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La-La Land has announced three new CDs, which are expected to begin shipping next week: an expanded, two-disc edition of the score for Timothy Dalton's final film as James Bond 007, LICENCE TO KILL, featuring the full score by two-time Oscar nominee Michael Kamen (Die Hard, Lethal Weapon) plus source cues and the sequencing from the original 1989 CD release; a 3-disc edition of Trevor Jones' sweeping symphonic score for the lavish Jim Henson/Frank Oz fantasy THE DARK CRYSTAL, featuring the full score Jones composed for the original, longer, unreleased cut of the film, as well as the sequencing from the 1982 LP; and the first-ever release of the score for BEVERLY HILLS COP III, the "Die Hard at Disneyland" sequel directed by John Landis and scored by legendary record producer Nile Rodgers (Coming to America).


The latest releases from Buysoundtrax and its associated labels are THE BRUCE BROUGHTON COLLECTION VOL. 1, featuring two TV-movie mystery scores by the Oscar-nominated and multi-Emmy-winning composer, One Shoe Makes It Murder (1981) and his Emmy-nominated score for Killjoy (1981); the score for the 1979 TV movie GOLD OF THE AMAZON WOMEN, composed by Gil Melle (The Andromeda Strain); and THE GOLDEN AGE OF SCIENCE FICTION VOL. 7, featuring cues from Journey to the Seventh Planet (Ib Glindemann, Ronald Stein), Reptilicus (Sven Gyldmark, Les Baxter) and The Time Travellers (Richard LaSalle). 


IN THEATERS TODAY

One of Them Days - Chanda Dancy
Wolf Man - Benjamin Wallfisch 


COMING SOON

January 24
Beverly Hills Cop III
- Nile Rodgers - La-La Land
The Dark Crystal - Trevor Jones - La-La land
Licence to Kill - Michael Kamen - La-La Land
January 31
The World of Hans Zimmer Part II: A New Dimension - Hans Zimmer - Sony
March 7 
The Lord of the Rings: The War of the Rohirrim - Stephen Gallagher - Mutant
March 21

Anthology: The Paris Concerts - Howard Shore - Deutsche Grammophon 
The Apprentice - Martin Dirkov, David Holmes, Brian Byrne - Filmtrax 
Coming Soon
The Bruce Broughton Collection Vol. 1
- Bruce Broughton - Dragon's Domain

Confessoine di un Commissario di Polizia al Procuratore della Republica
- Riz Ortolani - Quartet 
Gold of the Amazon Women
- Gil Melle - Dragon's Domain
The Golden Age of Science-Fiction Vol. 7
Les Baxter, Ib Glindemann, Sven Gyldmark, Richard LaSalle, Ronald Stein - Dragon's Domain
John Barry: The Polydor Years
 - John Barry - Quartet 
No Escape
 - Bert Shefter - Kronos
The She Creature
 - Ronald Stein - Kronos 

