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The latest release from Intrada is a remastered reissue of one of Jerry Fielding's finest scores, THE NIGHTCOMERS, director Michael Winner's 1971 prequel to Henry James' The Turn of the Screw, most famously adapted in 1961 as The Innocents, starring Marlon Brando (!) as the brutish servant Quint.

The latest releases from Buysoundtrax and its affiliated labels include two from composer Joe Kraemer: THE JOE KRAEMER COLLECTION VOL. 1 (featuring The Hitcher II: I've Been Waiting and Joy Ride 2: Dead Ahead) and RELATIVE DIMENSIONS: 60 YEARS IN TIME AND SPACE (music for Doctor Who audio adventures); and CLIFFHANGERS, featuring Joe Harnell music from the short-lived 1979 TV series.


The Nightcomers - Jerry Fielding - Intrada Special Collection


Argylle - Lorne Balfe
The Jungle Bunch: Operation Meltdown - Olivier Cussac - Score CD Le as de la jungle 2: Operation Tour Du Monde on Music Box 
The Peasants - Lukasz Rostowski 
The Promised Land - Dan Romer
Scrambled - Brittany Allen
Suncoast - Este Haim, Christopher Stracey 


February 16
L'alba dell'uomo
 - Piero Piccioni - Beat 
Coming Soon
Alexei Aigui - Film Music Collection
 - Alexei Aigui - Music Box
- Joe Harnell - Five Jays [CD-R]
The Joe Kraemer Collection Vol. 1 - Joe Kraemer - Dragon's Domain [CD-R]
Les B.O. Introuvables Vol. 7
 - Sam Bernett, Jean Bouchety, Jean Musy, Dominique Perrier, Karl-Heinz Shafter - Music Box 
 - John Barry - La-La Land
Relative Dimensions: 60 Years in Time and Space - Joe Kraemer - Buysoundtrax
Scusi, ma lei le paga le tasse?/Come rubammo la bomba atomica
 - Lallo Gori - Beat  


