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The latest release from Intrada is an expanded and remastered edition of one of James Horner's very first feature scores, for the 1980 Roger Corman sci-fi horror production HUMANOIDS FROM THE DEEP, starring Doug McClure, Ann Turkel and Vic Morrow, featuring both the full film score and the original LP sequencing.


Humanoids from the Deep - James Horner - Intrada Special Collection
The Punisher
 - Dennis Dreith - Notefornote  


Barber - Forrest Gray
Expend4bles - Guillaume Roussel
Flora and Son - Gary Clark
From Above - Eric Kaye
Invisible Beauty - Marc Anthony Thompson
It Lives Inside - Wesley Hughes
My Last Best Friend - Asen Doykin
My Sailor, My Love - Michelino Bisceglia 
The Origin of Evil - Philippe Brault, Pierre Lapointe 
Radical Wolfe - Alex Mansour, Luke Schwartz 
Rebel - Hannes De Maeyer, Oum & Bakr
Relax, I'm From the Future - Bryan Bindon, Deanna H. Choi 
Reptile - Yair Elazar Glotman 
Spy Kids: Armageddon - John Debney
26.2 to Life - Antwan Williams 


September 29
She Came to Me - Bryce Dessner - Warner Classics
Spider-Man: Across the Spider-Verse - Daniel Pemberton - Sony
October 6
Anthology II: Movie Themes 1976-1988 - John Carpenter - Sacred Bones
October 20
Night After Night - James Newton Howard - Sony
October 27
Yentl: 40th Anniversary Edition - Michel Legrand - Sony
December 1
Scream VI - Brian Tyler, Sven Faulconer - Varese Sarabande
Date Unknown

Blondie - Mark Ronson, Andrew Wyatt - Waxwork
Boys on the Run
 - Bill Conti - Music Box
Gli Italiani e l'industria
 - Piero Umiliani - Kronos 
Good Omens 2 - David Arnold - Silva
North Star/The Great Elephant Escape
 - Bruce Rowland - Dragon's Domain
Sounds of Cinema: The Silver Age of Italian Film Music, Vol. 1
 - Fred Bongusto, Stelvio Cipriani, Peppino De Luca, Romano Mussolini, Daniele Patucchi, Gino Peguri, Carlo Pes, Gian Piero Reverberi, Gregorio Garcia Segura, Teo Usuelli - Quartet 
Spaced Invaders
 - David Russo - Dragon's Domain
The Super Mario Bros. Movie - Brian Tyler - iam8bit 
 - Philippe Rombi - Music Box  


