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The latest release from Intrada is a two-disc edition of Danny Elfman's score for author Cliver Barker's second feature as a director, the wild horror thriller NIGHTBREED, with Disc One featuring the full score and Disc Two featuring the original 1990 CD sequencing plus 21 minutes of extras.

La-La Land has announced two new releases for April, expected to begin shipping next week -- a CD pairing two scores by Oliver Nelson (The Six Million Dollar Man, Zigzag) -- the Western DEATH OF A GUNFIGHTER and the adventure film SKULLDUGGERY; and an expanded version of Sylvester Levay's score for NAVY SEALS, featuring the stereo tracks from the original Intrada release plus previously unreleaed cues from mono sources.

The latest of Caldera's releases of rare David Shire music presents music from three of his 1970s TV projects -- the pilot score for the short-lived TV series THREE FOR THE ROAD, and cues from two TV movie scores, THE GREATEST THING THAT ALMOST HAPPENED and DADDY, I DON'T LIKE IT LIKE THIS.


The Emperor of Paris
 - Marco Beltrami, Marcus Trumpp - Music Box 
King of Hearts
 - Georges Delerue - Music Box 
Nightbreed - Danny Elfman - Intrada Special Collection


The Beast - Bertrand Bonello, Anna Bonello
Coup de Chance - no original score
The First Omen - Mark Korven
The Greatest Hits - Ryan Lott
Housekeeping for Beginners - Alen Sinkauz, Nenad Sinkauz
Monkey Man - Jed Kurzel
Someone Like You - Tyler Michael Smith


April 12
Death of a Gunfighter/Skullduggery - Oliver Nelson - La-La Land
Ghostbusters: Frozen Empire - Dario Marianelli - Sony (import)
Navy Seals - Sylvester Levay - La-La Land
May 17
One Day - Anne Nikitin, Jessica Jones, Tim Morrish - Silva
Coming Soon 
Bruno Nicolai for Jess Franco
- Bruno Nicolai - Digitmovies
Chissa' perche'...Capitano tutte a me
- Guido & Maurizio De Angelis - Beat 
The David Michael Frank Collection Vol. 3
 - David Michael Frank - Dragon's Domain
The Golden Age of Science-Fiction Vol. 3
 - Edwin Astley, Elmer Bernstein - Dragon's Domain
Goliath Awaits
 - George Duning - Dragon's Domain [CD-R]
Ironmaster La Guerra Del Ferro
- Guido & Maurizio De Angelis - Beat
The Lord of the Rings: The Rings of Power [10-disc set] - Bear McCreary - Mondo
The Morton Stevens Collection Vol. 2
 - Morton Stevens - Dragon's Domain
No Retreat, No Surrender
 - Paul Gilreath - Dragon's Domain [CD-R] 
The Primevals
 - Richard Band - Silva 
Samaritan: The Mitch Snyder Story
 - Craig Safan - Dragon's Domain [CD-R] 
Squadra Antifurto
- Guido & Maurizio De Angelis - Beat
Three for the Road - David Shire - Caldera


