Film Score Daily: Film Score Friday 11/15/24

The latest release from Intrada presents arguably one of Maurice Jarre's finest scores, for the 1980 supernatural-tinged drama RESURRECTION, about a woman whose near-death experience leads to unexpected powers as a healer. Ellen Burstyn received a Best Actress nomination for the lead role, and theater legend Eva La Gallienne was also nominated for her performance as Burstyn's grandmother. Only a few minutes of Jarre's memorable score had previously been commercially released, and Intrada's Resurrection features 78 minutes of score including previously unheard cues.

IN THEATERS TODAY

Albany Road - Leon Lacey
All We Imagine as Light - Dhritiman Das, Topshe
Bird - Music Supervisor: Simon Astall
Ghost Cat Anzu - Keiichi Suzuki
Meet Me Next Christmas - Dara Taylor
Meeting You, Meeting Me - J.R. Schwartz
Of Color and Ink - Peter Kam
Red One - Henry Jackman
Waltzing with Brando - Matei Bratescot

Justin Lowe, The Hollywood Reporter

EMILIA PEREZ - Clément Ducol (score), Camille (songs)

"With stellar songs by French singer Camille, a highly original score by Clément Ducol, and striking choreography by Damien Jalet, 'Emilia Pérez' shifts effortlessly from musical extravagances to a gritty underworld milieu."

James Mottram, Total Film

"There are innumerable missteps in 'Emilia Pérez,' from the unremarkable songs from songwriter Camille Dalmais and composer Clément Ducol to septuagenarian Frenchman Audiard’s palpable removal from a genuinely Mexican perspective. Of the main cast, only Paz is Mexican, and the film itself was shot on a soundstage in France, though the film’s stance on there being over 100,000 missing persons cases in Mexico is certainly true. Yet repeatedly emphasizing this injustice while only momentarily touching on the country’s rampant femicide and homo/transphobia feels egregiously narrow in focus. While 'Emilia Pérez' doesn’t excel as a musical, social interrogation, or acting masterclass (Gomez, despite the Cannes award, is uninspired), it is still perplexingly transfixing. Its 132-minute runtime notwithstanding, 'Emilia Pérez' manages to arrest and intrigue, if only because you truly don’t know what the frenetic narrative’s next move is (even its genre clunkily shifts between tense thriller, telenovela, and crime caper). If you don’t expect intelligence and embrace the spectacle, it’s not such a bad trip."

Natalia Keogan, AV Club

"The songs were created by the French duo of Celine and Clément Ducol, and there’s a hard, charging quality to the music, which reflects the style of the film. 'Emilia Pérez' is an honest-to-god musical, but its rhythms and melodies feel like they’ve emerged from this cinematic milieu instead of being airlifted in to enliven and sweeten a dark story. And the cast is up to the challenge of making this insanity work."

Bilge Ebiri, New York

"There’s a welcome outlandishness to one set piece in 'Emilia Pérez,' when Rita visits a Philippines clinic that performs gender confirmation surgeries and the surgeons and patients launch into Busby Berkeley-style syncopated movements, but little here justifies itself as a musical. There’s no truly great set piece, and barely a good song. The film is surefooted about all of its decisions, even as its steps don’t follow any particularly discernible path. If a musical is supposed to communicate things that can’t be conveyed through normal dialogue, 'Emilia Pérez''s biggest problem is that it falls prey to redundancy, regurgitating the same ideas about identity, desire, violence, and redemption, betraying how little it has to say in the first place."

Kyle Turner, Slant Magazine

"This, unfortunately, mostly hurts the musical side of the film. There are large stretches of 'Emilia Pérez' that are without songs, almost as if Audiard has forgotten he’s attempting a musical. When the film is a musical, songs often stop and start without leaving much of an impact, and sadly, the songs by Camille and score by Clément Ducol are mostly forgettable. There are some exceptions, as with the emotional 'Papa,' in which Pérez’s son sings to her about his deceased father, and the staging of the musical sequences are always impressive. But when they’re done extremely well and the songs are hitting just right, it only highlights how often the musical elements seem almost like an afterthought. For a film so daring and inventive, it’s disappointing that the musical aspect of 'Emilia Pérez' never soars to meet this film’s ambitions."