September 22 - Robert Mellin born (1902)
September 22 - Chuck Wild born (1946)
September 22 - Nick Cave born (1957)
September 22 - Dimitri Tiomkin begins recording his score for Last Train from Gun Hill (1958)
September 22 - Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “The Left-Handed Man” (1965)
September 22 - Harry Geller’s score for The Wild Wild West episode “The Night of the Bottomless Pit” is recorded (1966)
September 22 - Samuel Matlovsky's score for the Star Trek episode "I, Mudd" is recorded (1967)
September 22 - Tuomas Kantelinen born (1969)
September 22 - Charles Previn died (1973)
September 22 - Artie Kane records his score for The New Adventures of Wonder Woman episode “The Bermuda Triangle Crisis” (1977)
September 22 - Jack Shaindlin died (1978)
September 22 - John Addison wins his only Emmy, for the Murder, She Wrote episode “The Murder of Sherlock Holmes;” Allyn Ferguson wins his only Emmy, for Camille (1985)
September 22 - Pat Metheny records his score for the Amazing Stories episode "Grandpa's Ghost" (1985)
September 22 - J.A.C. Redford records his score for the Twilight Zone episode “What Are Friends For?” (1986)
September 22 - John Williams begins recording his score for Home Alone (1990)
September 22 - Konrad Elfers died (1996)
September 22 - Lenny Stack died (2019)
September 23 - Clifford Vaughan born (1893)
September 23 - Gino Paoli born (1934)
September 23 - David Raksin begins recording his score for The Magnificent Yankee (1950)
September 23 - Lionel Newman begins recording his score for North to Alaska (1960)
September 23 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “The Life Work of Juan Diaz” (1964)
September 23 - Jerry Fielding records his score for the Mission: Impossible episode “The Cardinal” (1968)
September 23 - Richard Hazard records his first Mission: Impossible score, for “Commandante” (1969)
September 23 - Dave Grusin begins recording his score to The Yakuza (1974)
September 23 - Craig Safan records his score for the Amazing Stories episode "The Main Attraction" (1985)
September 23 - Dennis McCarthy records his score for the Star Trek: Enterprise episode “Shockwave, Part II” (2004)
September 23 - Malcolm Arnold died (2006)
September 24 - Leonard Salzedo born (1921)
September 24 - Douglas Gamley born (1924)
September 24 - Michael Tavera born (1961)
September 24 - Bernard Herrmann begins recording his score to Joy in the Morning (1964)
September 24 - Richard Markowitz records his score for The Wild Wild West episode “The Night of Sudden Death” (1965)
September 24 - Walter Scharf records his score for the Mission: Impossible episode “The Survivors” (1967)
September 24 - Richard Shores records his score for The Wild Wild West episode “The Night of the Kraken” (1968)
September 24 - Kenyon Hopkins begins recording his score for Downhill Racer (1969)
September 24 - Jerry Goldsmith begins recording his score for Star Trek - The Motion Picture (1979)
September 24 - Jerry Goldsmith begins recording his score for Baby: Secret of the Lost Legend (1984)
September 24 - Billy Goldenberg records his score for the Amazing Stories episode "What If...?" (1986)
September 24 - Jay Chattaway begins recording his score for the two-part Star Trek: The Next Generation episode “Gambit” (1993)
September 24 - Paul Baillargeon records his score for the Star Trek: Enterprise episode “Rajiin” (2003)
September 25 - Dmitri Shostakovich born (1906)
September 25 - Eric Rogers born (1921)
September 25 - Michael Gibbs born (1937)
September 25 - Richard Harvey born (1953)
September 25 - Randy Kerber born (1958)
September 25 - Danny Elfman and Steve Bartek's score for the Amazing Stories episode "Mummy Daddy" is recorded (1985)
September 25 - Ron Jones records his score for the Star Trek: The Next Generation episode "Where No One Has Gone Before" (1987)
September 25 - Alan Silvestri begins recording his score for The Bodyguard (1992)
September 25 - Jay Chattaway records his score for the Enterprise episode “Fight or Flight” (2001)
September 25 - Rod Temperton died (2016)
September 26 - George Gershwin born (1898)
September 26 - Simon Brint born (1950)
September 26 - Maureen McElheron born (1950)
September 26 - Joseph Mullendore records his score for the Lost in Space episode "The Haunted Lighthouse" (1967)
September 26 - Henry Mancini begins recording his replacement score for The Molly Maguires (1969)
September 26 - Edward Ward died (1971)
September 26 - Robert Emmett Dolan died (1972)
September 26 - Les Baxter records his score for the Buck Rogers in the 25th Century episode “Vegas in Space” (1979)
September 26 - Shelly Manne died (1984)
September 26 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “The Search - Part 2” (1994)
September 27 - Recording sessions begin for Sol Kaplan’s score for Niagara (1952)
September 27 - Cyril Mockridge begins recording his score for Many Rivers to Cross (1954)
September 27 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Silicon Avatar” (1991)
September 28 - Evan Lurie born (1954)
September 28 - Leith Stevens begins recording his score for The Scarlet Hour (1955)
September 28 - Laurent Petitgand born (1959)
September 28 - John Williams records his score for the Lost in Space episode "The Hungry Sea" (1965)
September 28 - Geoff Zanelli born (1974)
September 28 - Jerry Goldsmith begins recording his score for The Lonely Guy (1983)
September 28 - Miles Davis died (1991)
September 28 - John Williams begins recording his score to Home Alone 2: Lost in New York (1992)
September 28 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Relics” (1992)


AURORA'S SUNRISE - Christine Aufderhaar
"I wished some of the animation was a little sharper, although I suspect the lack of style is intentional. Characters have a habit of floating instead of walking and minimal facial expressions, but a stronger animated look might have really amplified the sense of memory in the overall piece. Christine Aufderhaar’s lovely score helps greatly with the animated segments, giving them an even greater sense of loss without being manipulative."
Brian Tallerico,

EL CONDE - Juan Pablo Ávalo, Marisol García 

"Luchsinger may be one of 'El Conde''s standout performers, but there is still plenty to look at and listen to when she’s not on screen. Edward Lachman’s digital black-and-white cinematography is striking. From Pinochet’s cosmopolitan nighttime hunts to the starkness of the family’s tundra hideout, the camera seems to capture the whole light spectrum in grayscale. Juan Pablo Ávalo and Marisol García’s score is also excellent, relying largely on jagged but warm cello tones that appropriately heighten the sense of mania as the film barrels into a very amusing third act which sees the major characters finally convene."
Drew Gillis, The Onion AV Club 

