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The latest release from Quartet features the new collaboration between composer Alberto Iglesias and director Pedro Almodovar - THE ROOM NEXT DOOR, the filmmaker's first English language feature, which pairs Oscar winners Julianne Moore and Tilda Swinton.


CDS AVAILABLE THIS WEEK

The Browning Version
 - Mark Isham - Quartet
Buffalo Kids
 - Fernando Velazquez - Quartet
De Sade
 - Billy Strange - Quartet 
Desire Hope
 - Szymon Szewczyk - Kronos  
The Food of the Gods/Frogs
 - Elliot Kaplan/Les Baxter - Quartet
Geo
 - Matteo Cremolini - Kronos 
Leonardo Da Vinci - Caroline Shaw - Nonesuch 
Zondebokken
 - Joris Hermy - Kronos    


IN THEATERS TODAY

Conclave - Volker Bertelmann
High Tide - Sebastian Plano
Let's Start a Cult - Joseph Thomas Stevens
The Line - Daniel Rossen
Magpie - Isobel Waller-Bridge
Memoir of a Snail - Elena Kats-Chernin
My Name Is Alfred Hitchcock - Donna McKevitt
Nocturnes - Nainita Desai 
Sultana's Dream - Gianmarco Serra 
Venom: The Last Dance - Dan Deacon
Your Monster - Tim Williams
Zurawski v Texas - Osei Essed 


COMING SOON

November 1
Twisters - Benjamin Wallfisch - Mutant
November 15
Coraline - Bruno Coulais - Mnrk Music  
Gladiator II - Harry Gregson-Williams - Verve
The Matrix: 25th Anniversary Edition 
- Don Davis - Varese Sarabande 
November 22
Nosferatu - Robin Carolan - Sacred Bones
December 13 
RoboCop 3: The Deluxe Edition [reissue]
- Basil Poledouris - Varese Sarabande 
January 3 
The Boy, the Mole, the Fox and the Horse - Isobel Waller-Bridge - Sony (import)
January 10
The Outrun - John Gurtler, Jan Miserre - Decca (import) 
Coming Soon
Beetlejuice Beetlejuice - Danny Elfman - Waxwork
Elliot Goldenthal: Music for Film
 - Elliot Goldenthal - Silva
The Golden Age of Horror Vol. 1
 - Elisabeth Lutyens - Dragon's Domain
I, Desire
 - Don Peake - Dragon's Domain
I 3 serpenti d'oro
 - Roberto Pregadio, Walter Rizzati - Beat [CD-R]
In the Land of Saints and Sinners
 - Diego Baldenweg, Nora Baldenweg, Lionel Baldenweg - Caldera
The Intruder Within/Starcrossed
 - Gil Melle - Dragon's Domain
Johnny Yuma
 - Nora Orlandi - Beat
Lo Squartatore di New York (The New York Ripper)
 - Francesco De Masi - Beat
Metello
- Ennio Morricone - Beat
The Moonwalkers
 - Anne Nikitin - Silva
Night of the Living Dead 
- Paul McCullough - Dragon's Domain
The Room Next Door
- Alberto Iglesias - Quartet