February 2 - Giuseppe Becce born (1877)
February 2 - Nikolai Kryukov born (1908)
February 2 - Mike Batt born (1950)
February 2 - Miklos Rozsa begins recording his score for Crisis (1950)
February 2 - Dimitri Tiomkin begins recording his score for Take the High Ground! (1953)
February 2 - David Buttolph begins recording his score for Secret of the Incas (1954)
February 2 - Gerald Fried records his score for Cast a Long Shadow (1959)
February 2 - Recording sessions begin for Bronislau Kaper's score to Mutiny on the Bounty (1962)
February 2 - Richard LaSalle records his score for the Land of the Giants episode “A Small War” (1970)
February 2 - Richard Band begins recording his score for Parasite (1982)
February 2 - Recording sessions begin on James Newton Howard’s score for Outbreak (1995)
February 2 - David Bell records his score for the Star Trek: Voyager episode “Dark Frontier, Part I” (1999)
February 2 - Paul Baillargeon begins recording his score for the Star Trek: Voyager episode “Q2” (1999)
February 2 - Dennis McCarthy and Kevin Kiner record their score for the Star Trek: Enterprise episode “The Aenar” (2005)
February 3 - Paul Sawtell born (1906)
February 3 - Derek Hilton born (1927)
February 3 - Daniele Amfitheatrof begins recording his score for Lassie Come Home (1943)
February 3 - Dave Davies born (1947)
February 3 - Toshiyuki Watanabe born (1955)
February 3 - Ray Heindorf died (1980)
February 3 - Lionel Newman died (1989)
February 3 - Basil Poledouris begins recording his score for RoboCop 3 (1992)
February 3 - Paul Baillargeon records his score for the Star Trek: Enterprise episode ‘The Forgotten” (2004)
February 4 - Hal Mooney born (1911)
February 4 - David Raksin begins recording his score for The Girl in White (1952)
February 4 - Kitaro born (1953)
February 4 - Don Davis born (1957)
February 4 - Bronislau Kaper begins recording his and Heitor Villa-Lobos' score to Green Mansions (1959)
February 4 - Patton opens in New York City (1970)
February 4 - Joe Raposo died (1989)
February 4 - Von Dexter died (1996)
February 4 - J.J. Johnson died (2001)
February 4 - Jimmie Haskell died (2016)
February 5 - Felice Lattuada born (1882)
February 5 - Bronislau Kaper born (1902)
February 5 - Clifton Parker born (1905)
February 5 - Elizabeth Swados born (1951)
February 5 - Cliff Martinez born (1954)
February 5 - Nick Laird-Clowes born (1957)
February 5 - Elmer Bernstein begins recording his score for The Rat Race (1960)
February 5 - Jacques Ibert died (1962)
February 5 - Guy Farley born (1963)
February 5 - Kristopher Carter born (1972)
February 5 - Michael Small begins recording his score for The Parallax View (1974)
February 5 - Ron Jones records his score for the Star Trek: The Next Generation episode "When the Bough Breaks" (1988)
February 5 - Douglas Gamley died (1998)
February 5 - David Bell records his score for the Star Trek: Voyager episode “The Killing Game, Part 1” (1998)
February 5 - Dennis McCarthy records his score for the Enterprise episode “Stigma” (2003)
February 5 - Al De Lory died (2012)
February 5 - Ray Colcord died (2016)
February 6 - Akira Yamaoka born (1968)
February 6 - Hugo Montenegro died (1981)
February 6 - Alan Silvestri begins recording his score for Romancing the Stone (1984)
February 6 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Power Play” (1992)
February 6 - John Dankworth died (2010)
February 6 - Sam Spence died (2016)
February 7 - George Bassman born (1914)
February 7 - Marius Constant born (1925)
February 7 - Laurie Johnson born (1927)
February 7 - Alejandro Jodorowsky born (1929)
February 7 - Gottfried Huppertz died (1937)
February 7 - Frans Bak born (1958)
February 7 - David Bryan born (1962)
February 7 - Jerry Fielding begins recording orchestral cues for Demon Seed (1977)
February 7 - Ira Newborn begins recording his score for Naked Gun 33 1/3: The Final Insult (1994)
February 7 - Shirley Walker begins recording her score for Willard (2003)
February 8 - John Williams born (1932)
February 8 - Joe Raposo born (1937)
February 8 - Johnny Mandel records his score for Drums of Africa (1963) 
February 8 - Alan Elliott born (1964)
February 8 - Richard Markowitz records his score for The Invaders episode “Quantity: Unknown” (1967)
February 8 - Planet of the Apes opens in New York (1968)
February 8 - Lalo Schifrin begins recording his score for Earth II (1971)
February 8 - David Bell records his score for the Star Trek: Voyager episode “Dark Frontier, Part II” (1999)
February 8 - Akira Ifukube died (2006)


"It’s in these pursuits during Book I and Book II that 'The Book of Clarence' is at its lightest and most comedic, adopting an almost laconic pacing as Clarence tokes and jokes with his friends until he comes up with the ridiculous plan to first become the 13th apostle, and then a parallel messiah. Aided by a lush score and an eclectic soundtrack brimming with knee-tapping original R&B and soul songs written (and mostly sung) by Samuel, Clarence amiably stumbles through a series of Biblically familiar sequences that test his fortitude and wit, and gain him allies the likes of freed gladiator Barabbas (Sy), local miscreant Zeke (Caleb McLaughlin) and even a befuddled Mary of Nazareth (Woodard)."
Tara Bennett, Paste Magazine

"Does it work? Sometimes! And it’s also sort of a mess. Samuel is telling a contemporary spin on the tale, and focuses a great deal on both Roman oppression and Clarence’s journey toward meaning and purpose -- to fully embody his potential, something that can only happen when he believes in God. Taking an occasional foray into magical realism, the movie is more concerned with the divinity inside Clarence than it is with Jesus’ work, which makes it not entirely clear why Jesus is even in this one. It’s an empowerment ballad, a plea with the audience to break free of their own chains. All of those themes muddle the mixture, and Samuel’s stylistic flourishes and musical cues get repetitive and overbearing after a while."
Alissa Wilkinson, The New York Times 
"Though its slickness -- exemplified by the tactile costumes (worn robes and inventive uses of gold) and delicately balanced, yet expansive wide-angle shots, is the film’s primary inviting feature, 'The Book of Clarence' is hampered by Samuel’s unbridled creativity. Similar to 'The Harder They Fall,' the filmmaker composed his film’s soundtrack. While some songs set a discerning, post-soul mood, sequences slowed to the speed of molasses exist to showcase the music more than push the narrative forward."
Robert Daniels,