"Of course, that notion is the most basic seed of a Pinochet film set more than a decade after its subject actually died, but 'El Conde' -- for all the windswept beauty of its barren locations, and the Grimm detail of its interior production design -- is too housebound for its evil to blossom any wider than a wry smile. The movie often seems like a self-parody of Larraín’s similarly cloistered 'Jackie' and 'Spencer,' down to its suffocating gorgeousness and baroque score (Juan Pablo Ávalo and Marisol García stand in for Mica Levi and Jonny Greenwood)." 

David Ehrlich, IndieWire
"The crowning glory is Juan Pablo Ávalo and Marisol García’s score -- suitably heavy on tempestuous strings that go from brooding to agitation to full-throttle sinister power. Those passages are effectively blended with century-spanning compositions from Strauss, Britten, Purcell, Vivaldi, Gabriel Fauré, Arvo Pärt and André Caplet, among others."
David Rooney, The Hollywood Reporter
GOLDA - Dascha Dauenhauer
"The movie’s account of those failures -- but also the failures of Egypt and Syria, which seize but cannot maintain the upper hand -- is appreciably absorbing, even if the war itself, waged on two fronts on the Sinai Peninsula and in the Golan Heights, is kept largely hidden from view. It thus falls to the swift, fluid movements of Jasper Wolf’s camera and the suspenseful thrum of Dascha Dauenhauer’s score to bring this rickety war room procedural to life. The tension is heightened by the steady clacking of typewriter keys and, from time to time, the soldiers’ screams we hear being transmitted from the battlefront, screams that lodge indelibly in Meir’s memory and give the life-and-death stakes an insistently human voice."
Justin Chang, Los Angeles Times

"This non-diegetic insert, almost feeling familiar to elements of last year’s evocative and grim 'The Stranger,' falls flat when she then sucks it all back in. Anything more potentially striking just gets swallowed up by the standard way everything else comes together. A more disquieting score, which could have taken hold like Mica Levi’s did in 'Jackie,' instead is still oddly held at a distance. The nightmares of the conflict that haunts Golda in her home, captured via a roaming camera as the constant ringing of the phones begins to reach deafening levels, feel like it is one of many instances that are being guided by an oddly clumsy hand. Its execution is meant to evoke fear and pain though it just comes across as bluntly banal. Toss in far too many other moments where the effects completely take you out of a scene and the film’s struggles become insurmountable for its committed performers."
Chase Hutchinson, Collider 
"The intense visuals find a complement in Dascha Dauenhauer’s striking score and Niv Adiri’s sound design that mixes the Noh-theatre-style percussion with the crackle of short-wave radio conversations. A lot of the film watches on as Meir and the generals listen in to the sound of men dying on the battlefield as they play cat and mouse with the Egyptians and Syrians. There’s no blood on display but the agony and pain is embedded in the very soundscape itself."
Leslie Felperin, The Hollywood Reporter
HOME TEAM - Rupert Gregson-Williams
"'Home Team' is the story of a man who turned a punishment into a learning lesson, but it never feels more than superficially interested in the very idea that that man had to be caught (or at least accused of) breaking the rules to spend any time with his own son. It’s a complex idea in a family sports movie structure that avoids complexity by its very nature. In an early scene, Payton tells the boys one obvious defensive play, they score their first TD of the season, and Payton smiles like he’s feeling the joy of sports for the first time ever as the music soars. Really? It’s almost a parody of bad sports movies, which is harmless enough unless you consider the allegation that it’s all true. NONE of it feels true."
Brian Tallerico, 

"In an already packed field of pandemic docs -- with Nanfu Wang’s “In the Same Breath” so far the best -- 'How to Survive a Pandemic' is somewhere between feeling like another of many (thanks to familiar drone shots, stats, kaleidoscopic structuring, and thriller music), and yet in its bracing totality, coming off as reason enough to keep these films coming if we’re still trying to figure out what went wrong amidst so much affirming, important work."
Robert Abele, Los Angeles Times
"There is enough material in France’s new picture to fill an extensive miniseries, yet by cramming it all into a 106-minute running time, the film occasionally plays like a feature-length infomercial for vaccines, complete with a slick and intrusive score marked by angelic flourishes. What this leaves the film with is a series of micro-vignettes that don’t spend enough time on the urgent message spelled out bluntly over the end title cards, namely that a mere eight percent of people in low-income countries had access to vaccines in 2021, a direct result of the inequities in global distribution that led to an estimated one million lives being needlessly lost."
Matt Fagerholm,