Tre Colonne in Cronaca
- Ennio Morricone - Quartet 


THIS WEEK IN FILM MUSIC HISTORY

January 17 - Ryuichi Sakamoto born (1952)
January 17 - Charles Bernstein begins recording his score for Love at First Bite (1979)
January 17 - John Williams begins recording his score to Return of the Jedi (1983)
January 17 - Harry Robinson died (1996)
January 17 - Rolf Wilhelm died (2013)
January 18 - W. Franke Harling born (1887)
January 18 - Richard LaSalle born (1918)
January 18 - Jonathan Davis born (1971)
January 18 - Cyril J. Mockridge died (1979)
January 18 - Johnny Harris records his score for the Buck Rogers in the 25th Century episode “Ardala Returns” (1980)
January 18 - Basil Poledouris begins recording his score for Conan the Barbarian (1982)
January 18 - George Stoll died (1985)
January 18 - Joseph Gershenson died (1988)
January 18 - Karl de Groof died (2007)
January 18 - Frank Lewin died (2008)
January 19 - Gerard Schurmann born (1924)
January 19 - Stu Phillips born (1929)
January 19 - Michael Boddicker born (1953)
January 19 - Jerome Moross begins recording his score to The Adventures of Huckleberry Finn (1960)
January 19 - Recording sessions begin for Cyril Mockridge’s score to The Man Who Shot Liberty Valance (1962)
January 19 - John Williams records his score for The Ghostbreaker (1965)
January 19 - Jerry Goldsmith begins recording electronic cues for Logan's Run (1976)
January 19 - Don Costa died (1983)
January 19 - David Shire records his score for the Amazing Stories episode "Moving Day" (1987) 
January 19 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Life Support” (1995)
January 19 - Bjorn Isfalt died (1997)
January 20 - Emil Newman born (1911)
January 20 - Recording sessions begin for Miklos Rozsa's score for Double Indemnity (1944)
January 20 - John Beal born (1947)
January 20 - Franz Waxman begins recording his score to Untamed (1955)
January 20 - Bronislau Kaper begins recording his score to The Prodigal (1955)
January 20 - Pedro Bromfman born (1976)
January 20 - Paul Ben Haim died (1984)
January 20 - Christopher Young’s scores for the Twilight Zone episodes “A Matter of Minutes” and  “A Small Talent for War” are recorded (1986)
January 20 - Basil Poledouris records his score for the Twilight Zone episode “Monsters!” (1986)
January 20 - Gerry Mulligan died (1996)
January 20 - Recording sessions begin for John Powell’s score to Agent Cody Banks (2003)
January 20 - Edgar Froese died (2015)
January 21 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “An Unlocked Window” (1965)
January 21 - Peer Raben died (2007)
January 22 - Sid Ramin born (1919)
January 22 - J.J. Johnson born (1924)
January 22 - Al Kasha born (1937)
January 22 - Miklos Rozsa begins recording his score for The Strange Love of Martha Ivers (1946)
January 22 - Velton Ray Bunch born (1948)
January 22 - Keith Forsey born (1948)
January 22 - Ben Mink born (1951)
January 22 - Marc Blitzstein died (1964)
January 22 - Alexander Courage's score to the Star Trek pilot, "The Cage," is recorded (1965)
January 22 - Richard Markowitz begins recording his score for The Wild Wild West pilot episode “The Night of the Inferno” (1965)
January 22 - Fred Steiner records his score for The Wild Wild West episode “The Night of the Undead” (1968)
January 22 - Leith Stevens records his score for the Land of the Giants episode “Night of Thrombeldinbar” (1969)
January 22 - Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “The Guardians” (1981)
January 22 - Justin Hurwitz born (1985)
January 22 - Christopher Palmer died (1995)
January 22 - Billy May died (2004)
January 23 - Walter Greene born (1910)
January 23 - Marty Paich born (1925)
January 23 - George Aliceson Tipton born (1932)
January 23 - Dick DeBenedictis born (1937)
January 23 - Casablanca released in theaters (1943)
January 23 - Alfred Newman begins recording his score to The President's Lady (1953)
January 23 - Recording sessions begin on Alex North’s score for The Bad Seed (1956)
January 23 - David Arnold born (1962)
January 23 - Recording sessions begin for Danny Elfman’s score for Dolores Claiborne (1995)
January 23 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “For the Uniform” (1997)
January 23 - Riz Ortolani died (2014)

DID THEY MENTION THE MUSIC?

BABYGIRL - Cristobal Tapia de Veer
 
"Cristobal Tapia de Veer’s original score is symphonic and often gigantic, creating a portentous mood, which somehow manages to avoid self-seriousness. The needle drops are memorable, particularly the use of INXS’ 'Never Tear Us Apart' and the scene where a shirtless post-coital Samuel, holding a glass of Scotch, dances around the posh hotel room to George Michael’s 'Father Figure,' his movements slow and languid, aware he’s on display, dancing to please himself, and knowing he’s pleasing to her. The moment is mesmerizing."
 