April 5 - Bernhard Kaun born (1899)
April 5 - Michael Galasso born (1949)
April 5 - Leo Erdody died (1949)
April 5 - Bent Aserud born (1950)
April 5 - Elmer Bernstein begins recording his score for The Ten Commandments (1955)
April 5 - Nikolai Kryukov died (1961)
April 5 - Robert B. & Richard M. Sherman win Oscars for Mary Poppins' score and song "Chim Chim Cher-ee" (1965)
April 5 - Nelson Riddle begins recording his score for El Dorado (1966)
April 5 - Dave Grusin begins recording his score for The Friends of Eddie Coyle (1973)
April 5 - Pharrell Williams born (1973)
April 5 - Robert Glasper born (1978)
April 5 - John Morris begins recording his score for Yellowbeard (1983)
April 5 - Ron Jones records his score for the Star Trek: The Next Generation episode "Skin of Evil" (1988)
April 5 - James Horner begins recording his score for Patriot Games (1992)
April 5 - Jerry Goldsmith begins recording his score for First Knight (1995)
April 5 - Jay Chattaway records his score for the Enterprise episode “Detained” (2002)
April 5 - Richard LaSalle died (2015)
April 6 - Gerry Mulligan born (1927)
April 6 - Andre Previn born (1929)
April 6 - Patrick Doyle born (1953)
April 6 - Christopher Franke born (1953)
April 6 - John Green begins recording Leonard Rosenman's score for The Cobweb (1955)
April 6 - Normand Corbeil born (1956)
April 6 - Dimitri Tiomkin wins his fourth and final Oscar, for the Old Man and the Sea score (1959)
April 6 - Johnny Mandel begins recording his score for The Sandpiper (1965) 
April 6 - Born Free opens in Los Angeles (1966)
April 6 - Fred Karlin begins recording his score to Inside the Third Reich (1982)
April 6 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Icarus Factor" (1989)
April 6 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “The Storyteller” (1993)
April 6 - Bruce Broughton begins recording his score for the JAG pilot (1995)
April 6 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “Through the Looking Glass” (1995)
April 7 - Herbert Spencer born (1905)
April 7 - Percy Faith born (1908)
April 7 - Ravi Shankar born (1920)
April 7 - Gino Marinuzzi Jr. born (1920)
April 7 - Ikuma Dan born (1924)
April 7 - Roger Webb born (1934)
April 7 - James Di Pasquale born (1941)
April 7 - Charles Strouse begins recording his unused score for The Molly Maguires (1969)
April 7 - Burt Bacharach wins song and score Oscars for Butch Cassidy and the Sundance Kid (1970)
April 7 - Ned Rorem records his unused score for The Panic in Needle Park (1971)
April 7 - Laurence Rosenthal begins recording his score for the Logan's Run pilot (1977)
April 7 - Ilan Eshkeri born (1977)
April 7 - Nathan Lanier born (1978)
April 7 - Kenyon Hopkins died (1983)
April 7 - Bill Conti begins recording his score for The Karate Kid Part II (1986)
April 7 - Fred Steiner records his score for the Twilight Zone episode “A Day in Beaumont” (1986)
April 7 - Elliot Kaplan records his score for the Twilight Zone episode “The Last Defender of Camelot” (1986)
April 7 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “The Maquis, Part 1” (1994)
April 7 - Michael Kamen begins recording his score for Die Hard with a Vengeance (1995)
April 8 - Victor Schertzinger born (1888)
April 8 - Paul Sawtell and Bert Shefter record their score for The Cosmic Man (1958)
April 8 - Julian Lennon born (1963)
April 8 - Maurice Jarre wins his first Oscar, for his Lawrence of Arabia score (1963)
April 8 - From Russia With Love opens in New York (1964)
April 8 - Jerry Goldsmith begins recording his score for Escape from the Planet of the Apes (1971)
April 8 - Nino Rota and Carmine Coppola win their only Oscars, for The Godfather Part II score. (1975)
April 8 - Eric Rogers died (1981)
April 8 - Keegan DeWitt born (1982)
April 8 - James Horner begins recording his score for Legends of the Fall (1994)
April 9 - Miklos Rozsa begins recording his score to Diane (1955)
April 9 - Toshiyuki Honda born (1957)
April 9 - Miklos Rozsa begins recording his score to The Seventh Sin (1957)
April 9 - Arthur Benjamin died (1960)
April 9 - Henry Mancini wins song and score Oscars for Breakfast at Tiffany's (1962)
April 9 - Nathan Van Cleave begins recording his score for Robinson Crusoe on Mars (1964)
April 9 - Recording sessions begin for Krzystof Komeda’s score for Rosemary’s Baby (1968)
April 9 - Elmer Bernstein begins recording his score to The Gypsy Moths (1969)
April 9 - Alois Melichar died (1976)
April 9 - Giorgio Moroder wins his first Oscar, for his Midnight Express score (1979)
April 9 - Herbert Don Woods records his score for the Buck Rogers in the 25th Century episode “The Dorian Secret” (1981)
April 9 - Bill Conti wins his first Oscar, for The Right Stuff score; Michel Legrand wins his third and final Oscar, for Yentl's song score (1984)
April 9 - Bruce Broughton records his score for Rollercoaster Rabbit (1990)
April 9 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Perfect Mate” (1992)
April 10 - Dusan Radic born (1929)
April 10 - Claude Bolling born (1930)
April 10 - Denny Zeitlin born (1938)
April 10 - Shirley Walker born (1945)
April 10 - Peter Bernstein born (1951)
April 10 - Mark Oliver Everett born (1965)
April 10 - John Barry wins his first two Oscars, for the score and song Born Free (1967)
April 10 - Elmer Bernstein wins his only Oscar for, of all things, Thoroughly Modern Millie's score; Alfred Newman wins his final Oscar for Camelot's music adaptation (1968)
April 10 - Michel Legrand wins his second Oscar, for the Summer of '42 score; John Williams wins his first Oscar, for Fiddler on the Roof's music adaptation; Isaac Hayes wins his only Oscar for the song "Theme From 'Shaft'" (1972)
April 10 - Jerry Goldsmith begins recording his score for The Don Is Dead (1973)
April 10 - Nino Rota died (1979)
April 10 - John Morris begins recording his score for The In-Laws (1979)
April 10 - Toshiro Mayuzumi died (1997)
April 10 - Recording sessions begin for John Ottman’s score to Superman Returns (2006)
April 10 - Gianni Marchetti died (2012)
April 11 - Norman McLaren born (1914)
April 11 - Koichi Sugiyama born (1931)
April 11 - Herbert Stothart begins recording his score to Dragon Seed (1944)
April 11 - Caleb Sampson born (1953)
April 11 - Edwin Wendler born (1975)
April 11 - John Williams wins his fourth Oscar, for E.T. The Extra-Terrestrial's score; Jack Nitzsche wins his only Oscar, for An Officer and a Gentleman's song "Up Where We Belong"; Henry Mancini wins his fourth and final Oscar, for Victor/Victoria's song score (1983)
April 11 - Alan Silvestri begins recording his score for Who Framed Roger Rabbit (1988)
April 11 - Ryuichi Sakamoto, David Byrne, Cong Su win Oscars for their Last Emperor score (1988) 