THIS WEEK IN FILM MUSIC HISTORY

October 25 - Konrad Elfers born (1919)
October 25 - Don Banks born (1923)
October 25 - Recording sessions begin for Alex North's score to I'll Cry Tomorrow (1955)
October 25 - Bronislau Kaper begins recording his score to The Brothers Karamazov (1958)
October 25 - Alexander Courage's "Plato's Stepchildren," the last score composed for the original Star Trek series, is recorded (1968)
October 25 - Billy Goldenberg begins recording his score for Duel (1971)
October 25 - Benny Golson records his score for the Mission: Impossible episode “Blues” (1971)
October 25 - David Shire begins recording his score for Max Dugan Returns (1982)
October 25 - Richard Hazard begins recording his score for Airplane 2: The Sequel (1982)
October 25 - Recording sessions begin for W.G. Snuffy Walden’s score for The Stand (1993)
October 25 - Recording sessions begin for Danny Elfman’s score for Good Will Hunting (1997)
October 26 - Bob Cobert born (1924)
October 26 - Jacques Loussier born (1934)
October 26 - Victor Schertzinger died (1941)
October 26 - Recording sessions begin for Roy Webb's score to Fixed Bayonets (1951)
October 26 - Curt Sobel born (1953)
October 26 - Richard La Salle records his score for the Buck Rogers in the 25th Century episode “Unchained Woman” (1979)
October 26 - Howard Shore begins recording his score for She-Devil (1989)
October 27 - Samuel Matlovsky born (1921)
October 27 - Recording sessions begin for Hugo Friedhofer's score for Ace in the Hole (1950)
October 27 - Recording sessions begin for Hugo Friedhofer’s score for The Rains of Ranchipur (1955)
October 27 - Richard Markowitz records his score for The Wild Wild West episode “The Night of the Green Terror” (1966)
October 27 - John Williams begins recording his score for Pete ‘n’ Tillie (1972)
October 27 - Jerry Fielding begins recording his score for The Enforcer (1976)
October 27 - Frank DeVol died (1999)
October 27 - James Newton Howard begins recording his score to Peter Pan (2003)
October 27 - Jay Chattaway records his score for the Star Trek: Enterprise episode “Cold Station 12” (2004)
October 27 - Hans Werner Henze died (2012)
October 28 - Gershon Kingsley born (1922)
October 28 - Carl Davis born (1936)
October 28 - Howard Blake born (1938)
October 28 - Lalo Schifrin records his score for the Alfred Hitchcock Hour episode “Memo from Purgatory” (1964)
October 28 - Jerry Fielding records his score for the Mission: Impossible episode “The Exchange” (1968)
October 28 - Lalo Schifrin records his score for the Mission: Impossible episode “Submarine” (1969)
October 28 - Oliver Nelson died (1975)
October 28 - Artie Kane records his score for The New Adventures of Wonder Woman episode “I Do, I Do” (1977)
October 28 - Recording sessions begin for James Newton Howard’s score for Eye for an Eye (1995)
October 28 - Gil Melle died (2004)
October 29 - Daniele Amfitheatrof born (1901)
October 29 - Neal Hefti born (1922)
October 29 - Pim Jacobs born (1934)
October 29 - George Bassman records his score to Mail Order Bride (1963)
October 29 - Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “Monster from the Inferno” (1966)
October 29 - Michael Wandmacher born (1967)
October 29 - Alexander Courage records his score for the Land of the Giants episode “Comeback” (1969)
October 29 - Irving Szathmary died (1983)
October 29 - David Newman begins recording his score for Throw Momma from the Train (1987)
October 29 - Paul Misraki died (1998)
October 30 - Paul J. Smith born (1906)
October 30 - Irving Szathmary born (1907)
October 30 - Teo Macero born (1925)
October 30 - Charles Fox born (1940)
October 30 - The Lion in Winter opens in New York (1968)
October 30 - Brian Easdale died (1995)
October 30 - Paul Ferris died (1995)
October 30 - Paul Baillargeon records his score for the Star Trek: Deep Space Nine episode “Little Green Men” (1995)
October 30 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Year of Hell, Part II” (1997)
October 30 - Dennis McCarthy records his score for the Enterprise episode “Breaking the Ice” (2001)
October 31 - Venedikt Pushkov born (1896)
October 31 - Now, Voyager opens in theaters (1942)
October 31 - Spellbound opens in New York (1945)
October 31 - Johnny Marr born (1963)
October 31 - Robert Drasnin records his score for the Lost in Space episode "West of Mars" (1966)
October 31 - Adam Schlesinger born (1967)
October 31 - Jerry Goldsmith begins recording his score for Patton (1969)
October 31 - John Williams begins recording his score to The Towering Inferno (1974)
October 31 - Ian Hultquist born (1985)
October 31 - The Mission is released in the United States (1986)
October 31 - Joseph Liebman died (2001)
October 31 - Ian Fraser died (2014)

DID THEY MENTION THE MUSIC?