"'The Book of Clarence' was filmed in Matera, Italy, whose historical quarters have frequently stood in for biblical settings, and all of its characters wear old-timey robes and, aside from Clarence, speak in indeterminate period-piece accents. But the film’s also freely anachronistic, from Samuel’s own R&B-inflected score to the eons-old take on a club where Jedediah hangs out."

Alison Willmore, New York   

"In 'The Book Of Clarence,' writer and director Jeymes Samuel ('The Harder They Fall') imagines a 13th apostle who lies his way into being a disciple of Jesus. Set in Jerusalem in the year 33, the film follows a charming small-time crook talented in the art of hustling. He’s not a believer in God, but rather someone who sees an opportunity to ride Jesus’ popularity for his own benefit. The premise is a fun sendup of classic bible movies like 'Ben-Hur' (1959) and 'The Tenth Commandment' [sic] (1956), and the film straddles the line between entertaining anachronism -- modern performances and soundtrack and tongue-in-cheek humor -- and respect for the religious framework. But it never fully commits to either stance, thus ending up an odd, albeit entertaining, mismatch of tones and themes.'The Book Of Clarence' has so many familiar characters that it becomes like watching an extended episode of 'RuPaul’s Drag Race,' with reveal after reveal. Samuel knows how to wring the most out of characters like Jesus, Mary, and Joseph. Almost every significant character is revealed in the same way: the film’s main characters talk about them, they are first shown in shadow, with their back to the camera or behind a wall or another character, until the big reveal with the appropriate soundtrack fanfare and a knowing look from the actors. It’s fun and it ramps up the melodrama of the story."
Murtada Elfadl, The Onion AV Club 