Ross Bonaime, Collider

"That the Spanish-language film is also a full-blown musical, chock-full of deliriously choreographed numbers and ear-catching ditties about vaginoplasties and tracheal shaves would also reflect Audiard’s high perch. This the film one makes with a mantle full of prizes and zero f---s to give. If this all sounds too much and over the top, it all very much is -- Audiard is playing with telenova logic here, where money is abundant and interactions are always played at full blast. Through it all he cycles through every musical form, staging love-ballads and punk anthems, syncopated gunfights and one, particularly sensational number where Rita unleashes on her rich benefactors with switchblade moves at a charity gala."

Ben Croll, The Wrap

"It’s all pulp-operatic enough already, with declarative, percussive tunes from Clément Ducol and Camille adding pop to the feelings (rage, concern, longing) of any given scene. But it’s when the story jumps ahead four years, and wealthy, glamorous Emilia Pérez (Gascón) stages a run-in with a stunned Rita, that the movie’s second-act narrative sows a richer tapestry of showstoppers and laments. Emilia, drawn emotionally to reconnect and revise her old life, manipulates everyone’s destinies back to Mexico City: Restless, lonely Jessi moves in with generous, unheard-of 'cousin' Emilia, the kids get a doting new (but somehow familiar) aunt, while Emilia and Rita -- now friends and allies -- start an NGO to help anguished women locate missing husbands and sons. Love even blooms for Emilia with a distraught widow (a wonderful Adriana Paz)."

Robert Abele, Los Angeles Times

"You haven’t lived until you’ve seen a movie musical where the words 'mammoplasty, vaginoplasty, rhinoplasty' play out in song. Nor have you lived until you’ve seen that same movie musical in which Selena Gomez says the words 'My p***y still hurts when I think of you.' And you’ve never seen a movie musical at all about transness that takes as bold of swings as Jacques Audiard‘s 'Emilia Pérez,' which is stylistically unforgettable while missing the crucial element that makes any movie musical work: Actually good, memorable songs. The music, a collaboration of French singer Camille and Clément Ducol, hardly yields earworms even as the lyrics propel Emilia’s self-determination, Rita’s hopelessness ('my love life is a desert, my professional life a sewer'), and Jessie’s (a bleach-blond-headed Gomez who doesn’t achieve 'Only Murders in the Building' levels here) eventual villainy. The songs tend to hover around just a few chords, and maybe the best scene from a singing standpoint is of Gomez doing actual karaoke. Never a good sign in a movie musical, where here song and dance pleasantly erupt from nowhere, and at least refreshingly without lurching transitions that get us there. In one bravura sequence, the screen forms a triptych as Rita mitigates between Emilia and Jessie (unaware of who Emilia, now posing as Manitas’ cousin, is and was) over the phone, telling each to 'calm down' in another visually propulsive musical number. But I’m not exactly tapping my toes and humming along to the memory of a beat in recollection; the songs just evaporate into the ether once it’s over."

Ryan Lattanzio, IndieWire

"Oh, and, yes. All this and it’s a musical. Well, 'Emilia' wants to be a musical. Originally intended as a four-act opera, the movie has numerous musical moments. Some longer than others, some seemingly just two minutes or less teasing the promise of something more. And, in all fairness, like a proper musical, the songs do move the story forward. The composition titles were not provided by the time of this review’s publication but were written by Cle´ment Ducol and French music artist Camille. While none of them have a truly catchy hook, they do provide moments for Saldana to demonstrate a performance prowess only hinted at earlier in her career. The 'Avatar' star has sung on screen before but she’s never had an opportunity to do a number. Never had the chance to flex her vocal skills in this capacity. Not like this. We’re not sure this movie can usher in a new era of Saldana taking the stage or screen again as a musical star, but we’re absolutely here for it if it does."