DAAAAAALI! - Thomas Bangalter

"Set to a jaunty acoustic score by Daft Punk’s Thomas Bangalter, 'Daaaaaalí!' feels like a dispatch from Dalí’s mind (and that of his old accomplice Luis Buñuel). The film follows a dream logic with scant interest in anything linear. The chronology is askew, frames are played backward; an extended joke becomes the equivalent of a set of infinitely nesting Russian dolls."
 
Elizabeth Vincentelli, The New York Times  
 
"It is fitting, given their frequent collaborations, that 'Daaaaaali!' should so amiably mimic the tone and tenor of Luis Buñuel’s surrealist classics, especially in actions that are, like the stew-eating, filmed backwards and played forwards, or that are daisy-chained together under the irresistibly catchy, Spanish-guitar roundelay of Thomas Bangalter’s score. In this discreetly charming way, in the course of a trim 78-minute runtime, Dali finds himself trapped in the quicksands of time unable to escape a dreamscape-type life entirely of his own devising. But Dupieux injects his own particular brand of daffy humor too, writing, directing, shooting and editing his movie, cutting it along a bias that is familiar to those of us who’ve been paying attention to his recent run of form, from 'Mandibles' to 'Incredible but True' to 'Smoking Causes Coughing' to 'Yannick,' his excellent 67-minute bottle episode that premiered just last month in Locarno."
 
Jessica Kiang, Variety 

LONELY PLANET - Pinar Toprak
 
"Script-wise, 'Lonely Planet' never really makes the case for why Katherine and Owen would be drawn to one another on anything more than a physical level. But that doesn’t really matter when the performances, direction, and melodic score are working overtime to sell the connection. The romance exists almost entirely in the longing glances the two share over countryside road trips and Moroccan café tables, the attraction rooted in their non-judgmental curiosity and mutual comfort with silence. 'Lonely Planet' isn’t steamy like 'The Idea Of You' or zany like 'A Family Affair,' but it has a vibes-over-plot appeal that carries over to its central romance."
 
Caroline Siede, AV Club 
 
A MISTAKE - Frank Ilfman
 
"Taking its aesthetic from the cool neutrality of institutional settings, the film has a sleek but unshowy aesthetic nicely supported by all design and tech contributors. A graceful orchestral score by Frank Ilfman is among the more expressive elements here, though it too refrains from overt melodramatics."
 
Dennis Harvey, Variety 
 
OMNI LOOP - Kaitlyn Aurelia Smith

"If the movie’s narrative is lacking, its technical package at least convincingly conveys a relaxed tone. Kaitlyn Aurelia Smith’s gently pulsing electronic score conjures up a complementary looping vibe while cinematographer Ava Benjamin Shorr’s framing and Britto and Martin Anderson’s intuitive editing create a collection of snapshot feelings."
 
Brent Simon, AV Club
 
"That sense of tranquility is established more instantly by Britto and a talented crew to consider the big ideas at hand. From the film’s savvy use of Miami’s brutalist architecture to Kaitlyn Aurelia Smith’s tender and lilting electronic score, the gentle incorporation of slightly surreal elements allow the spotlight to stay on Zoya’s ability to reason things out. Everything leans toward the hopeful notion that she can, given all the human creativity on display as part of the fabric of the film. Time may unravel in 'Omni Loop,' but admirably, it opens up the space to think less about the secrets of the larger universe than to take stock of the smaller ones that exist around us."
 
Stephen Saito, Variety 
 
"Despite its high-concept premise and lengthy spells of laboratory work, Britto’s movie is fundamentally an intimately humanistic exploration of death and acceptance. As Kaitlyn Aurelia Smith’s score gradually evolves from needling electronica into more emotional, melodic moods, Zoya starts to see things differently, devoting more of her remaining time to her family and reaffirming her gratitude for what each of them has given her."
 