"There is way more to the film’s plot but overexplaining would take all the fun away from what an explosive joy it is. It’s clever enough to pull off the concept while still making sure to not rely on it too much. Everything from the costumes, world-building, characterization, and in classic Samuel fashion, music, is outstanding.'The Book of Clarence' mixes history, fiction, and modernity to bring a hilarious spin on the story of Jesus Christ. Yeah, some Christians will find it offensive. It takes the piss out of the immaculate conception -- 'It’s a little far-fetched' -- and depicts Mary slapping Clarence for asking her if she really is a virgin. While Jesus himself isn’t the main attraction, the way he’s used and how the film parlays its plot into the story that we know today is one of its strongest elements. 'The Book of Clarence' doesn’t just rewrite history (or fiction, again, up to you), but it sprinkles out fun nods and resonant digs at what has happened in the world since this time. The choice to have every Roman guard, including Pontius Pilate (James McAvoy), sport imperial English accents is a great way to remind the audience that the Romans weren’t the only Empire to cause devastation. Clarence, trying to suck up to Pontius, tells him, 'My best friend is Roman' (this got huge laughs from the audience). Samuel does it subtly but these little details give the film an updated, current feel while still remaining rooted in its setting. Jerusalem City has different gangs, Clarence is told that he’s not welcome in 'Gypsy territory,' and Jesus Christ tells Jezebel that soon enough, everyone will know her name. The script is extremely sharp and paired with Samuel’s highly stylized directing and beautiful score and song choices, 'The Book of Clarence' is a feast for the eyes, ears, and mind. What you take from its philosophy is entirely subjective, but the ending is a beautiful mediation on what it means to have faith, and who is really deserving of the glory that we only reserve for white men."
Emma Kiely, Collider
"But give it up all the same for British writer/director/musician Jeymes Samuel on just his second feature, after the 2021 black western 'The Harder They Fall.' 'The Book of Clarence' features some exciting cinematography (especially in that opening race), a little magic realism (apparently in the first Century, drugs could make you literally high) and a soundtrack and score crafted by Samuel himself, and featuring a heavy dose of - what else? - soul."
Chris Knight, Original-Cin 
THE COLOR PURPLE - Kris Bowers (score); Brenda Russell, Allee Willis, Stephen Bray (songs)
"All of this works due to the amazingly gifted direction of Bazawule’s, a skillfully crafted screenplay from Marcus Gardley, stunning cinematography from Dan Laustsen and a score by the incomparable Kris Bowers, who does a wonderful job of marrying a new score with selections from the Broadway production. A perfect example is when Mpasi, with strength and tenacity after seeing her child, executes the song 'She Be Mine' through a chain gang of men and a flowing waterfall of women scrubbing laundry on washboards illustrating the grass roots of Celie’s journey into becoming reborn with a sense of renewal. Or, when Corey Hawkins (Harpo) breaks out into a rendition of 'Working' while building a home on the swamp waters. Bazawule seamlessly transitions from one moment to the next, expediently pacing the film without wearing out its welcome. Placing Celie on a giant record disc with Shug, naked in a tub, sets up the lesbian story line with respect and class. Their relationship is further solidified with a stunning, sophisticated jazz club rendition of 'What About Love' set in a movie theatre. It’s a little on the sappy side, yet somehow simple and sweet."
Cate Renata, The Wrap
"There are also a few musical numbers that feel expendable, not seamlessly included in the way some of the film’s major highlights do. Most of the time, though, the triumphant musical numbers are brimming with the full extent of their emotional intent. From 'Hell No''s prideful indignant attitude to the soul-stirring vulnerability and catharsis of 'I’m Here,' the choreography and vocal capabilities of the cast don’t go overlooked. In tandem, the American South is rendered in beautiful warmth and light, undeniably a character in and of itself, and expertly utilized in the film’s musical numbers."
Peyton Robinson,
"The director, Blitz Bazawule, a musician and filmmaker, announces his mashup of styles from the start. Celie (Phylicia Pearl Mpasi) is 14 and pregnant with her father's child, the second one he will soon give away for adoption. She and her sister, Nettie (Halle Bailey), are sitting in a tree singing, but almost instantly the entire screen explodes into song. Against the dusty backdrop of a small country town, men and women in bright colours sing a gospel song, and dance their way into church. Bazawule is a co-director of Beyonce's 'Black is King' filmed album, and there are echoes of her videos in the choreography and choruses of women here. The start and end of the film are rousing in the manner of Broadway opening and closing numbers, and the film never goes too long without a song backed by lush orchestrations. But there is also kinetic camerawork that follows the actors, and enough overhead shots so that it seems Bazawule is intent on proving that he's making a movie, not filming a stage show. When the story jumps ahead eight years, Fantasia Barrino takes over as Celie, the role she played in one of the two Broadway productions. In the first stretch, she is merely subdued, without revealing the cost of Celie's submission. But the songs and the performance get stronger as Celie's sense of her own worth grows, and Barrino's powerful singing voice takes over by the end."
Caryn James, 
"And while much of its pleasure can be derived from its energetic, thoughtfully staged musical sequences, from Danielle Brooks’ show-stopping 'Hell No!' and Barrino’s tear-jerking 'I’m Here' to Taraji P. Henson’s riotous 'Push Da Button' and the dazzlingly mounted 'What About Love?' (even these four standouts are only a taste of the musical thrills that kit out the film), the real draw of 'The Color Purple' are its stars. To say the film is inhabited by some of the brightest talents Hollywood has to offer barely scratches the surface. From Barrino to Henson, Domingo to Corey Hawkins as Mister’s son Harpo, 'The Color Purple' is a strong contender for best-cast studio film of the year (its only possible competition is Warner Bros. sister feature, 'Barbie')."
Kate Erbland, IndieWire