Gregory Ellwood, The Playlist

"In one scene, the newly charitable Emilia speaks at a lavish gala, in a room full of bankers and government types, and Rita breaks into a furious song and dance, invisible to everyone else in the room, chastising them for their selfishness, shortsightedness, and ego. The song is catchy, in a staccato sort of way, and Saldaña, so often a figure of stoicism in various sci-fi pictures, performs the hell out of it, expressing her anger so physically that it nearly becomes joy, the camera ricocheting around her. The effect throws back to turn-of-the-century movie musicals that poked around in the genre during a low ebb in popularity: The melodrama-meets-fantasia experiment of 'Dancer in the Dark' and (sorry) Woody Allen’s 'Everyone Says I Love You,' where almost all of the actors did their own singing, regardless of technical ability."

Jesse Hassenger, Paste Magazine

"Audiard makes a case that the movie musical is the only genre that could have contained all this, enlisting nouvelle chanson artist Camille to write the songs and her partner Clément Ducol to compose the score. The soundtrack is a synth-heavy melange that can be ambient or anthemic, intimate in its excavation of inner feelings or defiantly declarative, at times leaning into rap. Any musical featuring a song called 'La Vaginoplastia' is not playing it safe. Belgian modern dance choreographer Damien Jalet complements the songs with suitably eclectic moves for solo performers or groups."

David Rooney, The Hollywood Reporter

HERE - Alan Silvestri

"Where 'Here' stumbles are the Kodak moments that don’t translate well to cinema, overflowing earnestness set to Zemeckis regular Alan Silvestri’s saccharine swell of a score. But Zemeckis is a sharp technician of style, as when a leak in the living room roof in one timeline matches the breaking of a burstingly pregnant Margaret’s water in another, the birth of their daughter Vanessa (in the ’80s played by the filmmaker’s daughter Zsa Zsa Zemeckis) forced to happen in that very living room. Wright, meanwhile, is poignant in moments that reveal Margaret’s genuine, throwdown frustration over having to share a roof with her in-laws -- mostly because Richard is afraid of making a change that would uproot them from his family home. It’s a frustrating contrivance to keep these people rooted (and in some ways rotting) in the same room, but Roth and Zemeckis make it ring true enough because of the couple’s economic circumstances. Even though at times you may wish they’d just leave and take us with them."

Ryan Lattanzio, IndieWire

"If you can think of something happening to an all-American family, it’s stuffed into 'Here,' from alcoholism, infidelity and infirmity to bitterness, regret, anger, longing, and wistfulness over the path not taken and the fleeting nature of existence. Seeking comprehensiveness, the film renders its incidents in two dimensions, making them corny. Talk about World War II, a clip of the Beatles on 'The Ed Sullivan Show,' and ’80s gymnastics leotards are some of the flourishes designed to target one’s nostalgia (aided by Alan Silvestri’s insistently mawkish score). But Zemeckis can’t make them come alive; they’re just conspicuous markers rather than lived-in details, and they undercut rather than bolster the period-specific atmospheres."

Nick Schager, The Daily Beast

"As with Richard Linklater’s 'Boyhood,' presenting a longitudinal look at so many milestones in an American family invites us to consider the universality of those experiences. Still, 'Here' lacks the kind of specificity that might elevate such scenes beyond mere cliché, putting the burden on composer Alan Silvestri (another 'Forrest Gump' vet) to supply the emotion. While it’s true that a great deal of life happens in living rooms, Roth hijacks events that should happen elsewhere in order to stage a birth, a death, a wedding and three sex scenes in the same space where Christmas and Thanksgiving are celebrated."

Peter Debruge, Variety

"It’s possible that people with an enduring fondness for 'Forrest Gump' will be sufficiently captivated by seeing Hanks and Wright back together, making their characters’ outcomes affecting. But others are likely to remain stubbornly dry-eyed, despite Alan Silvestri’s syrupy score troweling on the sentiment."