Sheila O'Malley, RogerEbert.com  

"'Babygirl' highlights the awkwardness of trying to perform this translation in the heat of the moment. It provides space for Romy and Samuel to establish boundaries by listening to whatever form an urge takes and expressing consent accordingly. This level of reactivity requires full commitment from Kidman and Dickinson to be present, so they can make discoveries as their characters do. Their openness gives the film a genuine and uncommon charge that ripples throughout the film, amplified most notably through Cristobal Tapia de Veer’s electrifying score. The thrill of watching Romy and Samuel comes from watching them make, not break, the rules."
 
Marshall Shaffer, Slant Magazine
 
"'You like to be told what to do,' Samuel later tells Romy when she tries to break off an affair whose wheels came off before the train even left the station. Reijn appreciates a female orgasm -- more elusive and soul-shattering than the champagne-cork pop of a man’s, as this movie argues -- for its volcanic power, like a boiling pot of water that eventually overflows. And in Romy’s case, it could take her down. You’ll recognize the breathy choral swirls of 'White Lotus' composer Cristobal Tapia de Veer, whose score seems on the verge of orgasm itself."
 
Ryan Lattanzio, IndieWire 

"The winking song choice, George Michael’s 'Father Figure,' is one of a handful of punchy needle drops, along with Robyn’s 'Dancing on My Own' and INXS’ 'Never Tear Us Apart,' that augment a fabulously eclectic, mood-shaping score by Chilean-born Canadian composer Cristobal Tapia de Veer."
 
David Rooney, The Hollywood Reporter 

MEANWHILE ON EARTH - Dan Levy 

"Even for those who are familiar with Clapin’s previous feature, the astounding animated film 'I Lost My Body,' the way he shifts between different styles and forms here makes for a uniquely stunning experience. Though the moments of live-action aren’t quite as consistently impactful as the animation, the fact that it boasts beautiful cinematography by Robrecht Heyvaert, who also shot this year’s 'Bad Boys: Ride or Die,' ensures that it still draws you in. This is further given life by the spectacular score by Dan Levy, who also previously did great work on 'I Lost My Body,' which sneaks up on you with how devastating and eerie it is. The story itself that all of this technical excellence hangs itself on can be a little shaky in bursts, with one moment where a decision is reversed in a rather rushed way taking away from the emotional impact, but the ending is where it all comes together just before everything is about to fall apart."
 
Chase Hutchinson, Collider
 
"The score from French indie rocker and multi-instrumentalist Dan Levy amplifies this sense of gathering foreboding, swinging between delicate and grandiosely dramatic. It all builds tension that can reach rather terrible heights as Elsa weighs her choices."
 
Jim Vorel, Paste Magazine 

"Clapin’s dreamy mise-en-scene matches Elsa’s own ethereal adriftness, Dan Levy’s haunting, choral-and-synth score echoing alongside Robrecht Heyvaert’s cold, alien cinematography. It all gives off the feeling of a woman walking through the Earth as if it, itself, is an alien planet, Elsa an astronaut lost in the space of her own grief."
 
Clint Worthington, RogerEbert.com  

"Small and strange, 'Meanwhile on Earth' seduces with its soft, barren beauty (the chilled cinematography is by Robrecht Heyvaert) and Dan Levy’s surreal score. Wobbling uncertainly between the inside of Elsa’s head and Earth’s outer limits, the movie demurs. Are we experiencing Elsa’s breakdown, or an alien invasion? Even the director appears unsure."
 
Jeannette Catsoulis, New York Times
 
"Running a quick 87 minutes that zag from slasher-adjacent kill sequences to a series of tender 2D animated sequences in which Elsa draws her shared memories of Franck into a nebulous space adventure, 'Meanwhile on Earth' is a film that feels more compelled by its premise than it is by its story, but Clapin is able to suffuse it with the same ethereal hauntedness that brought 'I Lost My Body' to life. Much of the credit for that belongs to composer Dan Levy (a founding member of pop duo The Dø), whose shimmery soundscapes hold this jagged and unformed movie in a bittersweet embrace that allows it to adopt so many different modes --much as grief permits all manner of feeling."
 