"Music was always a part of 'The Color Purple' (especially the Broadway tunes by Brenda Russell, Allee Willis, and Stephen Bray), and so the musical sequences here make sense. They are energetically shot and choreographed, driving the narrative forward. As in any great musical, director Blitz Bazawule understands that when emotions swell, music can be more effective than words at capturing a character’s truth. Thankfully, these performances and songs carry the film through its structure, which is distinctly different from the 1985 script by Menno Meyjes. Some of the restructuring in Marcus Gardley's new script makes sense to make room for musical numbers or streamline the story, but it can take away from impactful sequences in the original. Take, for instance, the placement of 'Miss Celie’s Blues,' composed for the 1985 film by Quincy Jones. When Shug serenades Celie, it makes her feel beautiful and seen for the first time, a pivotal, moving point in the story. In the original film, Shug performs the song at Harpo’s juke joint, giving Celie her flowers in front of the whole community. In this adaptation, the song comes into play later, and its presence is welcome but less impactful. We’ve already seen Shug and Celie come together romantically, and what should be a memorable start to their relationship feels like an afterthought. It’s a small change that felt unnecessary."
Alejandra Martinez, The Austin Chronicle 

"While Bazawule and fellow executive music producers Baxter and Bray honor the musical’s stylistic mix of gospel, pop, R&B, blues, jazz and Broadway show tunes, there’s also a welcome contemporary flavor to some of the numbers here, notably 'Keep It Movin’,' led by Bailey’s young Nettie in gorgeous voice."
David Rooney, The Hollywood Reporter

NIGHT SWIM - Mark Korven
"And on that note, perhaps the most tragic sin that 'Night Swim' commits is that it just isn’t scary. With all of the baseball scenes, the film hardly has time for actual horror. As a result, there are only a handful of horor-centric scenes, and those scenes are pretty much just the same jumpscare over and over, with screeching musical accompaniment reminding us that we should be scared."
Aurora Amidon, Paste Magazine 

OUR SON - Ola Fløttum 
"The film builds some poignancy once it tightens its focus on Nicky, first in a lovely interlude with Owen at Coney Island and then alone, as he reaches a heartbreaking decision and eventually makes peace with it. In the less showy of the two lead roles, Evans is quietly moving in the closing scenes. But 'Our Son' -- underscored with somber music from frequent Joachim Trier composer Ola Fløttum -- is too one-note to have much emotional impact, its characters too carefully balanced and inoffensive to be interesting. Mostly, it plays like a decorous old-school telemovie, well-meaning but dull."
David Rooney, The Hollywood Reporter 


Screenings of older films in Los Angeles-area theaters. 

February 2
AMERICAN GRAFFITI, SUMMER OF '42 (Michel Legrand) [Vista]
DREAMGIRLS (Henry Krieger, Stephen Trask) [New Beverly] 

ESKIMO, LAUGHING BOY (Herbert Stothart) [UCLA/Hammer]
FINAL DESTINATION 2 (Shirley Walker) [Vidiots]
GROUNDHOG DAY (George Fenton) [Vidiots]
HEAVY METAL (Elmer Bernstein) [Egyptian]
HIGHLANDER II: THE QUICKENING (Stewart Copeland) [Alamo Drafthouse]
MAN ON THE MOON (R.E.M.) [Alamo Drafthouse] 
THE MATRIX (Don Davis) [New Beverly]
THE PHANTOM OF THE OPERA (Andrew Lloyd Webber) [Alamo Drafthouse]
PULP FICTION [New Beverly]
RE-ANIMATOR (Richard Band) [Egyptian]
SAMBIZANGA [Academy Museum]
TITANE (Jim Williams) [BrainDead Studios]
WALL-E (Thomas Newman) [Vidiots]

February 3
AMERICAN GRAFFITI, SUMMER OF '42 (Michel Legrand) [Vista]