"From there, Aren becomes Roger’s new recruit for the society, whose hidden headquarters they teleport to via some secret door. (And the Hogwarts-adjacent references don’t stop there.) Thankfully, Libii’s world-building here is pleasingly cinematic as Aren and Roger make their way through production designer Laura Fox’s attractively dressed and lit, chandelier-heavy alternate universe. Accompanying them is Michael Abels’ majestic score that embraces and hints at something more mystical and enthralling than the movie deserves. Soon, a punch-drunk Aren learns the basics of his new job at a training session: He is supposed to treat every selected nervous white person like a valued client and strive to be acceptable to whites, while staying authentically Black in ways the whites would approve."
Tomris Laffly, IndieWire 

CABRINI - Gene Back

"Rather than sully its heroine with any tension of her own, Barr’s script offloads most of the drama to the film’s disposable supporting cast, who include a sex worker with a heart of gold (the winning Romana Maggiora Vergano) and a street urchin who finds a loaded gun he isn’t afraid to use. These people have their own troubles, but Cabrini is happy to float in the air just above them, her black frock always an inch or two above the ground as if suspended by the unwavering golden wail of Gene Back’s orchestral score."
David Ehrlich, IndieWire 
"Despite the strong cast, decent sets and costume design, the film falls short when capturing Cabrini’s life overall. The film is too long in certain instances and too short in others that could have been expanded. The tone is frequently too pompous and the music far too pretentious. Despite the scenes that pique your interest and compel you to finish the film, this biopic is relatively forgettable and one that you watch once and move on."
Zofia Wijaszka, The Wrap 