David Ehrlich, IndieWire 

"The ambitions here are more intimate, focusing on Elsa’s inability to get past Franck’s disappearance, and using genre to convey that in a creepy, other-worldly kind of way. If the film teeters unsteadily between sci-fi and psychology, it nonetheless confirms Clapin’s visual talents, which are backed by a dreamy score from Dan Levy, who also scored 'I Lost My Body.' In its best moments, 'Meanwhile on Earth' takes us beyond our desolate everyday lives to a place we can indeed dream of -- and also witness on screen."
 
Jordan Mintzer, The Hollywood Reporter 
 
THE ORDER - Jed Kurzel
 
"Set in the rural Northwest though shot in Canada, 'The Order' situates much of its action in the great outdoors, relying on wide vistas and God’s-eye-view perspectives to lend the narrative a sense of grim fatalism. While Zach Baylin’s script follows a familiar cat-and-mouse pattern, the director builds out a thoroughly unique mood, mixing composer Jed Kurzel’s thrumming, death-rattle score with blasts of white noise to disquiet all the more."
 
Ben Kroll, The Wrap 

"In Spike Lee’s 'BlackKklansman,' set a decade earlier, America’s racist underground was a shambolic place, fertile terrain for pisstaking. Here, Mathews is more like a neo-Nazi Ned Kelly. And the thrillingly-excited heists, underpinned by Jed Kurzel’s thumping score, get perilously close to lending them a sheen of action-movie glamour."
 
Phil de Semlyen, Time Out 
 
"Though there is great stuff here, from Adam Arkapaw’s wide-lens cinematography to Nick Fenton’s crisply clipped editing and Kurzel’s brother Jed’s pulse-quickening (if sometimes overemphasized) electro score. Kurzel is a superb filmmaker at the craft level, but to what ends when the movie often hangs on the screen like a fresco mural in suspension?"
 
Ryan Lattanzio, IndieWire
 
QUEER - Trent Reznor, Atticus Ross
 
"Essential to this is Trent Reznor and Atticus Ross’s score, as the composers reunite with Guadagnino for a soundtrack that’s not quite the club banger that 'Challengers' was, but enhances the film’s romantic, transportive qualities -- as well as the moments which evolve into surrealism. For, even with its singular focus on Lee and his passions, 'Queer' encapsulates so much about what we understand about the world, and what we don’t."
 
Liz Shannon Miller, Consequence 

"The score, by Trent Reznor and Atticus Ross, is haunting, including an odd cicada-esque drumbeat over the sex scenes. And Guadagnino’s direction is always intriguing, as is the cinematography by Sayombhu Mukdeeprom, a Thai filmmaker whose other credits include 'Challengers,' 'Call Me By Your Name,' and the oddly titled 2010 Palme d’Or winner 'Uncle Boonmee Who Can Recall All His Past Lives."
 
Chris Knight, Original Cin 

"Guadagnino’s approach to this novel is a lackadaisical one at times, spending plenty of scenes where Craig simply gets more f****d up, slow-motion stumbling his way through Mexico City where we can feel the heat bearing down on him. 'Queer' also uses a mostly anachronistic soundtrack, and as we watch Lee meander through his life, it’s set to tunes by Nirvana and Prince, which perfectly encapsulate his feelings at the time, despite these songs not existing for several more decades. It’s especially effective in the opening credits, in which a quiet cover of Nirvana’s 'All Apologies' finds just the right way to set up who this Lee character is before he even appears on screen. Guadagnino has once again teamed up with Trent Reznor and Atticus Ross for the music here, and like 'Challengers,' this duo finds just the right tone and mood to fit Guadagnino’s story in every situation. For much of the first part of 'Queer,' Guadagnino’s film is setting up its own vibe, and even though nothing much is happening, through Guadagnino’s handling of this tone, it’s fascinating to watch regardless."
 