David Rooney, The Hollywood Reporter 

THE OUTRUN - John Gürtler, Jan Miserre 
 
"Ronan’s emotionally charged performance makes those highly theatrical closing images transporting, even if they’re more than a tad overwrought. There’s no effort to soften Rona or make her less abrasive, but her hard-won serenity becomes a poignant fight. The real strength of Fingscheidt’s storytelling is how the director, like her main character, harnesses the elements, a theme carried through in cinematographer Yunus Roy Imer’s arresting images of the dramatic landscape and thundering sea, and in the score by John Gürtler and Jan Miserre."
 
David Rooney, The Hollywood Reporter 
 
RED ROOMS - Dominique Plante

"The filmmaking lowers the temperature as well. The palette is overcast and gray, and the only emotion comes from the frenzied drumming and slashing electric guitar on Dominique Plante’s score. In the courtroom scenes, the camera mechanically pivots around the space, dispassionately observing the witnesses gathered to hear the salacious details of Ludovic’s network of 'red rooms,' where he live-streamed torture and murder online. Plante tastefully declines to show these videos beyond a blurry still of a red-spattered room and some wrenching sound effects. This ends up being more effective than if 'Red Rooms' had indulged in excessive gore, as it forces viewers to fill in the blanks themselves."
 
Katie Rife, RogerEbert.com  
 
"It doesn’t take much to destabilize a healthy human brain. The noise of the saw, the screams of a young girl, and the knowledge her death involved things such as genital mutilation is all we need to sink into a state of absolute despair. 'Red Rooms' is well aware of the functioning of this, which is why each frame is shrouded in mystery, meticulously crafted to make you squirm. From the cinematography of Vincent Biron to the soundtrack of Dominique Plante, every detail of 'Red Rooms' contributes to an atmosphere of absolute dread that stretches through the movie’s entire runtime."

Marco Vito Oddo, Collider 

"Writer-director Pascal Plante’s 'Red Rooms' opens with what sounds like a variation on the Handel music used in 'Barry Lyndon.' Composer Dominique Plante’s eerie score is layered atop the pre-dawn routine of model Kelly-Anne (Juliette Gariépy) as she heads out not to work but a courthouse where a sensationalized murder case is set to begin. The trial concerns one Ludovic Chevalier (Maxwell McCabe-Lokos), who stands accused of the brutal murder of three teenage girls whose deaths were recorded for distribution on the dark web."
 
Jake Cole, Slant Magazine
 
"It’s an accomplished feature in all departments. A mood of elegant claustrophobia that feels like it’s barely holding back malevolent chaos is amplified by DP Vincent Biron’s images, Dominique Plante’s ominous score and other major contributions."
 
Dennis Harvey, Variety
 
"French Canadian writer-director Plante — whose last feature, Nadia, Butterfly, was a 2020 Cannes selection — demonstrates powerful stylistic control over his provocative material, from the elegantly chilly visuals and ominous sound effects (that whistling wind seems as if it’s echoing through Kelly-Anne’s hollow soul) to Dominique Plante’s eerie score, which sounds like a Bach fugue having a breakdown."
 
Frank Scheck, The Hollywood Reporter 

THE UNIVERSAL THEORY (aka THE THEORY OF EVERYTHING) - Diego Ramos Rodríguez 

"At its heart a work of high pastiche, reflecting the romantic obsession of 'Vertigo,' the suspense of 'The Man Who Knew Too Much,' and the postwar desperation of 'The Third Man' -- and particularly giving itself over to indulgence through the cresting, Bernard Herrmann-esque swirls and swells of Diego Ramos Rodriguez’s orchestral score, which counters the film’s eerily aloof, distended sound design -- 'The Universal Theory' prioritizes atmosphere over explanation, to intoxicating but diminishing effect. As Johannes chases wisps of echoes through the maze Kröger has devised, he rarely grasps more than glimpses of answers to his questions and the audience along with him."

Isaac Feldberg, RogerEbert.com 

"Directed by Timm Kröger, this slick black-and-white movie features a femme fatale, woozy dissolves that stitch together each scene and a booming Bernard Herrmann-esque score by Diego Ramos Rodríguez that never lets up."
 