CLUB ZERO - Markus Binder
"Taken as a bone-dry satirical comedy, this would be a cruelly glib treatment of material sensitive enough to merit a trigger warning in bright yellow prior to the opening credits. But this agonizing tour through private agony deserves to be taken more seriously than that; the bloodcurdling revelation of a hidden Tupperware full of vomit touches too precise a nerve to be dismissed as rib-elbowing just because a dog starts lapping it up moments later. The nattering, pulsating score that evokes tribal musical traditions gives away the real game here, Hausner’s focus most squarely placed on the stomach-turning efficacy with which insular thought protects and perpetuates itself. It’s an eerily appropriate conceptual foundation for a film bound to drive away those not on Hausner’s frequency, pitched at such a piercing high that it could make blood trickle out the ears of all those able to hear it."
Charlie Bramesco, The Playlist 

"Along with the percussive twang of Markus Binder’s score, which supports almost every major beat in the movie with an extra comic pop, the two-tone surreality of Hausner’s set and costume design also works to ensure that impressionable audiences don’t take 'Club Zero' too literally. The film is still destined to be labeled as 'dangerous,' but its various buffers and backstops start to become all the more important once it begins to seem like Ms. Novak might be onto something."
David Ehrlich, IndieWire 
"Written by Jessica Hausner and Geraldine Bajard and directed by Hausner -- who has expressed her interest in the fairytale, 'The Pied Piper of Hamelin' -- 'Club Zero' is similarly fable-like, all unnatural colours and heightened reality. (A few visual details seem to nod to other fairytale-like movies, such as 'The Witches.') And the soundtrack is suitably hypnotic and church-y."
Liz Braun, Original CIN 
"Riddled with uncomfortable dialogue, audacious sequences, and a piercing score, 'Club Zero' has all the ingredients to become a future cult classic. It’s for a great reason, too. The film contains a terrifying yet wonderful performance from Wasikowska, it includes brilliant commentary on the dangers of following blindly, and it provides great entertainment. The quirky script may not be for everyone, but my best guess is that no matter what you will think of this holistically, something in 'Club Zero' will keep you talking."
Patrice Witherspoon, Screen Rant 

"'Club Zero' is a thriller because it’s based on our desire to see these children of the damned lured back from the abyss. The musical score, by Markus Binder, is a spooky yet satirical wonder, full of drums that sound like the background of Hare Krishna drone chants. The movie turns into a series of power duels between Miss Novak and the school headmistress, Miss Dorset (Sidse Babett Knudsen), as well as the parents, who the more outraged they are the more ineffectual they become."
Owen Gleiberman, Variety
DUNE: PART TWO - Hans Zimmer

"But, ultimately, such quibbles are crushed by the sheer audacity of Villeneuve’s execution. As Hans Zimmer’s propulsive score juices the drama and thrill of Paul’s quest, 'Part Two' achieves the sort of big-screen momentousness that is too rarely dared in contemporary cinema. Anyone swept away by the 2021 film will hunger to return for a second helping -- and be richly rewarded."
Tim Grierson, Screen Daily 
"Villeneuve has honoured that tone, in his own way. Josh Brolin, as Paul’s mentor Gurney Halleck, performs a brief ditty about how his 'stillsuit is full of p*ss'. And the film’s stacked with fiddly, HR Giger-inspired machines, like the desiccation pump that sucks vital water out of the Fremen dead. 'Part Two' is as grand as it is intimate, and while Hans Zimmer’s score once again blasts your eardrums into submission, and the theatre seats rumble with every cresting sand worm, it’s the choice moments of silence that really leave their mark."
Clarisse Loughrey, The Independent

