Jerry Goldsmith, Joel Goldsmith) [Vidiots]
THIEF (Tangerine Dream) [Alamo Drafthouse]
WINTER KILLS (Maurice Jarre) [Los Feliz 3]
A WOMAN OF PARIS (Charles Chaplin) [Los Feliz 3] 
December 27
BAD SANTA (David Kitay) [BrainDead Studios]
BROKEN FLOWERS [Los Feliz 3]
CHILDREN OF PARADISE (Maurice Thieret, Joseph Kosma) [New Beverly]
DESPICABLE ME (Pharrell Williams, Heitor Pereira) [Academy Museum]
JURASSIC PARK (John Williams) [Vidiots]
MIAMI VICE (John Murphy) [Alamo Drafthouse]
MY MAN GODFREY, THE PHILADELPHIA STORY (Franz Waxman) [Aero]
A SERIOUS MAN (Carter Burwell) [Vidiots]
A WHITE, WHITE DAY (Edmund Finnis) [Academy Museum]

December 28
AVATAR (James Horner) [Academy Museum]
GREMLINS 2: THE NEW BATCH (Jerry Goldsmith), FREAKED [New Beverly]
THE LADY EVE, TWENTIETH CENTURY [Aero]
THE LIFE AQUATIC WITH STEVE ZISSOU (Mark Mothersbaugh) [Vidiots]
RIDE WITH THE DEVIL (Mychael Danna) [Los Feliz 3]
UP (Michael Giacchino) [Academy Museum]
WINTER KILLS (Maurice Jarre) [Los Feliz 3]
ZODIAC (David Shire) [BrainDead Studios]

December 29
BRAZIL (Michael Kamen) [Nuart]
DIE HARD 2 (Michael Kamen) [New Beverly]
THE EMPIRE STRIKES BACK (John Williams) [Vidiots]
ENTERTAINMENT (Robert Donne) [BrainDead Studios]
GLADIATOR (Hans Zimmer, Lisa Gerrard) [Eyptian]
GREMLINS 2: THE NEW BATCH (Jerry Goldsmith), FREAKED [New Beverly] 
JACKIE BROWN [New Beverly]
JAWS (John Williams) [Academy Museum]
PUSS IN BOOTS: THE LAST WISH (Heitor Pereira) [Academy Museum]
RETURN OF THE JEDI (John Williams) [Vidiots]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
STAR WARS (John Williams) [Vidiots]
THE THING (Ennio Morricone) [Egyptian]
THIS IS THE END (Henry Jackman) [BrainDead Studios]
THE WIZ (Charlie Smalls, Quincy Jones) [Aero]
A WOMAN OF PARIS (Charles Chaplin) [Los Feliz 3] 

December 30
THE APARTMENT (Adolph Deutsch) [Vidiots]
THE APARTMENT (Adolph Deutsch), AFTER THE THIN MAN [New Beverly]
BEN-HUR (Miklos Rozsa) [Egyptian]
BIRTH (Alexandre Desplat) [Alamo Drafthouse]
BROKEBACK MOUNTAIN (Gustavo Santaolalla) [Los Feliz 3]
DESPICABLE ME (Pharrell Williams, Heitor Pereira) [Academy Museum]
DON'T OPEN TILL CHRISTMAS (Des Dolan) [Arena Cinelounge] 
FEAR AND LOATHING IN LAS VEGAS (Ray Cooper) [Landmark Westwood]
THE FIREMEN'S BALL (Karel Mares) [Los Feliz 3]
HIS GIRL FRIDAY [New Beverly]
JACKASS 3D [Academy Museum]
NIGHT OF THE COMET (David Richard Campbell) [Vidiots]
PHANTOM THREAD (Jonny Greenwood) [Alamo Drafthouse]
POINT BREAK (Mark Isham) [Vidiots]
RICO RI A TOA (Lyrio Panicalli) [Los Feliz 3] 
THE SACRIFICE [BrainDead Studios]
SEVEN SAMURAI (Fumio Hayasaka) [Egyptian]
STRANGE DAYS (Graeme Revell) [New Beverly]
THE SUPER MARIO BROS. MOVIE (Brian Tyler) [Aero]
24 FRAMES [BrainDead Studios]

December 31
THE APARTMENT (Adolph Deutsch) [Egyptian]
THE APARTMENT (Adolph Deutsch), AFTER THE THIN MAN [New Beverly]
FROZEN (Christophe Beck) [Academy Museum]
HIS GIRL FRIDAY [New Beverly]
PHANTOM THREAD (Jonny Greenwood) [Egyptian]
THE PHILADELPHIA STORY (Franz Waxman) [Los Feliz 3]
RAIDERS OF THE LOST ARK (John Williams), INDIANA JONES AND THE TEMPLE OF DOOM (John Williams), INDIANA JONES AND THE LAST CRUSADE (John Williams), INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (John Williaims) [Aero]
WHEN HARRY MET SALLY (Marc Shaiman) [Alamo Drafthouse]
WHEN HARRY MET SALLY (Marc Shaiman) [Vidiots]
A WOMAN OF PARIS (Charles Chaplin) [Los Feliz 3]


THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY

Heard:
The Rodgers and Hart Songbook (Vaughan); Rome (Beal); Apocalypse Now (Shire); Falling in Love Again (Dietrich); The Jerome Kern Songbook (Fitzgerald); The 4th Tenor (Lennertz); The Quintessential Billie Holiday Vol. 1 (Holiday); Round Midnight (Rondstadt)

Read: Enjoyment of Laughter, by Max Eastman

Seen: Zoot Suit; The Good, The Bad, The Weird; Poor Things; Fallen Leaves; Wonka; The Zone of Interest; The Taste of Things; Charade; The Throne; Children of Men; Snowpiercer; Rebel Moon: Part One - The Child of Fire; Chicken Run: Dawn of the Nugget; Under the Skin

Watched: Star Trek: Picard ("The Stargazer"); Bob's Burgers ("Bad Tina"); Unman, Wittering and Zigo; The Americans ("Echo")


*The rest of the 2023 Academy nomination shortlists:

ANIMATED SHORT FILM
 
“Boom”
“Eeva”
“Humo (Smoke)”
“I’m Hip”
“A Kind of Testament”
“Koerkorter (Dog Apartment)”
“Letter to a Pig”
“Ninety-Five Senses”
“Once upon a Studio”
“Our Uniform”
“Pachyderme”
“Pete”
“27”
“War Is Over! Inspired by the Music of John & Yoko”
“Wild Summon” 
 
DOCUMENTARY FEATURE FILM
 
“American Symphony”
“Apolonia, Apolonia”
“Beyond Utopia”
“Bobi Wine: The People’s President”
“Desperate Souls, Dark City and the Legend of Midnight Cowboy”
“The Eternal Memory”
“Four Daughters”
“Going to Mars: The Nikki Giovanni Project”
“In the Rearview”
“Stamped from the Beginning”
“Still: A Michael J. Fox Movie”
“A Still Small Voice”
“32 Sounds”
“To Kill a Tiger”
“20 Days in Mariupol”
 
DOCUMENTARY SHORT FILM
 
“The ABCs of Book Banning”
“The Barber of Little Rock”
“Bear”
“Between Earth & Sky”
“Black Girls Play: The Story of Hand Games”
“Camp Courage”
“Deciding Vote”
“How We Get Free”
“If Dreams Were Lightning: Rural Healthcare Crisis”
“Island in Between”
“The Last Repair Shop”
“Last Song from Kabul”
“Nai Nai & Wài Pó”
“Oasis”
“Wings of Dust”
 
INTERNATIONAL FEATURE FILM
 
Armenia, “Amerikatsi”
Bhutan, “The Monk and the Gun”
Denmark, “The Promised Land”
Finland, “Fallen Leaves”
France, “The Taste of Things”
Germany, “The Teachers’ Lounge”
Iceland, “Godland”
Italy, “Io Capitano”
Japan, “Perfect Days”
Mexico, “Totem”
Morocco, “The Mother of All Lies”
Spain, “Society of the Snow”
Tunisia, “Four Daughters”
Ukraine, “20 Days in Mariupol”
United Kingdom, “The Zone of Interest”
 
MAKEUP AND HAIRSTYLING
 
“Beau Is Afraid”
“Ferrari”
“Golda”
“Killers of the Flower Moon”
“The Last Voyage of the Demeter”
“Maestro”
“Napoleon”
“Oppenheimer”
“Poor Things”
“Society of the Snow”
 
LIVE ACTION SHORT FILM
 
“The After”
“The Anne Frank Gift Shop”
“An Avocado Pit”
“Bienvenidos a Los Angeles”
“Dead Cat”
“Good Boy”
“Invincible”
“Invisible Border”
“Knight of Fortune”
“The One Note Man”
“Red, White and Blue”
“The Shepherd”
“Strange Way of Life”
“The Wonderful Story of Henry Sugar”
“Yellow”
 
SOUND
 
“Barbie”
“The Creator”
“Ferrari”
“The Killer”
“Killers of the Flower Moon”
“Maestro”
“Mission: Impossible – Dead Reckoning Part One”
“Napoleon”
“Oppenheimer”
“The Zone of Interest”
 
VISUAL EFFECTS
 
“The Creator”
“Godzilla Minus One”
“Guardians of the Galaxy Vol. 3”
“Indiana Jones and the Dial of Destiny”
“Mission: Impossible – Dead Reckoning Part One”
“Napoleon”
“Poor Things”
“Rebel Moon – Part One: A Child of Fire”
“Society of the Snow”
“Spider-Man: Across the Spider-Verse”
 
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