David Rooney, The Hollywood Reporter

MEMOIR OF A SNAIL - Elena Kats-Chernin

"Just because it’s stop-motion doesn’t mean 'Memoir of a Snail' can’t be one of the most thematically dense films of the year. Elliot has crafted a whimsical world, one that feels inspired by the work of Marc Caro & Jean-Pierre Jeunet in films like 'Delicatessen' and 'Amelie' -- an inspiration that gains even more likelihood with the inclusion of JPJ regular Dominique Pinon in the voice cast. Some sequences have an exaggerated, fantasy aesthetic, but it’s all grounded just enough in reality to allow its emotions to register. What I’m saying is don’t expect talking snails. This is a story of an ordinary life in many ways, made extraordinary by how beautifully it’s told. And while we’re on the technical acumen of this film, a brief aside to note one of the best scores of the year, by far, from Elena Kats-Chernin, so lovely that it almost becomes a character in the film. It’s essential to the spell this movie casts."

Brian Tallerico, RogerEbert.com

"Pinky is nothing less than Elliot’s artistic ethos distilled into its sweetest and most shriveled form: Despite everything, she refuses to see her life as a tragedy. Defined by what her creator has described as a 'nourishing whimsy,' Pinky is sensitive enough to appreciate why Grace has turned to (or into?) her snails for comfort, but free and knowing enough to insist that 'the worst cages are the ones we build for ourselves.' It’s a tender balance that Elena Kats-Chernin’s marvelous score is able to suffuse into every fiber of the modest yet palpably hand-crafted film around her, which is so forthright with its pain that you can’t help but accept the truth of its joy. Yes, life can only be understood backwards, but 'Memoir of a Snail' makes a sweetly compelling case that we’ll see the beauty in it one day -- such a sweetly compelling case, in fact, that you might just start looking for it now."

David Ehrlich, IndieWire

"Elena Kats-Chernin’s score also cannot go unrecognized, particularly the use of piano, perfectly complimenting the movie’s equally tender and grounded approach. Since the story is largely told through letters written between Grace and Gilbert, the score becomes a character in itself and breathes even more personality into Elliot’s vision."

Nate Richard, Collider

"In keeping with 'Harvie Krumpet' and 'Mary and Max,' the sensibility isn’t so much an acquired taste as a very specific (and potentially limiting) one -- and yet, who hasn’t felt ostracized or teased for being different? Elliot celebrates and elevates the things that set people apart, embracing what others might label 'ugly' or 'awkward' by finding a poetic way to reclaim those traits as strengths. He’s aided by a terrific voice cast (including Nick Cave and Eric Bana in minor but impactful roles) and a tone-setting score from Elena Kats-Chernin."

Peter Debruge, Variety

"Those eclectic literary references are reflected in Elliot’s often chaotic storytelling, which is stuffed with descriptive incidental details, jokey asides and curious detours. Accompanying it all is a striking score by classical composer Elena Kats-Chernin, played with gusto by the Australian Chamber Orchestra and enhanced by passages of vocalizing from soprano Jane Sheldon."

David Rooney, The Hollywood Reporter

NOCTURNES - Nainita Desai

"Between her frequent voiceover and her instructions to Bicki, the audience learns a great deal about Mansi’s practice. We even meet an elderly man who appears to be her mentor, hinting at the depth of this scientific tradition, though there’s something intentionally stilted about her delivery. Mansi is not an actor, after all, but she’s given the role of one, both in her narrations, as well as in some of these interpersonal conversations. These appear to be staged for the camera, but contain thoughtful discussions and nuggets of truth, despite this docu-fictional appearance, and with the help of Nainita Desai’s heavy, wistful score, they become, in their own way, melodic."