"Meanwhile, Paul learns to take down spice harvesters and conduct raids, his pale skin covered in dark goggles and shawls. How are we to receive this gargantuan slab of occupation and racial cooptation? It’s a hand grenade of a question that will no doubt be lobbed at 'Dune: Part Two,' as it is, sometimes, at 1962’s soaring 'Lawrence of Arabia,' the origins of which were an influence on Herbert. The answer will vary from viewer to viewer, but to these eyes Villeneuve enters into what could have been toxic with a conscious, scene-by-scene sense of fatalism, Chalamet stirring his character’s rise with notes of rage, guilt, unhappiness and imposter syndrome. Composer Hans Zimmer’s drone-laden score never strikes a tone of triumphalism; so much of this movie’s tricky poise is his."
Joshua Rothkopf, Los Angeles Times
"Much of 'Dune: Part Two''s opening hour concerns Paul’s efforts to train with the Fremen and, in doing so, earn their trust and respect -- a difficult process given their view of outsiders, and one that only concludes when he successfully rides one of Arrakis’ giant sandworms. That feat is the first of a handful of showstoppers staged with muscular electricity by Villeneuve, who further establishes himself as one of the medium’s masters of massiveness. He creates a deft interplay between mammoth scale and up-close intimacy as well as light and dark, warmth and cold, and anxious silence and thunderous cacophony -- the last courtesy of Hans Zimmer’s chest-rattling score and its ominously euphoric main theme. In so doing, the director keeps tension at a fever pitch throughout, be he orchestrating huge battles between armies, showdowns between individuals, or quieter exchanges between Paul and his Fremen mates, whose love and loyalty for him are as hazardous as they are comforting."
Nick Schager, The Daily Beast 

"Beyond its breathtaking battles and galactic machinations, all soundtracked by a Hans Zimmer score in which the German composer seems to have set all the nobs turned to 'loudest possible', what’s most impressive about this seriously-impressive blockbuster sequel takes place beneath the surface. And it’s not the colossal sandworms."
Phil de Semlyen, Time Out
"In these and other scenes requiring computer-generated imagery -- for example, in the rendering of this world’s organic-looking spaceships or the dragonfly-like 'ornithopters,' which transport characters on Arrakis from place to place -- the images have a solidity and texture that’s unusual in the context of the outer-space blockbuster genre. Combined with Hans Zimmer’s literally unearthly score -- its booming, jagged chords seem to emerge from the same barren vistas as the dunes, the rock cliffs, and the building-sized worms -- the geography and technology of this fictional world strike the viewer as genuinely new and strange, no easy task in an era when fictional space exploration is so common the outermost reaches of the galaxy can sometimes feel routine."
Dana Stevens,
"Visually, 'Dune: Part Two' builds on what the first movie has offered. It looks similar, but everything is just a little bit more lavish and striking. The battles are bigger, the sandstorms more violent. When Chalamet, as Paul Atreides, finally gets to show off how he mastered riding the sand it makes for a truly exciting moment that will have many jump out of their seats. Unfortunately, when the story calls for thousands of people cheering, charging ahead, or surrounding the main character, they appear as visibly computer-generated effects. Hans Zimmer’s thunderous score is another impressive feat that adds dramatic heft to the proceedings. Yet the most memorable moments are the smaller hand-to-hand, sword-to-sword fights, and in particular a climactic one between Atreides and Feyd Rautha."
Murtada Elfadl, The Onion AV Club

"While the plotting in 'Part Two' is undeniably richer than the first film, its greatest assets are once again on a craft level. Greig Fraser, who won the Oscar for cinematography the first time, tops his work there with stunning use of color and light. It’s in the manner the sun hits Chalamet’s face at a certain angle or the wildly different palettes that differentiate the Harkonnens and the Fremen. The browns and blues of the desert culture don’t feel arid as much as grounded and tactile, while the Harkonnen world is so devoid of color that it’s often literally black and white -- even what look like fireworks pop like someone throwing colorless paint at a wall. Hans Zimmer’s Oscar-winning score felt a bit overdone to me in the first film, but he smartly differentiates the cultures here, finding more metallic sounds for the cold Harkonnens to balance against the heated score for the Fremen. Finally, the effects and sound design feel denser this time, and the fight choreography reminds one how poorly this has been done in other blockbuster films."
Brian Tallerico, 