BABE (Nigel Westlake) [New Beverly]
BEETLEJUICE (Danny Elfman) [Vidiots]
CAMILLE (Herbert Stothart), ANNA CHRISTIE [UCLA/Hammer]
CANDY (Dave Grusin) [Vista]
COHERENCE (Krystin Ohrn Dyrud) [Alamo Drafthouse]
ERASERHEAD (Peter Ivers) [Vidiots]
LOVE STREAMS (Bo Harwood) [Egyptian]
MALCOLM X (Terence Blanchard) [Alamo Drafthouse]
OUT OF SIGHT (David Holmes) [Vidiots]
THE PHANTOM OF THE OPERA (Andrew Lloyd Webber) [Alamo Drafthouse]
THE PINK PANTHER (Henry Mancini) [Academy Musuem]
RAN (Toru Takemitsu) [Egyptian]
TANK GIRL (Graeme Revell) [BrainDead Studios]
THE TERRORIZERS (Xiaoliang Weng) [Los Feliz 3]
THIS IS NOT A BURIAL, IT'S A RESURRECTION (Yu Miyashita) [Academy Museum]
TIM BURTON'S CORPSE BRIDE (Danny Elfman) [Alamo Drafthouse] 
TO BE OR NOT TO BE (Werner Heymann) [Los Feliz 3]
TOY STORY (Randy Newman) [Vidiots]
WHITE CHICKS (Teddy Castellucci) [New Beverly]

February 4
ALTERED STATES (John Corigliano), THE LAIR OF THE WHITE WORM (Stanislas Syrewicz) [New Beverly]

AMERICAN GRAFFITI, SUMMER OF '42 (Michel Legrand) [Vista] 
BABE (Nigel Westlake) [New Beverly] 
THE BIRDS (Remi Gassman, Oskar Sala, Bernard Herrmann) [Vidiots]
DRUGSTORE COWBOY (Elliot Goldenthal) [Vidiots]
MALCOLM X (Terence Blanchard) [Academy Museum]
MAN ON THE MOON (R.E.M.) [Alamo Drafthouse]
NOTTING HILL (Trevor Jones) [Alamo Drafthouse]
THE PHANTOM OF THE OPERA (Andrew Lloyd Webber) [Alamo Drafthouse] 
REALITY BITES (Kark Wallinger) [BrainDead Studios]
THE REVENANT (Ryuichi Sakamoto) [Los Feliz 3]
THE SPONGEBOB SQUAREPANTS MOVIE (Steve Belfer, Gregor Narholz) [Vidiots] 
WOMAN IN THE DUNES (Toru Takemitsu) [Los Feliz 3]

February 5
ASSAULT ON PRECINCT 13 (John Carpenter), SHEBA, BABY (Monk Higgins, Alex Brown) [New Beverly]
DER FAN (Rheingold) [Los Feliz 3]
NOTTING HILL (Trevor Jones) [Alamo Drafthouse] 
THE PARIS EXPRESS (Benjamin Frankel) REAP THE WILD WIND (Victor Young)  [Vista]
RUN LOLA RUN (Tom Tykwer, Reinhold Heil, Johnny Klimek) [Vidiots]
TIM BURTON'S CORPSE BRIDE (Danny Elfman) [Alamo Drafthouse]

February 6
ASSAULT ON PRECINCT 13 (John Carpenter), SHEBA, BABY (Monk Higgins, Alex Brown) [New Beverly]
MAN ON THE MOON (R.E.M.) [Alamo Drafthouse] 
THE PARIS EXPRESS (Benjamin Frankel) REAP THE WILD WIND (Victor Young)  [Vista] 
TIM BURTON'S CORPSE BRIDE (Danny Elfman) [Alamo Drafthouse]

February 7
THE BAND'S VISIT (Habib Shadah) [Los Feliz 3]
CLOSE-UP [Vidiots]
HARD EIGHT (Jon Brion, Michael Penn) [BrainDead Studios]
HIGHLANDER II: THE QUICKENING (Stewart Copeland) [Alamo Drafthouse]
JEREMIAH JOHNSON (John Rubinstein, Tim McIntire), LITTLE BIG MAN (John Hammond) [Vista]
MAN ON THE MOON (R.E.M.) [Alamo Drafthouse]  
NOTEBOOKS ON CITIES AND CLOTHES (Laurent Petitgand) [Los Feliz 3]
THE OUTLAW JOSEY WALES (Jerry Fielding), PALE RIDER (Lennie Niehaus) [New Beverly]
STOP MAKING SENSE [Academy Museum]
TIM BURTON'S CORPSE BRIDE (Danny Elfman) [Alamo Drafthouse] 
TIMBUKTU (Amin Bouhafa) [Academy Museum]