Ross Bonaime, Collider 
 
"Also on the Guadagnino reunion tour, composers Trent Reznor and Atticus Ross ('Challengers,' 'Bones and All') provide an ennui-oozing, unpredictably genre-hopping score that, especially in a woodwind-driven love theme recycled in moments of tenderness or almost-tenderness, suffuse 'Queer' with the same sense of shapeshifting that Mukdeeprom’s camerawork and editor Marco Costa’s dream-logic editing also do. A cut to and from Eugene standing in the jungle amid the film’s uncategorizable and astonishing conclusion will hurt you. Until an epilogue leaves you even more ruined, but also alive and awake to the powers and possibilities of cinema to find humanity in even the darkest recesses of a person."
 
Ryan Lattanzio, IndieWire 
 
"After their pounding beats energized 'Challengers,' Trent Reznor and Atticus Ross shift gears with a score drenched in melancholy feeling, shaping the mood along with invigorating blasts of non-period tracks by New Order, Nirvana, Sinéad O’Connor and Prince, among others. Those bold choices are typical of Guadagnino’s sure hand throughout this strange, beguiling film, fueled by tenderness, loneliness, lust and swooning unrequited love."
 
David Rooney, The Hollywood Reporter 

SONIC THE HEDGEHOG 3 - Tom Holkenborg (aka Junkie XL)
 
"The visual effects are impressively seamless, for the most part, in this live action-animation hybrid. Cinematographer Brandon Trost gives everything from forest chases to dance numbers a colorful sheen, befitting the lively material. (He also recently shot Marielle Heller’s 'Nightbitch,' how’s that for range?)  And composer Tom Holkenborg, better known as Junkie XL, returns with a score that’s knowingly melodramatic to punctuate all these adventures."
 
Christy Lemire, RogerEbert.com

"Particularly thanks to the great action sequences, 'Sonic the Hedgehog 3' is a solid-looking film from start to finish. The music, both in terms of Junkie XL's score and the pre-existing songs the film chooses to use (including some that will make long-time Sonic fans very happy), also deserve a commendable shout-out, as they fit the tone of every scene perfectly. There is still the occasional technical hiccup, like some noticeable green screen and ADR effects."
 
Aidan Kelley, Collider 
 
"And the video game references are inescapable, balancing blatant callbacks and creative implementations of Sonic’s universe. Take 'Chao Gardens,' a Chuck E. Cheese restaurant with costumed Chao performers you can chuckle at without purchasing a special SEGA Dreamcast VMU memory card. Shadow’s motorcycle and handgun combo earn their spotlight, as do the musical cues, none more blissful than Crush 40’s 'Sonic Adventure 2' theme song 'Live and Learn' hitting at a pivotal moment during composer Tom Holkenborg’s third-act crescendo."
 
Matt Donato, AV Club 

WALLACE & GROMIT: VENGEANCE MOST FOWL - Lorne Balfe, Julian Nott

"From a technical level, 'Wallace & Gromit: Vengeance Most Fowl' sees Aardman Animation at the top of their game. The timeless style, the gorgeous animation, and the impeccable music make Wallace & Gromit's second feature film a gleeful experience from start to finish. It doesn't reinvent the wheel or do something particularly bold and unique like 'The Curse of the Were-Rabbit,' but it also isn't really trying to. This is a straightforward family-friendly adventure that is simply effective and effectively simple."
 
Aidan Kelley, Collider 
 
"The film is never funnier than in its establishing of Feathers McGraw as a villainous icon -- it was a stroke of genius for Park to design the criminal penguin (occasionally disguised as a chicken) with a completely immobile, emotionless face rather than one that can actively snarl or grin. McGraw’s beady little eyes tell the whole story, helped along by dramatic framing, lighting and musical cues that all communicate what we need to know: This silent bird is the greatest threat to society that mankind has ever known. Behold, as he sinisterly bides his time in the zoo that is his prison, doing chin ups on the pipework as he hones his body and mind for an inevitable reunion with the good-natured duo who first had him locked up decades prior. You think your prison can hold him? This is Feathers McGraw we’re talking about, here. As long as he still draws breath, he’s coming for you."
 