"These early scenes represent the very best of what Villeneuve can bring to this story, as they viscerally bring to life 'a place where nothing can live without faith.' It’s because the arid deserts are so merciless that we can understand why the Fremen suck the moisture out of their enemies’ bodies and honor their own dead by pouring their water into a giant pool, and it’s because of an indelible new track from Hans Zimmer’s semi-recycled score -- a bittersweet wail that cuts deeper than any of the music he wrote for 'Part One' and sustains the emotion of this movie long after the script has run out of steam -- that we can parse the complicated roles that anger, pride, and resentment play in the Fremen’s need for outside help. And then, of course, there’s Chani. The skeptical and self-reliant Fremen was the patron saint of everything that didn’t work about the last movie, as Spaihts and Villeneueve reduced her character to a living reminder of all the sacrifices their adaptation had to make on its way to the screen. In 'Part Two,' Chani is allowed to take her rightful place at the heart of Paul’s story, even as she questions whether or not it should belong to him (and even as the script dramatically streamlines her role in it).  Zendaya is more than up for the challenge. Not to belittle Chalamet, whose furrowed brow sows doubt in all the right places, but the most interesting thing about Paul’s trajectory is how it’s reflected across Zendaya’s face. So much of this increasingly interminable film is spent on slow-motion shots of silhouettes walking towards the sunset as Zimmer goes ham over the soundtrack, but all it takes is a single reaction shot of Chani for the drama to snap back into focus."
David Ehrlich, IndieWire 

"Running close to three hours, 'Dune: Part Two' moves with a similar nimbleness to Paul and Chani’s sandwalk through the open desert. The narrative is propulsive and relatively easy to follow, Hans Zimmer’s score is enveloping, and Greig Fraser’s cinematography offers breathtaking perspectives that deepen our understanding of the fervently sought-after planet. All these elements make the sequel as much of a cinematic event as the first movie."
Lovia Gyarkye, The Hollywood Reporter 


Screenings of older films in Los Angeles-area theaters.

April 5

BLOOD SIMPLE (Carter Burwell), RAISING ARIZONA (Carter Burwell) [Aero]
THE CABLE GUY (John Ottman) [New Beverly]
DAYS OF BEING WILD (Terry Chan) [BrainDead Studios]
EL TOPO (Alejandro Jodorowsky) [Academy Museum]
THE GRANDMASTER (Shigeru Umebayashi, Nathaniel Mechaly) [BrainDead Studios]
HARAKIRI (Toru Takemitsu) [Los Feliz 3]
MACHINE GUN MCCAIN (Ennio Morricone) [Vista]
STAR TREK (Michael Giacchino) [Alamo Drafthouse]
10 THINGS I HATE ABOUT YOU (Richard Gibbs) [Egyptian]
THE THING (Ennio Morricone) [Alamo Drafthouse]
USED CARS (Patrick Williams) [Alamo Drafthouse]

April 6

BAD LUCK BANGING OR LOONY PORN (Jura Ferina, Pavao Miholjevic) [Los Feliz 3]
BLADE RUNNER (Vangelis) [Egyptian]
BONE TOMAHAWK (Jeff Herriott, S. Craig Zahler) [Alamo Drafthouse]
BREAKDOWN (Basil Poledouris) [Alamo Drafthouse]
CELINE AND JULIE GO BOATING (Jean-Marie Senia) [Los Feliz 3]
CRITTERS (David Newman) [Egyptian]
FLETCH (Harold Faltermeyer) [Los Feliz 3]
KUMIKO, THE TREASURE HUNTER (The Octopus Project) [Aero]
MACHINE GUN MCCAIN (Ennio Morricone) [Vista] 
METROPOLIS (Toshiyuki Honda) [New Beverly]
THE MUPPETS TAKE MANHATTAN (Jeff Moss, Ralph Burns) [New Beverly]
NEVER OPEN THAT DOOR (Julian Bautista) [UCLA/Hammer]
PINK FLAMINGOS [Academy Museum]
SIDEWAYS (Rolfe Kent) [El Capitan]
THE THING (Ennio Morricone) [Alamo Drafthouse]
THE TWILIGHT SAGA: ECLIPSE (Howard Shore) [Alamo Drafthouse]
USED CARS (Patrick Williams) [Alamo Drafthouse] 
WHERE IS THE FRIEND'S HOUSE? (Amine Allah Hessine) [Academy Museum]