THE NUN II - Marco Beltrami
"Logic, though, is not at the forefront of 'The Nun II' which, like its predecessor, attempts to force the fear through endless jump scares and bombastic music rather than take time to build any real tension. Minor-key subplots involving how Sister Irene’s maternal lineage -- detailed in brief soft focus flashbacks to her childhood -- may mark her out for a certain kind of divinity, and one involving Sister Debra’s lack of faith, seem grafted on, perhaps in an attempt to bring substance. In fact, the main horror here is that, with 15 years of time to kill between the end of this film and the beginning of 'The Conjuring 2,' set in 1977, there may be more of these chapters yet to come."
Nikki Baughan, Screen Daily 

"It’s not the destination that matters in these movies, however, but the chills en route. (Just as well, too, since 'The Nun II' culminates in something reminiscent of the prior film’s inane apex, in which Sister Irene literally spat the blood of Christ into a demon’s face.) Ably scored by series newcomer Marco Beltrami, the movie stirs enough pleasurably menacing sound and fury to pass muster -- never mind that when the final credits wrap, few will remember just where it leaves the overall 'Conjuring' saga, let alone why."
Dennis Harvey, Variety
"For 'Our Father, the Devil,' forgiveness looms large. Foumbi’s complex script asks if some acts are beyond absolution. It’s clear that Marie doesn’t just despise Father Patrick; she hates the religion he finds mercy in, too. She also despises herself. Sadjo plays with Marie’s internal impossibilities and exterior brick walls with deceptive ease. It seems simple because the exceptional crafts (evocative wine-colored lighting and an unnerving score) provided by an assured director like Foumbi can help to hide the actress’ work. Sadjo also keeps up her end of the bargain by employing her expressive face to deliver shock, regret, and ache to the refined palette and by exerting a rigid physicality, which can freeze and immobilize not just her character but the very temperature of a scene."
Robert Daniels, 
THE SHEPHERDESS AND THE SEVEN SONGS - Naren Chandavarkar, Benedict Taylor  
"The lush forests and imposing arid slopes of Jammu and Kashmire are gorgeously filmed by first-time feature cinematographer Ranabir Das. His carefully composed shots of sunlight piercing through tree canopies and mist hovering near ground level give a strong sense of a magical location where anything could happen. A lovely score by Naren Chandavarkar and Benedict Taylor featuring the traditional Iranian tar and setar stringed instruments transports the tale beyond its immediate Indian location and into the world of Laila and her nomadic Muslim community."
Richard Kuipers, Variety 
"The story is divided into seven traditional 'songs' whose topics range from marriage and migration to regret and playfulness. Some truly beautiful music composed by Naren Chandavarkar and Benedict Taylor illuminates the film, including a love song sung by Randhawa in her clear voice."
Deborah Young, The Hollywood Reporter

"Dahan has cast the movie well, including small roles for Philippe Torreton and Sylvie Testud, but his preference for short, punchy scenes and declamatory lines does his actors no favors. Ultimately, the restless approach, ever-roaming camera, and operatic flourishes (including an overworked score) create a skimming effect, when we hunger for a fuller portrait of the scarred, steely soul driven to alleviate suffering and counter injustice, against all odds."
Robert Abele, Los Angeles Times

"It’s not clear why Dahan believes such flourishes are necessary to embellish an already deeply dramatic story, but embellish he does, not just through showy camerawork, but through the emotional signposting of Olvon Yacob’s score, and a luscious attention to the details of period clothing and decor. Yet despite the exhaustive way her life is dressed and described, we never get to know who Simone Veil really was."
Jessica Kiang, Variety