Jim Vorel, Paste Magazine 

"As anyone familiar with 'The Wrong Trousers' can tell you, Feathers ranks among the most amusing antagonists in animation history, owing to the sheer simplicity of his penguin design. He was essentially a black-and-white bowling pin with beady eyes and flippers, who could disguise himself as a chicken by sticking a red rubber glove on his head. Feathers made for a patently absurd -- but still effective -- antagonist, since you could read all kinds of menace into his stare (aided by the appropriate strings on the soundtrack)."
 
Peter Debruge, Variety 
 
"A haywire adventure, heightened by Lorne Balfe and Julian Nott’s suspenseful score, ensues, in which the police investigate Wallace while Gromit tries to prove his innocence."
 
Lovia Gyarkye, The Hollywood Reporter 

THE NEXT TEN DAYS IN L.A.

Screenings of older films in Los Angeles-area theaters.

January 17
ANACONDA (Randy Edelman) [Vidiots]
BEST IN SHOW (Jeffrey C.J. Vanston) [New Beverly]
BLADE RUNNER (Vangelis) [Academy Museum]
CITIZEN KANE (Bernard Herrmann) [Alamo Drafthouse]
CRACK HOUSE (Michael Piccirillo) [Vista]
GRINDHOUSE: DEATH PROOF [New Beverly]
MILLER'S CROSSING (Carter Burwell) [Nuart]
NETWORK (Elliot Lawrence) [Vidiots]
PARIS, TEXAS (Ry Cooder) [Vidiots]
SEVEN (Howard Shore) [Los Feliz 3]
STREET TRASH (Rick Ulfik) [BrainDead Studios]
VIRDIANA (Gustavo Pittaluga) [Aero]
WALKABOUT (John Barry), WAKE IN FRIGHT [OUTBACK] (John Scott) [New Beverly]

January 18
ARE YOU THERE GOD? IT'S ME, MARGARET (Hans Zimmer) [Alamo Drafthouse]
THE BLOODY LADY (Juraj Lexmann) [Los Feliz 3]
CRACK HOUSE (Michael Piccirillo) [Vista]
ENTOURAGE [Aero]
ESCAPE FROM NEW YORK (John Carpenter, Alan Howarth) [Academy Museum]
FORBIDDEN PLANET (Louis & Bebe Barron) [Egyptian]
HOWL'S MOVING CASTLE (Joe Hisaishi) [Academy Museum]
INLAND EMPIRE (David Lynch) [Egyptian]
THE KING OF THE NEIGHBORHOOD (Luis Hernanez Breton) [Los Feliz 3]
THE LAND BEFORE TIME (James Horner) [New Beverly]
THE LAST TEMPTATION OF CHRIST (Peter Gabriel) [BrainDead Studios]
THE LIGHTHOUSE (Mark Korven) [Los Feliz 3]
NOTHING BUT A MAN [UCLA/Hammer]
PINOCCHIO (Leigh Harline, Paul J. Smith, Ned Washington) [Vidiots]
REBECCA (Franz Waxman) [Vidiots]
REBEL WITHOUT A CAUSE (Leonard Rosenman) [Egyptian]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]   
THE SACRIFICE [Alamo Drafthouse]
SELMA (Jason Moran) [Academy Museum]
SOYLENT GREEN (Fred Myrow) [Vidiots]
THE STING (Marvin Hamlisch) [Academy Museum]
TOMMY BOY (David Newman) [Vista]
TORN CURTAIN (John Addison) [Vidiots]
TOUCH OF EVIL (Henry Mancini) [BrainDead Studios]
WALKABOUT (John Barry), WAKE IN FRIGHT [OUTBACK] (John Scott) [New Beverly]
WOLF CREEK (Francois Tetaz) [New Beverly]