Siddhant Adlakha, The Hollywood Reporter

THE PIANO LESSON - Alexandre Desplat

"Alexandre Desplat’s score is expectedly lush, if not a little overbearing in spots, often working with the sound design to allude to the film’s supernatural elements ahead of them taking center stage later. The story approaches outright horror territory for the climax. It’s a bold choice, to toe the line of genre, and it ultimately hijacks the narrative and makes the emotional catharsis ring as less resonant. For all of his confidence in directing star actors playing off one another, Malcolm shrinks from the opportunity to tackle an emotional climax in a straightforward, head-on way. Cinematographer Mike Gioulakis’ camerawork marries classic technique with a more contemporary showiness. Like the rest of the movie, it’s polished and sturdy -- seeking to ground the performances without being either too boring or attention-grabbing."

Caleb Hammond, IndieWire

"Still, Deadwyler and Washington bounce well off each other. Their performances are particularly dynamic when Boy Willie and Berniece negotiate the details of family legacy. In one striking scene, Alexandre Desplat’s thundering score highlights the stakes of these verbal tussles. Credit must be given to Corey Hawkins, too, who shines as Avery, the preacher courting Berniece and tasked with casting ghosts out of the Charles home."

Lovia Gyarkye, The Hollywood Reporter

THE NEXT TEN DAYS IN L.A.

Screenings of older films in Los Angeles-area theaters.

November 15
BLIND RAGE (Tito Sotto) [Vista]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [Alamo Drafthouse]
INGLOURIOUS BASTERDS [New Beverly]
LAYER CAKE (Ilan Eshkeri, Lisa Gerrard) [Los Feliz 3]
MILLER'S CROSSING (Carter Burwell) [New Beverly]
PAT GARRETT & BILLY THE KID (Bob Dylan), CISCO PIKE [New Beverly]
SAVE THE GREEN PLANET! (Lee Dong-jun) [UCLA/Hammer]
SOME LIKE IT HOT (Adolph Deutsch) [Aero]
STOP MAKING SENSE [Vidiots]
SUNSET BLVD. (Franz Waxman) [Nuart]
THREE BEWILDERED PEOPLE IN THE NIGHT [BrainDead Studios]
A WOMAN UNDER THE INFLUENCE (Bo Harwood) [Alamo Drafthouse]
Y TU MAMA TAMBIEN [Vidiots]

November 16
BEE MOVIE (Rupert Gregson-Williams) [New Beverly]
BEETHOVEN (Randy Edelman) [Landmark Pasadena]
BLIND RAGE (Tito Sotto) [Vista]
CENTRAL STATION (Antonio Pinto, Jacques Morelenbaum) [Aero]
CHALLENGERS (Trent Reznor, Atticus Ross) [Aero]
CONFESSIONS OF A TEENAGE DRAMA QUEEN (Mark Mothersbaugh) [New Beverly]
FANTASIA/2000 [Academy Museum]
GAMERA: GUARDIAN OF THE UNIVERSE (Ko Ohtani) [UCLA/Hammer]
THE GIRL WITH THE DRAGON TATTOO (Trent Reznor, Atticus Ross) [Egyptian]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [Alamo Drafthouse]
THE LONE WOLF SPY HUNT [Vista]
THE MISFITS (Alex North) [Vidiots]
MUTT (James William Blades, Taul Katz) [Landmark Westwood]
PAT GARRETT & BILLY THE KID (Bob Dylan), CISCO PIKE [New Beverly]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE STRAIGHT STORY (Angelo Badalamenti) [Egyptian]
STUART LITTLE (Alan Silvestri) [Vidiots]
TAMPOPO (Kunihiko Murai) [Los Feliz 3]
TOO BAD SHE'S BAD (Alessandro Cicognini), POVERTY AND NOBILITY (Pippo Barzizza) [Academy Museum]
THE TREASURE OF THE SIERRA MADRE (Max Steiner) [Egyptian]
WELCOME TO THE DOLLHOUSE (Jill Wisoff) [BrainDead Studios]
A WOMAN UNDER THE INFLUENCE (Bo Harwood) [Alamo Drafthouse]