Beatrice Loayza, The New York Times
 
"Call it blanc noir. Or hi-fi sci-fi. Or matinee fodder for the likes of Niels Bohr and Erwin Schrödinger. For sure, it’s a dreamy pastiche of the era’s moody, existential movies. Co-writer and director Timm Kröger effortlessly evokes the chilly unease of Antonioni, Welles and Tarkovsky while channeling plenty of Hitchcock vibes, mostly with an impressively full-blown orchestral score (by Diego Ramos Rodriguez) that could be a long-lost symphony of Bernard Herrmann’s. (Roland Stuprich’s black-and-white cinematography doesn’t hurt either.) You don’t need a master’s in wave-particle duality to enjoy the cosmic playground of coincidence and fate that Kröger has in mind. That being said, the director, a cinematographer making his feature debut, isn’t anywhere near David Lynch’s kind of subconscious-melting brilliance. 'The Universal Theory' is overlong and ultimately a work more of the head than the heart, no matter how much that wall-to-wall throwback score swells with intention. The performances, too, are more likenesses than full characterizations, which, admittedly, is wholly in keeping with the perplexities being dramatized."
 
Robert Abele, Los Angeles Times  
 
"Imagine that one of Hitchcock’s villains -- say, the guy missing the tip of a pinkie in 'The 39 Steps,' or the shrink who runs the institute in 'Spellbound' -- did not simply come from a place of murderous intent but from a different place altogether, perhaps another dimension. Imagine that villain’s supranatural malfeasance backdropped by jagged mountains, captured in black-and-white so crisp it could cut, and widescreen frames so wide whole Alpine ranges fit comfortably inside them. And imagine it all unfolding to a deliberately overpowering score, like Bernard Herrman and Scott Walker conceived a baby during a sonic boom. Now you are somewhere near Timm Kröger‘s superbly crafted 'The Universal Theory' an overlong but enjoyable metaphysical thriller that delivers pastiche so meticulous it becomes its own source of supremely cinematic pleasure. The conference keeps getting postponed due to the no-show of its keynote speaker. But in the meantime Johannes has met Professor Blumberg (Gottfried Breitfuss), a jovial, rotund erstwhile Nobel nominee with whom Strathen has some ancient beef, and who immediately recognizes the revolutionary potential of Johannes’ theories. Or maybe that’s just the booze and LSD speaking. But by now Johannes has also encountered Karin (Olivia Ross) an enigmatic Frenchwoman who plays piano with the hotel’s jazz band, and around whom Johannes feels a strange déjà vu == accented wittily by composer Diego Ramos Rodríguez’s love theme, which echoes that of 'Vertigo,' the ultimate tale of doubling and obsessive love. The fact that Karin can relate entire stories from Johannes’ childhood that he’s never told anyone does little to disavow him of the notion of their peculiar connection. But in the mountains nearby (which are such characters here they almost seem to talk to each other on the soundtrack, showing the more thunderous side of Rodríguez’s multifaceted score) a pulsating light flickers deep with the warren of tunnels left over from the days of uranium mining. It must be somehow related to Karin’s disappearance. And to a strange accident involving two local kids. And to the sinister figures Johannes spots on the mountainside, after Blumberg is found dead in the snow. Very dead, in fact, which makes it very odd that he keeps showing up again, alive and intent on some nefarious purpose that Johannes cannot fathom."
 
Jessica Kiang, Variety 

"Kröger dips into a basket of movie references to fuel the narrative, using high-contrast monochrome images, courtesy of Roland Stuprich, that recall how films looked at the time, and a nonstop score from Diego Ramos Rodriguez that makes nods to great studio composers like Bernard Herrmann or Max Steiner. As such names hint, Hollywood was a heavily Germanic place back in its heyday, and those influences are abundant in 'The Theory of Everything', a German thriller with an ostensibly retro Hollywood feel."
 
Jordan Mintzer, The Hollywood Reporter 
 
WHITE BIRD - Thomas Newman
 
“White Bird” benefits from the performances of Glaser and especially Schwerdt, whose eyes radiate kindness and warmth even when he’s being mistreated. Gillian Anderson is also good in a small role as Julien’s mother, Vivienne. Mirren holds the film together with her narration, but she can’t save the film from Forster’s penchant for overdoing emotional scenes or from Thomas Newman’s intrusive score.
 