SUPERIOR - Jessica Moss

"The eerie detachment, the kitschy interiors, the lurid use of color, the ominous synth score. There’s more than a hint of David Lynch’s signature noir aesthetic in 'Superior,' the feature filmmaking debut from director and co-writer Erin Vassilopoulos. Her story even explores the undercurrent of danger running just below the placid surface of small-town America, Lynch’s preferred playground. But while 'Superior' has a rich style and a couple of intriguing ideas, it ultimately doesn’t add up to much, leaving you with the feeling that you’re watching an inferior homage. And yet, the film is always fabulous to look at—so much so that it keeps you hanging on, hoping that something thrilling or surprising will happen. A team of talented women behind the scenes contributed to its vivid, retro-chic vibe, including cinematographer Mia Cioffi Henry, shooting in grainy 16mm; production designer Maite Perez-Nievas; costume designer Allison Pearce; and composer Jessica Moss. The calendar on the kitchen wall says October 1987, but there’s something out of time about 'Superior' that puts you in a confused mood from the start. Everything feels about a decade behind, as if these sisters are wading through the fog toward the brighter future that might be waiting for them. By the end, though, it’s hard to care whether they get there."
Christy Lemire,
"From there, after a slightly baggy middle portion, the story darkens, without going to any very unexpected places. But the moody atmospherics remain inventively idiosyncratic throughout, from DP Mia Cioffi Henry’s textured, warm-grained 16mm photography, to Jessica Moss’ excellent, echoey score, enhanced with occasional uncanny nonverbal vocals, and on through to the woozy, bluesy rhythms of the editing, handled by Jenn Ruff and Vassilopoulos herself. It all combines somehow, despite the 1980s setting, into filmmaking that most recalls that of the early ’90s, when off-kilter indie noirs had a moment: 'Superior' feels like a John Dahl movie given a 'Twin Peaks' vibe on a Hal Hartley budget, with just the odd dash of Old Hollywood thrown in for good measure, like the deliberately 'Rear Window'-aping, flashbulb-popping finale."
Jessica Kiang, Variety 

"'Superior''s most successful element might be its inspired-by-the-’80s aesthetic choices. The nervous synths (by composer Jessica Moss), quasi-grainy cinematography (by Mia Cioffi Henry) and modern-leaning costumes (by Allison Pearce) suggest an out-of-time quality that meshes well with the not-quite characters."
Inkoo Kang, The Hollywood Reporter


Screenings of older films in Los Angeles-area theaters.

September 22
BARRY LYNDON (Leonard Rosenman) [Alamo Drafthouse]
BLADE RUNNER 2019 (Benjamin Wallfisch, Hans Zimmer) [Nuart]
DUNE (Toto) [BrainDead Studios]
EIGHTH GRADE (Anna Meredith) [Los Feliz 3]
THE EVIL DEAD (Joseph LoDuca) [Vidiots]
HARRY POTTER AND THE DEATHLY HALLOWS PART 2 (Alexandre Desplat) [Alamo Drafthouse]
HER (William Butler, Owen Pallett) [New Beverly]
KILLER'S KISS (Gerald Fried) [Alamo Drafthouse]
THE KILLING (Gerald Fried) [Alamo Drafthouse]
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse]
NORTH BY NORTHWEST (Bernard Herrmann) [New Beverly]
SORCERER (Tangerine Dream) [Los Feliz 3]
STREETS OF FIRE (Ry Cooder) [Vidiots]
THINGS FALL APART (Milt Holland) [Aero]
VIDEODROME (Howard Shore) [Vidiots]

September 23
BARRY LYNDON (Leonard Rosenman) [Alamo Drafthouse] 
BLACK GIRL [Los Feliz 3]
CLUE (John Morris) [Vidiots]
DAS BOOT (Klaus Doldinger) [New Beverly]
DIVA (Vladimir Cosma) [Academy Museum]
DUNE (Toto) [BrainDead Studios]
GANGS OF NEW YORK (Howard Shore) [Landmark Pasadena]
HARRY POTTER AND THE DEATHLY HALLOWS PART 2 (Alexandre Desplat) [Alamo Drafthouse] 
HOCUS POCUS (John Debney) [Vidiots]
THE HOLY INQUISITION (Joaquin Gutierrez Heras) [Los Feliz 3]
JODOROWSKY'S DUNE (Kurt Stenzel) [BrainDead Studios]
KILLER'S KISS (Gerald Fried) [Alamo Drafthouse]
THE KILLING (Gerald Fried) [Alamo Drafthouse]
THE MASK OF ZORRO (James Horner) [Alamo Drafthouse]
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse] 
PINK FLAMINGOS [Academy Museum]
PSYCHO (Bernard Herrmann) [Landmark Westwood]
RAYA AND THE LAST DRAGON (James Newton Howard) [Academy Museum]
STARMAN (Jack Nitzsche) [BrainDead Studios]
STREET FIGHTER (Graeme Revell) [New Beverly]
TO LIVE AND DIE IN L.A. (Wang Chung) [Los Feliz 3]
TROUBLE IN MIND (Mark Isham), THE MODERNS (Mark Isham) [Aero]
WHO FRAMED ROGER RABBIT (Alan Silvestri) [Los Feliz 3]