January 19
ABSENCE OF MALICE (Dave Grusin) [Academy Museum]
COLLATERAL (James Newton Howard) [Academy Museum]
FESTIVAL [Los Feliz 3]
GREASE [Vidiots]
THE LAND BEFORE TIME (James Horner) [New Beverly]
MAMMA MIA! [Vidiots]
THE MAN WHO SHOT LIBERTY VALANCE (Cyril J. Mockridge) [Egyptian]

NATIONAL LAMPOON'S ANIMAL HOUSE (Elmer Bernstein) [Egyptian]
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Vidiots]
THE SACRIFICE [Alamo Drafthouse] 
SWING TIME (Jerome Kern) [Los Feliz 3]
TO WONG FOO, THANKS FOR EVERYTHING, JULIE NEWMAR (Rachel Portman) [Alamo Drafthouse] 
TOMMY BOY (David Newman) [Vista]
12 ANGRY MEN (Kenyon Hopkins) [Los Feliz 3]
WALKABOUT (John Barry), WAKE IN FRIGHT [OUTBACK] (John Scott) [New Beverly] 

January 20
DEATH BECOMES HER (Alan Silvestri) [Alamo Drafthouse]
GRAVITY (Steven Price) [Los Feliz 3]
PARANOIA (Piero Umiliani) [Los Feliz 3]
REVENGE OF THE SHAOLIN MASTER, THE INVINCIBLE KUNG FU LEGS [New Beverly]
THE SACRIFICE [Alamo Drafthouse]  
WAKING LIFE (Glover Gill) [Academy Museum]
WATTSTAX [Vidiots]

January 21
DEATH BECOMES HER (Alan Silvestri) [Alamo Drafthouse]
MEMENTO (David Julyan) [Vidiots]
MISSILE [Los Feliz 3]
THE SACRIFICE [Alamo Drafthouse]  
SMITHEREENS (Glenn Mercer, Bill Million), VARIETY (John Lurie) [New Beverly]
TO WONG FOO, THANKS FOR EVERYTHING, JULIE NEWMAR (Rachel Portman) [Alamo Drafthouse] 

January 22
ARRIVAL (Johann Johannsson) [Academy Museum]
MURIEL'S WEDDING (Peter Best) [Vidiots]
PUMP UP THE VOLUME (Cliff Martinez) [Alamo Drafthouse]
RE-ANIMATOR (Richard Band) [Culver]
ROBOT DREAMS (Alfonso de Vilallonga) [Vidiots]
THE SACRIFICE [Alamo Drafthouse]  
SINGIN' IN THE RAIN (Nacio Herb Brown, Lennie Hayton) [Vidiots]
SMITHEREENS (Glenn Mercer, Bill Million), VARIETY (John Lurie) [New Beverly] 
TO WONG FOO, THANKS FOR EVERYTHING, JULIE NEWMAR (Rachel Portman) [Alamo Drafthouse] 
WILD AT HEART (Angelo Badalamenti) [BrainDead Studios]
Y TU MAMA TAMBIEN [Los Feliz 3]

January 23
BLACK PANTHER (Ludwig Goransson) [Vidiots]
COOL HAND LUKE (Lalo Schifrin) [New Beverly]
DEATH BECOMES HER (Alan Silvestri) [Alamo Drafthouse] 
MEMORIA (Cesar Lopez) [Vidiots]
NEPTUNE FROST (Saul Williams) [Academy Museum]
THE SACRIFICE [Alamo Drafthouse]   
SWEET SMELL OF SUCCESS (Elmer Bernstein) [Los Feliz 3]

January 24
THE BIG LEBOWSKI (Carter Burwell) [Nuart]
THE CELL (Howard Shore) [New Beverly]
COOL HAND LUKE (Lalo Schifrin) [New Beverly]
DEEP RED (Giorgio Gaslini) [Vista]
GRINDHOUSE: DEATH PROOF [New Beverly]
THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (Howard Shore) [Alamo Drafthouse]
MOONAGE DAYDREAM [Vidiots]
THE PRINCESS BRIDE (Mark Knopfler) [Vidiots]
TANK GIRL (Graeme Revell) [BrainDead Studios]
THE TERMINATOR (Brad Fiedel) [Academy Museum]
TWIN PEAKS FIRE WALK WITH ME (Angelo Badalamenti) [BrainDead Studios] 