April 7

BARRY LYNDON (Leonard Rosenman) [Vidiots]
BONE TOMAHAWK (Jeff Herriott, S. Craig Zahler) [Alamo Drafthouse] 
ESCAPE FROM NEW YORK (John Carpenter, Alan Howarth) [Alamo Drafthouse]
GASLIGHT (Bronislau Kaper) [Los Feliz 3]
THE GOOD, THE BAD AND THE UGLY (Ennio Morricone) [Egyptian]
INTERVIEW WITH THE VAMPIRE (Elliot Goldenthal) [Alamo Drafthouse]
THE MUPPETS TAKE MANHATTAN (Jeff Moss, Ralph Burns) [New Beverly]
NEGATIVES (Basil Kirchin) [Los Feliz 3]
THE PHANTOM TOLLBOOTH (Dean Elliott) [Vidiots]
SMOG (Piero Umiliani) [UCLA/Hammer]
A STREETCAR NAMED DESIRE (Alex North) [Academy Museum]
TAMPOPO (Kunihiko Murai) [BrainDead Studios]
THE THING (Ennio Morricone) [Alamo Drafthouse]
TOPPER TAKES A TRIP (Edward Powell, Hugo Friedhofer) [UCLA/Hammer]

April 8
BONE TOMAHAWK (Jeff Herriott, S. Craig Zahler) [Alamo Drafthouse]  
FRITZ THE CAT (Ed Bogas, Ray Shanklin) [Los Feliz 3]
THE GREASY STRANGLER (Andrew Hung) [Alamo Drafthouse]
THE NINTH CONFIGURATION (Barry DeVorzon) [Los Feliz 3]
PITCH BLACK (Graeme Revell) [Alamo Drafthouse]
THE THING (Ennio Morricone) [Alamo Drafthouse]
THE TWILIGHT SAGA: ECLIPSE (Howard Shore) [Alamo Drafthouse]

April 9
DUMB AND DUMBER (Todd Rundgren) [Alamo Drafthouse]
THE HOUSE OF THE DEVIL (Jeff Grace) [Alamo Drafthouse]
ON THE WATERFRONT (Leonard Bernstein), THE WILD ONE (Leith Stevens) [New Beverly]
WESTWORLD (Fred Karlin) [Los Feliz 3]

April 10
BREAKDOWN (Basil Poledouris) [Alamo Drafthouse]
CHUNGKING EXPRESS (Frankie Chan) [BrainDead Studios]
NOSTALGIA FOR THE LIGHT (Miguel Miranda, Jose Miguel Tobar)  [Los Feliz 3]
ON THE WATERFRONT (Leonard Bernstein), THE WILD ONE (Leith Stevens) [New Beverly]
SINGIN' IN THE RAIN (Nacio Herb Brown, Lennie Hayton) [Academy Museum]

April 11
HOLIDAY, TOO MANY HUSBANDS (Frederick Hollander) [New Beverly]
NOT A PRETTY PICTURE (Tom Griffith) [Los Feliz 3]
ONE-EYED JACKS (Hugo Friedhofer) [Academy Museum]