September 24
BARRY LYNDON (Leonard Rosenman) [Alamo Drafthouse]
CELINE AND JULIE GO BOATING (Jean-Marie Senia) [Academy Museum]
DAS BOOT (Klaus Doldinger) [New Beverly]
ED WOOD (Howard Shore) [BrainDead Studios]
A FANTASTIC WOMAN (Matthew Herbert) [Academy Museum]
GANGS OF NEW YORK (Howard Shore) [Landmark Pasadena]
HARRY POTTER AND THE DEATHLY HALLOWS, PART 2 (Alexandre Desplat) [Alamo Drafthouse]
HUD (Elmer Bernstein) [Los Feliz 3]
INVENTING TOMORROW (Laura Karpman) [UCLA/Hammer]
LABYRINTH (Trevor Jones) [Vidiots]
THE LONG FAREWELL (O. Karavaychuk) [Aero]
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse]
ONLY LOVERS LEFT ALIVE (Josef van Wissem) [Vidiots]
PINOCCHIO (Leigh Harline, Paul J. Smith, Ned Washington) [El Capitan]
THE PLOT AGAINST HARRY (Frank Lewin) [Los Feliz 3]
13 ASSASSINS (Koji Endo) [Vidiots]
WILD AT HEART (Angelo Badalamenti) [BrainDead Studios] 

September 25
ALICE IN WONDERLAND (Oliver Wallace) [El Capitan]
BARRY LYNDON (Leonard Rosenman) [Alamo Drafthouse] 
BLOWN AWAY (Alan Silvestri) [Los Feliz 3]
HARRY POTTER AND THE DEATHLY HALLOWS, PART 2 (Alexandre Desplat) [Alamo Drafthouse] 
THE KILLING (Gerald Fried) [Alamo Drafthouse] 
PHANTOM OF THE PARADISE (Paul Williams, George Aliceson Tipton), SISTERS (Bernard Herrmann) [New Beverly]
THE PLOT AGAINST HARRY (Frank Lewin) [Los Feliz 3]
THELMA & LOUISE (Hans Zimmer) [Alamo Drafthouse]

September 26
BARRY LYNDON (Leonard Rosenman) [Alamo Drafthouse] 
HARRY POTTER AND THE DEATHLY HALLOWS, PART 2 (Alexandre Desplat) [Alamo Drafthouse] 
KILLER'S KISS (Gerald Fried) [Alamo Drafthouse]
THE KILLING (Gerald Fried) [Alamo Drafthouse]
LOST HIGHWAY (Angelo Badalamenti) [Landmark Pasadena]
PHANTOM OF THE PARADISE (Paul Williams, George Aliceson Tipton), SISTERS (Bernard Herrmann) [New Beverly]
THE SWORD IN THE STONE (George Bruns) [El Capitan]

September 27
THE ABYSS (Alan Silvestri) [Regency Village]
CRASH (Howard Shore) [Aero]
GANGS OF NEW YORK (Howard Shore) [Landmark Pasadena]
KILLER'S KISS (Gerald Fried) [Alamo Drafthouse]
THE KILLING (Gerald Fried) [Alamo Drafthouse]
THE MUMMY (Jerry Goldsmith) [Alamo Drafthouse]
NORMAL [Academy Museum]
ONLY LOVERS LEFT ALIVE (Josef van Wissem) [Vidiots] 
THE PLAYER (Thomas Newman) [Academy Museum]
THE PLOT AGAINST HARRY (Frank Lewin) [Los Feliz 3] 
PORTRAIT OF A LADY ON FIRE (Jean-Baptiste de Laubier, Arthur Simonini) [Vidiots]
ROBIN HOOD (George Bruns)  [El Capitan]
THE SHINING (Wendy Carlos, Rachel Elkind) [Vidiots]
THE TALL T (Heinz Roemheld), RIDE LONESOME (Heinz Roemheld) [New Beverly]
TO LIVE AND DIE IN L.A. (Wang Chung) [Los Feliz 3]