January 25
BEST IN SHOW [Vidiots]
BLACK DYNAMITE (Adrian Younge)  [New Beverly]
BONA (Lutgardo Labad) [Alamo Drafthouse]
CAPTAIN BLOOD (Erich Wolfgang Korngold) [New Beverly]
CENTRAL PARK [Los Feliz 3]
DEEP RED (Giorgio Gaslini) [Vista] 
FROM DUSK TILL DAWN (Graeme Revell), GRINDHOUSE: PLANET TERROR (Robert Rodriguez, Graeme Revell) [New Beverly]
INTERVIEW WITHE THE VAMPIRE (Elliot Goldenthal) [Vidiots]
THE IRON GIANT (Michael Kamen) [Academy Museum]
THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (Howard Shore) [Alamo Drafthouse]
THE MAN WHO WOULD BE KING (Maurice Jarre) [Egyptian]
MANIAC (Jay Chattaway) [Cinelounge]
MY NEIGHBOR TOTORO (Joe Hisashi) [Vidiots]
MYSTERY TRAIN (John Lurie) [BrainDead Studios]
ROBOCOP (Basil Poledouris) [Academy Museum]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]    
THE STRAIGHT STORY  (Angelo Badalamenti) [BrainDead Studios] 
THE THRILL OF BRAZIL [Vista] 
VIRIDIANA (Gustavo Pittaluga) [Vidiots]

January 26
BEASTS OF THE SOUTHERN WILD (Dan Romer, Benh Zeitlin) [Academy Museum]
CAPTAIN BLOOD (Erich Wolfgang Korngold) [New Beverly]
CHILDREN OF MEN (John Tavener) [Egyptian]
THE COLOR OF MONEY (Robbie Robertson) [Academy Museum]
THE DECLINE OF WESTERN CIVILIZATION [BrainDead Studios]
FLOWERS OF SHANGHAI (Yoshihiro Hanno, Duu-CHih Tu)  [Vidiots]
FROM DUSK TILL DAWN (Graeme Revell), GRINDHOUSE: PLANET TERROR (Robert Rodriguez, Graeme Revell) [New Beverly]
THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (Howard Shore) [Alamo Drafthouse] 
MON ONCLE (Franck Barcellini, Alain Romans) [Vidiots]
NECROPOLIS: LEGION (Chris Alexander, Richard Band) [Cinelounge]
NIGHT PATROL (Don Preston) [Cinelounge]
OVER THE MOON (Steven Price) [UCLA/Hammer]
RABID [Cinelounge]
A ROOM WITH A VIEW (Richard Robbins) [Vidiots]
THE SMUGGLERS (Ahmed Zahar Derradji), A GIRL IS A GUN (Patrice Moullet) [UCLA/Hammer]
SUBURBIA [BrainDead Studios]
THE THRILL OF BRAZIL [Vista]
TO KILL A MOCKINGBIRD (Elmer Bernstein) [Alamo Drafthouse]


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

Heard:
The Science of Sleep (Bernard); Shattered (Silvestri); Total Recall (Goldsmith); Trance (Smith); Twelve Monkeys (Buckmaster); Unknown (Ottman/Rudd); Waking Life (Gill)

Read: Runaway Black, by Richard Marsten, aka Ed McBain, aka Evan Hunter, aka Salvatore Lombino

Seen: The Seed of the Sacred Fig; Shakedown [1950]; The Web; If I Had a Million; Butch Cassidy and the Sundance Kid; Ride the Pink Horse; Kiss the Blood Off My Hands; The Black Arrow; The Brigand; The Lord of the Rings: The Fellowship of the Ring

Watched: Columbo ("Double Shock," "Lovely But Lethal," "Any Old Port in a Storm")

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