Odie Henderson, The Boston Globe 
 
THE WILD ROBOT - Kris Bowers
 
"The movie is aided by some beautifully lit scenes, an old-school painterly touch to the backgrounds, top-notch individual character animation (Fink, in particular, is wonderfully conceived), and an absolutely breathtaking score by Kris Bowers. The two original songs, 'Kiss the Sky' and 'Even When I’m Not,' performed by Maren Morris, give the film a heartwarming kick. The question is, will you stick it out for the emotional gut punch at the end?"
 
Gregory Ellwood, The Playlist
 
"Coupled with the visuals, an original score by Kris Bowers is one of 'The Wild Robot's greatest assets. Scenes of geese soaring over stunning landscapes are punctuated by his grand, sweeping music, and soft, tender moments are similarly aided by his evocative musical touch. The score becomes another character in this film, and just as Roz helps Billbright to find his wings, Bowers elevates an already-great film to new heights. Accompanying the score are two original songs sung by Maren Morris, which further ensure that 'The Wild Robot' will not let you leave the theater without having at least once cried into your popcorn."
 
Shaina Weatherhead, Collider
 
"This is a movie that’s bursting with unexpected humor -- often in jokes about how easy it is for animals to die in the wild -- but also feels deeply heartfelt in every frame, and only rarely in a manner that feels at all manipulative. The visual artistry in the painterly compositions comes through in other elements too, from the all-around stellar voice work (especially Nyong’o, who finds nuance in what could have been a cold vocal turn) to a propulsive score by Kris Bowers. You can tell when a project like this is made for profit vs. when it’s made for artistic passion, and everyone involved in 'The Wild Robot' poured their hearts into it. You can see it. You can hear it. You can feel it. And that truly matters, especially in an era when so much children’s entertainment feels like nothing more than a cynical cash grab. This is made from the heart in every way. And that’s what allows it to connect with yours."
 
Brian Tallerico, RogerEbert.com 

WOMAN OF THE HOUR - Dan Romer, Mike Tuccillo
 
"'Woman of the Hour' feels most fully realized when Cheryl and Rodney meet on 'The Dating Game,' on which he appears as a contestant. By this point we know he is a killer and, thanks to Kendrick’s performance, we have built some sympathy for Cheryl (an otherwise shallow character). This ups the stakes of their interactions, mediated by the presence of a live audience and the show’s host (Tony Hale). Among the people watching 'The Dating Game' that day is Laura (Nicolette Robinson), a woman who immediately recognizes Rodney and tries to warn the show’s producers. Portraying this situation as a thriller-esque race against time -- assisted by 'Ramy' composers Dan Romer and Mike Tuccillo’s score -- heightens 'Woman of the Hour''s unsettling mood. 
 
Lovia Gyarkye, The Hollywood Reporter 

THE NEXT TEN DAYS IN L.A.

Screenings of older films in Los Angeles-area theaters.

October 25
BASKET CASE 2 (Joe Renzetti) [Alamo Drafthouse]
DONNIE DARKO (Michael Andrews) [Vidiots]
DUNE: PART TWO (Hans Zimmer) [Aero]
EVIL DEAD 2 (Joseph LoDuca) [Vista]
FREDDY VS. JASON (Graeme Revell) [New Beverly]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
HIGH ART (Shudder to Think) [UCLA/Hammer]
POLTERGEIST (Jerry Goldsmith) [Vidiots]
THE RED SHOES (Brian Easdale) [Academy Museum]
REVENGE (ROB) [Vidiots]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Alamo Drafthouse]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
TALES FROM THE HOOD (Christopher Young) [Vidiots]
THE TEXAS CHAINSAW MASSACRE (Tobe Hooper, Wayne Bell) [New Beverly]
US (Michael Abels) [BrainDead Studios]