September 28
FEMALE TROUBLE (Bob Harvey) [Academy Museum]
THE FOX AND THE HOUND (Buddy Baker) [El Capitan]
MANUNTER (Michel Rubini, The Reds) [Aero]
THE TALL T (Heinz Roemheld), RIDE LONESOME (Heinz Roemheld) [New Beverly]

September 29
ALMOST FAMOUS (Nancy Wilson) [New Beverly]
BONES (Elia Cmiral) [Vidiots]
CATS (Andrew Lloyd Weber) [Nuart]
HERCULES (Alan Menken) [El Capitan]
ISHTAR (Dave Grusin) [BrainDead Studios]
THE MUMMY RETURNS (Alan Silvestri) [Alamo Drafthouse]
POLYESTER (Chris Stein, Michael Kamen) [Academy Museum]
PRETTY IN PINK (Michael Gore) [Vidiots]
TO LIVE AND DIE IN L.A. (Wang Chung) [Los Feliz 3] 

September 30
A.I. ARTIFICIAL INTELLIGENCE (John Williams) [Alamo Drafthouse]
BATMAN (Danny Elfman) [BrainDead Studios]
BIG (Howard Shore) [Vidiots]
BRAZIL (Michael Kamen), TRIANGLE OF SADNESS [Alamo Drafthouse]
E.T. THE EXTRA-TERRESTRIAL (John Williams) [BrainDead Studios]
HIGH TENSION (Francois Eudes Chanfrault) [Vidiots]
LILO & STITCH (Alan Silvestri) [El Capitan]
MAC AND ME (Alan Silvestri) [BrainDead Studios]
PURPLE RAIN (Prince, Michel Colombier) [Vidiots]
ROCK 'N ROLL HIGH SCHOOL, GRAND THEFT AUTO (Peter Ivers), PIRANHA (Pino Donaggio), THE RAVEN (Les Baxter) [Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SHUTTER ISLAND [Landmark Pasadena]
SILENT HILL (Jeff Danna) [New Beverly]
SUPER 8 (Michael Giacchino) [New Beverly]
THE UKNOWN [Alamo Drafthouse]
UNCLE BUCK (Ira Newborn) [Vidiots]
WHY WORRY?, SPEEDY [New Beverly]

October 1
A NOS AMOURS [Academy Museum]
BLOOD SIMPLE (Carter Burwell) [Vidiots]
CINEMA PARADISO (Ennio Morricone) [Academy Museum]
DRACULA [Vidiots]
LA HAINE (Assassin) [Los Feliz 3]
MONSTERS, INC. (Randy Newman) [Vidiots]
MY NEIGHBOR TOTORO (Joe Hisaishi) [Alamo Drafthouse]
THE SHINING (Wendy Carlos, Rachel Elkind) [Alamo Drafthouse]
SHUTTER ISLAND [Landmark Pasadena] 
SINGIN' IN THE RAIN (Nacio Herb Brown, Lennie Hayton) [Vidiots]
SUPER 8 (Michael Giacchino) [New Beverly]


Airport (Newman); The Throne (Bang); The Poseidon Adventure (Williams); Chopped and Screwed (Miachu and the Shapes); Airport 1975 (Cacavas); Remain Calm (Levi/Coates); Earthquake (Williams); Vamos a Bailar: Otra Ves! (Guerrero); Juggernaut/The Bed Sitting Room (Thorne); The Towering Inferno (Williams); The Nutcracker (Tchaikovsky); The Hindenburg (Shire); Dust to Dust (Hilmarsson) Submersion of Japan (Sato); Avatar: The Way of Water (Franglen); The Big Bus (Shire); Requiem for a Dream (Mansell); Airport '77 (Cacavas); The Fountain (Mansell); A Time of Destiny (Morricone); The Cassandra Crossing (Goldsmith)

Read: Rostnikov's Vacation, by Stuart M. Kaminsky

Seen: The End of Summer; An Autumn Afternoon; A Haunting in Venice; Dumb Money; My Big Fat Greek Wedding 3; Spider Baby; The Incredibly Strange Creatures Who Stopped Living and Became Crazy Mixed-Up Zombies; JFK

Watched: 30 Rock ("Sun Tea"); Masters of Sex ("The Revolution Will Not Be Televised"); Unbreakable Kimmy Schmidt ("Kimmy Sees a Sunset!"); Poker Face ("Dead Man's Hand," "The Night Shift," "The Stall")

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