November 17
ALICE DOESN'T LIVE HERE ANYMORE [Vidiots]
BEE MOVIE (Rupert Gregson-Williams) [New Beverly]
CHARLOTTE'S WEB (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [Vidiots]
CHASING CORAL (Saul Simon MacWillliams, Dan Romer) [UCLA/Hammer]
CLAUDINE (Curtis Mayfield) [Los Feliz 3]
ELF (John Debney) [Alamo Drafthouse]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [Alamo Drafthouse]
THE GOOD, THE BAD AND THE UGLY (Ennio Morricone) [Egyptian]
GREED [Egyptian]
IN A LONELY PLACE (George Antheil) [Alamo Drafthouse]
JAWBREAKER (Stephen Endleman) [BrainDead Studios]
THE LONE WOLF SPY HUNT [Vista]
THE MANCHURIAN CANDIDATE (David Amram) [Vidiots]
MODEL [Los Feliz 3]
ONE NIGHT IN MONGKOK(Peter Kam) [UCLA/Hammer]
PAT GARRETT & BILLY THE KID (Bob Dylan), CISCO PIKE [New Beverly]
RASHOMON (Fumio Hayasaki) [Los Feliz 3]
THE SHAWSHANK REDEMPTION (Thomas Newman) [Aero]
THERE WILL BE BLOOD (Jonny Greenwood) [Academy Museum]
THE TIME MASTERS [BrainDead Studios]
A WOMAN UNDER THE INFLUENCE (Bo Harwood) [Alamo Drafthouse]

November 18
CHINATOWN (Jerry Goldsmith) [Alamo Drafthouse]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [Alamo Drafthouse]
GOLDENEYE (Eric Serra) [Culver]
HERO OF TOMORROW (Kit Law), BLOOD CALL (Lu Tung) [New Beverly]
IN A LONELY PLACE (George Antheil) [Alamo Drafthouse]
MARRIAGE ITALIAN STYLE (Armando Trovajoli) [Academy Museum]
THE MOTHER (Jeremy Sams) [Los Feliz 3]
REPULSION (Chico Hamilton) [Los Feliz 3]
A STAR IS BORN (Roger Kellaway) [Vidiots]

November 19
BLADE RUNNER (Vangelis) [Los Feliz 3]
CHINATOWN (Jerry Goldsmith) [Alamo Drafthouse]
SWEET BIRD OF YOUTH, SUMMER AND SMOKE (Elmer Bernstein) [New Beverly]
THELMA & LOUISE (Hans Zimmer) [Landmark Pasadena]
THEY CAME TOGETHER (Craig Wedren, Matt Novack) [Vidiots]

November 20
THE BAD AND THE BEAUTIFUL (David Raksin) [Academy Museum]
DRAG ME TO HELL (Christopher Young) [Culver]
HEDWIG AND THE ANGRY INCH (Stephen Trask) [Egyptian]
IN A LONELY PLACE (George Antheil) [Alamo Drafthouse]
RATATOUILLE (Michael Giacchino) [Los Feliz 3]
SWEET BIRD OF YOUTH, SUMMER AND SMOKE (Elmer Bernstein) [New Beverly]

November 21
THE BLACK PIRATE [Academy Museum]
DELICATESSEN (Carlos D'Alessio) [Los Feliz 3]
A GIRL WALKS HOME ALONE AT NIGHT [Vidiots]
MYSTERY OF THE WAX MUSEUM, DOCTOR X [New Beverly]
THELMA & LOUISE (Hans Zimmer) [Egyptian]
WILD AT HEART (Angelo Badalamenti) [Egyptian]

November 22
CASINO ROYALE (David Arnold) [Los Feliz 3]
CLASH BY NIGHT (Roy Webb) [Nuart]
FAT GIRL [BrainDead Studios]
THE FOOD OF THE GODS (Elliot Kaplan) [Los Feliz 3]
HOW TO TRAIN YOUR DRAGON (John Powell) [Aero]
INGLOURIOUS BASTERDS [New Beverly]
LOST HIGHWAY (Angelo Badalementi) [New Beverly]
THE MORE THE MERRIER (Leigh Harline) [Academy Museum]
MYSTERY OF THE WAX MUSEUM, DOCTOR X [New Beverly]
NIGHT RAIDERS (Moniker) [UCLA/Hammer]
PROJECT X [Egyptian]
A STAR IS BORN (Roger Kellaway) [Vista]
STEEL (Michel Colombier) [Vista]
TOTALLY F***ED UP [BrainDead Studios]