February 8
THE FAREWELL (Alex Weston) [Los Feliz 3]
JEREMIAH JOHNSON (John Rubinstein, Tim McIntire), LITTLE BIG MAN (John Hammond) [Vista] 
THE OUTLAW JOSEY WALES (Jerry Fielding), PALE RIDER (Lennie Niehaus) [New Beverly]

February 9
BOOGIE NIGHTS (Michael Penn) [BrainDead Studios]
DAYS OF HEAVEN (Ennio Morricone) [New Beverly]
DEATH WISH (Herbie Hancock), STRAW DOGS (Jerry Fielding) [Vista]
A GOOFY MOVIE (Carter Burwell), BEBE'S KIDS (John Barnes) [New Beverly]
MANDINGO (Maurice Jarre) [Vista]
M3GAN (Anthony Willis) [Alamo Drafthouse]
PULP FICTION [New Beverly]
SHAFT (Isaac Hayes) [Vidiots]
VAYA (Joel Assaizky) [Academy Museum]
THE WICKER MAN (Paul Giovanni) [Vidiots]

February 10
ACROSS THE UNIVERSE (Elliot Goldenthal) [Vidiots]
BULLITT (Lalo Schifrin) [Vidiots]
DEATH WISH (Herbie Hancock), STRAW DOGS (Jerry Fielding) [Vista]
THE FRESHMAN [Los Feliz 3]
GHOST IN THE SHELL (Kenji Kawai) [BrainDead Studios]
A GOOFY MOVIE (Carter Burwell), BEBE'S KIDS (John Barnes) [New Beverly] 
THE GREAT RACE (Henry Mancini) [Academy Museum]
HOLLYWOOD OR BUST (Walter Scharf) [Vista]
LADY AND THE TRAMP (Oliver Wallace) [New Beverly]
MANDINGO (Maurice Jarre) [Vista] 
THE MASTER (Jonny Greenwood) [Egyptian]
MY BLOODY VALENTINE (Paul Zaza) [New Beverly]
REBEL WITHOUT A CAUSE (Leonard Rosenman) [New Beverly]
RUNAWAY BRIDE (James Newton Howard) [Alamo Drafthouse]
TWILIGHT (Carter Burwell) [Alamo Drafthouse]

February 11
THE BEST MAN (Stanley Clarke) [Alamo Drafthouse]
CARMEN JONES (Georges Bizet, Herschel Burke Gilbert) [Vidiots]
DEATH WISH (Herbie Hancock), STRAW DOGS (Jerry Fielding) [Vista]
DREAMGIRLS (Henry Krieger, Stephen Trask) [Academy Museum]
A GOOFY MOVIE (Carter Burwell), BEBE'S KIDS (John Barnes) [New Beverly] 
HOLLYWOOD OR BUST (Walter Scharf) [Vista] 
MISSISSIPPI MASALA (L. Subramanian) [Alamo Drafthouse]
ONG-BAK (Romanic Laurence, Richard Wells) [BrainDead Studios]
ORPHEUS (Georges Auric) [Los Feliz 3]
PADDINGTON 2 (Dario Marianelli) [Vidiots]
REBEL WITHOUT A CAUSE (Leonard Rosenman) [New Beverly] 
THERE WILL BE BLOOD (Jonny Greenwood) [Egyptian]
TWILIGHT (Carter Burwell) [Alamo Drafthouse]


On the Waterfront (Bernstein); The Crying Game (Dudley); Babe (Westlake); Desiree (North); Elemental (Newman); Interview with the Vampire (Goldenthal); Coven (Nettesheim); Guys and Dolls (Loesser); Michael Collins (Goldenthal); Ordeal by Innocence (Donaggio); Julius Caesar (Rozsa)

Read: Blood Type, by Stephen Greenleaf

Seen: San Andreas; The Book of Clarence; Ashfall; The Swarm; Brokeback Mountain; The Little Foxes; Jezebel; American Fiction; Flamin' Hot
Kolchak: The Night Stalker ("The Energy Eater"); Danger Man ("Vacation")

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