October 26
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner) [Academy Museum]
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner) [Vista]
ATTACK THE BLOCK (Steven Price) [Vidiots]
AWAKENING OF THE BEAST [Los Feliz 3]
BRIDE OF FRANKENSTEIN (Franz Waxman) [New Beverly]
CREATURE FROM THE BLACK LAGOON [Academy Museum]
DRACULA [Academy Museum]
EVIL DEAD 2 (Joseph LoDuca) [Vista] 
THE FACULTY (Marco Beltrami) [Vidiots]
GHOSTBUSTERS (Elmer Bernstein) [Landmark Westwood]
THE HAUNTING (Humphrey Searle) [Vidiots]
HOCUS POCUS (John Debney) [Vidiots]
HOUSE (Asei Kobayashi, Mikki Yoshino) [New Beverly]
IT FOLLOWS (Disasterpeace) [BrainDead Studios]
MEAT [Los Feliz 3]
MURDERING THE DEVIL (Angelo Michajlov) [Los Feliz 3]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE TEXAS CHAINSAW MASSACRE (Tobe Hooper, Wayne Bell) [New Beverly]

October 27
ABBOTT AND COSTELLO MEET FRANKENSTEIN (Frank Skinner) [Vista] 
AMERICAN GIGOLO (Giorgio Moroder) [Los Feliz 3]
THE BABADOOK (Jed Kurzel) [BrainDead Studios]
BRIDE OF FRANKENSTEIN (Franz Waxman) [New Beverly]
CASPER (James Horner) [Vidiots]
DEMENTIA 13 (Ronald Stein) [Aero]
GUEROS (Tomas Barreiro) [Los Feliz 3]
HEAVEN'S GATE (David Mansfield) [Academy Museum]
HUD (Elmer Bernstein) [Los Feliz 3]
LET THE RIGHT ONE IN (Johan Soderqvist) [BrainDead Studios]
NIGHT OF THE LIVING DEAD [Egyptian]
THE NIGHTMARE BEFORE CHRISTMAS (Danny Elfman) [Vidiots]
PSYCHO (Bernard Herrmann) [Vidiots]
THE SACRIFICE [Egyptian]
THE TEXAS CHAINSAW MASSACRE (Tobe Hooper, Wayne Bell) [New Beverly]

October 28
CREATURE FROM THE BLACK LAGOON [Alamo Drafthouse]
DRACULA [Academy Museum]
THE FALL (Krishna Levy) [Alamo Drafthouse]
THE GUEST (Steve Moore) [Alamo Drafthouse]
THE HORROR STAR (Jerry Moseley) [Los Feliz 3]
POLTERGEIST (Jerry Goldsmith) [Egyptian]
QUATERMASS AND THE PIT (Tristram Cary), PRINCE OF DARKNESS (John Carpenter, Alan Howarth) [New Beverly]
THE SHINING (Wendy Carlos, Rachel Elkind) [Egyptian]
THE TEXAS CHAINSAW MASSACRE (Tobe Hooper, Wayne Bell) [Vidiots]
WES CRAVEN'S NEW NIGHTMARE (J. Peter Robinson) [Alamo Drafthouse]

October 29
THE FALL (Krishna Levy) [Alamo Drafthouse]
THE GUEST (Steve Moore) [Alamo Drafthouse] HALLOWEEN (John Carpenter) [Alamo Drafthouse]
JU-ON: THE GRUDGE (Shiro Sato) [Vidiots]
QUATERMASS AND THE PIT (Tristram Cary), PRINCE OF DARKNESS (John Carpenter, Alan Howarth) [New Beverly]

October 30
BASKET CASE 2 (Joe Renzetti) [Alamo Drafthouse] 
THE BOY FRIEND (Sandy Wilson, Peter Maxwell Davies) [Academy Museum]
DRACULA [Academy Museum]
THE FALL (Krishna Levy) [Alamo Drafthouse] 
FLESH MIRROR (David Tygel) [Los Feliz 3]
THE GUEST (Steve Moore) [Alamo Drafthouse]
THE GUEST (Steve Moore) [Vidiots]
HALLOWEEN (John Carpenter), RETURN OF THE LIVING DEAD (Matt Clifford) [Culver]
HALLOWEEN III: SEASON OF THE WITCH (John Carpenter, Alan Howarth), TRICK 'R' TREAT (Douglas Pipes) [New Beverly]