November 23
ARABESQUE (Henry Mancini) [Academy Museum]
THE DOOM GENERATION (Dan Gatto) [BrainDead Studios]
GASLIGHT (Bronislau Kaper) [Vidiots]
THE GREEN MILE (Thomas Newman) [Landmark Westwood]
THE HIDDEN FORTRESS (Masaru Sato) [Egyptian]
I'M GONNA GIT YOU SUCKA (David Michael Frank) [Vidiots]
INDIANA JONES AND THE LAST CRUSADE (John Williams) [Fine Arts]
THE LADY IN QUESTION [Vista]
THE LAST UNICORN (Jimmy Webb) [Vidiots]
MUPPETS FROM SPACE (Jamshied Sharifi) [Academy Museum]
POSSESSION (Andrzej Korzynski) [BrainDead Studios]
PRETTY IN PINK (Michael Gore), SOME KIND OF WONDERFUL (Stephen Hague, John Musser) [New Beverly]
RATATOUILLE (Michael Giacchino) [New Beverly]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE SANDLOT (David Newman) [Los Feliz 3]
SENSE AND SENSIBILITY (Patrick Doyle) [Vidiots]
SHADOWS OF FORGOTTEN ANCESTORS (Miroslav Skorik) [Egyptian]
SINGIN' IN THE RAIN (Nacio Herb Brown, Lennie Hayton) [Egyptian]
A STAR IS BORN (Roger Kellaway) [Vista]
STEEL (Michel Colombier) [Vista]
THANKSGIVING (Brandon Roberts) [New Beverly]
THE WOMEN (Edward Ward, David Snell) [Academy Museum]

November 24
COOL RUNNINGS (Hans Zimmer) [Vidiots]
(500) DAYS OF SUMMER (Mychael Danna, Rob Simonsen) [BrainDead Studios]
INDIANA JONES AND THE LAST CRUSADE (John Williams) [Fine Arts]
KILLERS OF THE FLOWER MOON (Robbie Robertson) [Academy Museum]
THE KING AND I (Richard Rodgers, Alfred Newman) [Vidiots]
THE LADY IN QUESTION [Vista]
THE NEW WORLD (James Horner) [Egyptian]
NOWHERE [BrainDead Studios]
THE POLAR EXPRESS (Alan Silvestri) [Alamo Drafthouse]
POM POKO (Shang Shang Typhoon) [Landmark Pasadena]
PRETTY IN PINK (Michael Gore), SOME KIND OF WONDERFUL (Stephen Hague, John Musser) [New Beverly]
RATATOUILLE (Michael Giacchino) [New Beverly]
SOUL FOOD (Lisa Coleman, Wendy Melvoin) [Los Feliz 3]
A STAR IS BORN (Roger Kellaway) [Vista]
TOKYO GODFATHERS (Keiichi Suzuki) [Vidiots]

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

Heard: The Complete Dark Shadows Music Collection (Cobert); The Player (Newman); The United States vs. Billie Holiday (Day); Scenes from a Crime/A Child's Game (Young); The Color Purple (various); City Hall (Goldsmith); Chronicle (Reijseger); The Unborn (Djawadi); King of Kings (Rozsa); Artie Shaw: The Centennial Collection (Shaw); An Unfinished Life (Young); I Just Didn't Do It (Suo); The Morton Stevens Collection Vol. 1 (Stevens)

Read: The Seven Dials Mystery, by Agatha Christie

Seen: The Life Ahead; Elevation; Weekend in Taipei; Heretic; The Piano Lesson; The Life and Times of Judge Roy Bean; Cuckoo; Creepers

Watched: Columbo ("Suitable for Framing"); Extras ("??????")