April 12
ASHES OF TIME (Frankie Chan, Roel A. Garcia) [BrainDead Studios]
CRUMB (David Boeddinghaus) [Aero]
DAWN OF THE DEAD (Goblin) [Alamo Drafthouse]
THE HARDER THEY COME (Jimmy Cliff) [Academy Museum]
HOLIDAY, TOO MANY HUSBANDS (Frederick Hollander) [New Beverly] 
HOUSE (Asei Kobayashi, Mikki Yoshino)  [BrainDead Studios]
THE PROFESSIONAL (Eric Serra) [New Beverly]
SANS SOLEIL [Los Feliz 3]
THE T.A.M.I. SHOW [Vista]
VERA (Arrigo Barnabe) [UCLA/Hammer] 

April 13
BLUE GIANT (Hiromi Uehara) [Alamo Drafthouse]
BROTHER'S KEEPER (Molly Mason, Jay Ungar) [Los Feliz 3]
CLERKS [Alamo Drafthouse]
THE CRAFT (Graeme Revell) [New Beverly]
DAWN OF THE DEAD (Goblin) [Alamo Drafthouse] 
JASON AND THE ARGONAUTS (Bernard Herrmann) [New Beverly]
LITTLE MISS SUNSHINE (Mychael Danna) [El Capitan]
MOTHRA (Yuji Koseki), THE H-MAN (Masaru Sato) [New Beverly]
MY HEART IS THAT ETERNAL ROSE (Ting Yat Chung) [BrainDead Studios]
THE T.A.M.I. SHOW [Vista]

April 14
BLUE (Zbgniew Preisner) [Alamo Drafthouse]
HAPPY TOGETHER (Danny Chung) [BrainDead Studios]
IT'S A MAD, MAD, MAD, MAD WORLD (Ernest Gold) [Fine Arts] 
JASON AND THE ARGONAUTS (Bernard Herrmann) [New Beverly]
JULIUS CAESAR (Miklos Rozsa) [Academy Museum]
LABYRINTH (Trevor Jones) [Alamo Drafthouse]
MOTHRA (Yuji Koseki), THE H-MAN (Masaru Sato) [New Beverly]
THE NEVERENDING STORY (Klaus Doldinger, Giorgio Moroder) [BrainDead Studios]
NIGHT OF THE JUGGLER (Artie Kane) [UCLA/Hammer] 
SALESMAN [Los Feliz 3]
SAVED! (Christophe Beck) [Vidiots]
SELENA (Dave Grusin) [Alamo Drafthouse]
SHIRKERS (Ishai Adar) [Los Feliz 3]


Mulholland Drive (Badalamenti); Obsession (Herrmann); Jennifer 8 (Jarre); Sounds of a Different Realm (Splet); Outlander: Season 5 (McCreary); Merrily We Roll Along (Sondheim); Fanny Brice: Rare and Unreleased Recordings (Brice); The Fly (Shore); Carrie (Donaggio); Fanny Brice: The Real Funny Girl (Brice); The Public Eye (Goldsmith); One Night with Fanny Brice (Johnson)

Read: Dry, by Augusten Burroughs

Seen: Sylvia Scarlett; Godzilla x Kong: The New Empire; One-Horse Farmers; Twin Triplets; Pigskin Parade; Ennio; In the Land of Saints and Sinners; Godzilla Minus One; Marathon Man; DogMan; Arthur the King; The Crying Game

Watched: Mission: Impossible III; Black Sails ("V."); Childrens Hospital ("Home Is Where the Hospital Is"); The 96th Oscars; Mission: Impossible - Ghost Protocol; The Boys ("The Only Man in the Sky"); Documentary Now! ("Mr. Runner-Up: My Life as an Oscar Bridesmaid, Pts. 1 & 2")

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Today in Film Score History:
July 18
Abel Korzeniowski born (1972)
Barry Gray born (1908)
David Shire records his score for the Amazing Stories episode "Hell Toupee" (1985)
James William Guercio born (1945)
Nathan Van Cleave begins recording his score for The Lonely Man (1956)
Richard Markowitz records his score for The Wild Wild West episode “The Night of the Golden Cobra” (1966)
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