October 31
THE BIG PARADE [Academy Museum]
THE EXORCIST [Aero]
GLEN OR GLENDA [Los Feliz 3]
HALLOWEEN (John Carpenter) [Alamo Drafthouse] 
HALLOWEEN (John Carpenter) [Vidiots]
HALLOWEEN III: SEASON OF THE WITCH (John Carpenter, Alan Howarth), TRICK 'R' TREAT (Douglas Pipes) [New Beverly]
I MARRIED A WITCH (Roy Webb) [Los Feliz 3]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Alamo Drafthouse]

November 1
CABARET (John Kander, Ralph Burns) [Academy Museum]
CHUNGKING EXPRESS (Frankie Chan) [UCLA/Hammer]
INGLOURIOUS BASTERDS [New Beverly]
INHERENT VICE (Jonny Greenwood) [New Beverly]
MUTE WITNESS (Wilbert Hirsch) [Alamo Drafthouse]
NARROW MARGIN (Bruce Broughton), THE HUMAN FACTOR (Ennio Morricone) [New Beverly]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart] 
STARSHIP TROOPERS (Basil Poledouris) [Vidiots]
TRUE ROMANCE (Hans Zimmer) [Vidiots]

November 2
BATMAN (Nelson Riddle) [New Beverly]
BEETLEJUICE (Danny Elfman) [Vidiots]
BLONDE VENUS [Academy Museum]
THE BOOK OF LIFE (Gustavo Santaolalla) [Academy Museum]
COCO (Michael Giacchino) [Vidiots]
GENTLEMEN PREFER BLONDES (Jule Styne, Lionel Newman) [Academy Museum]
GHOST (Maurice Jarre) [Vidiots]
HAROLD & KUMAR GO TO WHITE CASTLE (David Kitay) [New Beverly]
MACARIO (Raul Lavista) [Vidiots]
MYSTERIOUS SKIN (Robin Guthrie, Harold Budd) [UCLA/Hammer]
NARROW MARGIN (Bruce Broughton), THE HUMAN FACTOR (Ennio Morricone) [New Beverly] 
THE PARALLAX VIEW (Michael Small) [Alamo Drafthouse]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart] 
THE SAILOR WHO FELL FROM GRACE WITH THE SEA (Johnny Mandel) [Los Feliz 3]

November 3
BATMAN (Nelson Riddle) [New Beverly] 
GOJIRA (Akira Ifukube), DESTROY ALL MONSTERS (Akira Ifukube), GODZILLA VS. THE SMOG MONSTER (Riichiro Manabe), SHIN GODZILLA (Shiro Sagisu), GODZILLA MINUS ONE (Naoki Sato) [Academy Museum]
THE GREAT DICTATOR (Charles Chaplin) [Alamo Drafthouse]
SERPICO (Mikis Theodorakis) [New Beverly]
SLEEP DEALER (tomandandy) [UCLA/Hammer]


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

Heard:
Evita (Lloyd Webber); How to Train Your Dragon (Powell); 2002 Film Music (Beltrami); Winning (Grusin); THX-1138 (Schifrin); Runaway: The Early Works of David Shire (Shire); The Color Purple (Jones); Kill Bill: Vol. 1 (various); Westworld (Karlin); How to Train Your Dragon 2 (Powell); Rat Race (Bernstein); Cry Freedom (Fenton/Gwangwa); Killing Them Softly (Streitenfeld, various); Magnificent Obesssion (Skinner); MacArthur (Goldsmith); Futureworld (Karlin)

Read: Onlookers: stories, by Ann Beattie; Falling in Place, by Ann Beattie

Seen: Daaaaali!; West Side Story [1961]; Rumours; Smile 2; We Live in Time; The Apprentice; Funny Games [1997]; Demoness from Thousand Years; Thou Shalt Not Swear

Watched: Godzilla vs. SpaceGodzilla; Black Sails ("VII"); Bojack Horseman ("Live Fast, Diane Nguyen")

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