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Silva is releasing a newly recorded compilation, LAURENCE ROSENTHAL: MUSIC FOR FILM AND TELEVISION, of music by the two-time Oscar nominee and seven-time Emmy winner, with Dirk Brosse conducting the Brussels Philharmonic. The disc will include music from his feature scores Becket, Brass Target, Clash of the Titans, Meteor, The Miracle Worker, A Raisin in the Sun, Requiem for a Heavyweight and Return of a Man Called Horse, and his work for the TV productions Anastasia: The Mystery of Anna, Fantasy Island, Gore Vidal's Billy the Kid, Michelangelo: The Last Giant, Mussolini: The Untold Story and The Young Indiana Jones Chronicles.


Barbie - Mark Ronson, Andrew Wyatt - Waxwork 
She Came to Me - Bryce Dessner - Warner Classics
Spider-Man: Across the Spider-Verse - Daniel Pemberton - Sony 


The Creator - Hans Zimmer
Fair Play - Brian McOmber
The Kill Room - Jessica Rose Weiss, Jason Soudah 
Muzzle - Paul Gallister
On Fire - Sacha Chaban
Paw Patrol: The Mighty Movie - Pinar Toprak
The Plus One - Sam Mizell
Saw X - Charlie Clouser 
The Storms of Jeremy Thomas - David Holmes 


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

Boys on the Run
 - Bill Conti - Music Box
Gli Italiani e l'industria
 - Piero Umiliani - Kronos 
Good Omens 2 - David Arnold - Silva
Laurence Rosenthal: Music for Film and Television
- Laurence Rosenthal - 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 29 - Billy Strange born (1930)
September 29 - Mike Post born (1944)
September 29 - Manuel Balboa born (1958)
September 29 - Theodore Shapiro born (1971)
September 29 - John Barry begins recording his score for First Love (1976)
September 29 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “The Survivors” (1989)
September 30 - Miklos Rozsa begins recording his score for Young Bess (1952)
September 30 - Elmer Bernstein begins recording his score to The View From Pompey's Head (1955)
September 30 - Marty Stuart born (1958)
September 30 - Lyn Murray records his score for the Alfred Hitchcock Hour episode “Lonely Place” (1964)
September 30 - Jack Urbont records his score for the Mission: Impossible episode “Wheels” (1966)
September 30 - Andrew Gross born (1969)
September 30 - Artie Kane records his score for The New Adventures of Wonder Woman episode “Knockout” (1977)
September 30 - Richard Einhorn begins recording his score to Dead of Winter (1986)
September 30 - Virgil Thomson died (1989)
October 1 - Irwin Kostal born (1911)
October 1 - Elia Cmiral born (1950)
October 1 - George Duning begins recording his score to The Wreck of the Mary Deare (1959)
October 1 - Jerry Goldsmith begins recording his score to The Prize (1963)
October 1 - Ernst Toch died (1964)
October 1 - Lalo Schifrin records his score for the Mission: Impossible episode “Operation Rogosh” (1966)
October 1 - Ron Goodwin begins recording his score to Where Eagles Dare (1968)
October 1 - Johannes Kobilke born (1973)
October 1 - Dave Grusin begins recording his score for Falling in Love (1984)
October 1 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Haven” (1987)
October 1 - Jay Chattaway records his score for the Star Trek: Voyager episode “Dragon’s Teeth” (1999)
October 1 - Dennis McCarthy records his scores for the Star Trek: Enterprise episodes “Impulse”  and “Twilight” (2003)
October 1 - Stelvio Cipriani died (2018)
October 2 - Leroy Shield born (1893)
October 2 - Bruce Montgomery born (1921)
October 2 - Eric Demarsan born (1938)
October 2 - Bernard Herrmann marries his first wife, writer Lucille Fletcher (1939)
October 2 - Damon Gough born (1969)
October 2 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “The Visitor” (1995)
October 2 - Recording sessions begin for Richard Rodney Bennett’s score for Gormenghast (1999)
October 2 - Recording sessions begin on Nathan Barr's score to Hostel (2005)
October 2 - Tom Petty died (2017)
October 3 - Roy Webb born (1888)
October 3 - Nick Glennie-Smith born (1951)
October 3 - Arnold Bax died (1953)
October 3 - Jeff Alexander begins recording his unused score to Saddle the Wind (1957)
October 3 - Bernard Herrmann begins recording his score for Tender Is the Night (1961)
October 3 - Robert Drasnin records his score for the Lost in Space episode "The Thief from Outer Space" (1966)
October 3 - Gerald Fried records his score for the Lost in Space episode "Collision of Planets" (1967)
October 3 - Johnny Mandel begins recording his unused score to The Seven-Ups (1973)
October 3 - Jerry Goldsmith begins recording his score for The Reincarnation of Peter Proud (1974)
October 3 - Harry Sukman begins recording his score for Salem’s Lot (1979)
October 3 - Stu Phillips begins recording his score for the two-part Buck Rogers in the 25th Century episode “The Plot to Kill a City” (1979)
October 3 - Shirley Walker begins recording her score for Turbulence (1996)
October 3 - Dennis McCarthy begins recording his score for Star Trek: Generations (1994)
October 3 - Richard Bellis records his score for the Star Trek: Deep Space Nine episode “The House of Quark” (1994)
October 4 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "You'll Be the Death of Me" (1963)
October 4 - John Williams begins recording his score to Penelope (1966)
October 4 - Shawn Clement born (1968)
October 4 - BT born Brian Transeau (1970)
October 4 - George Romanis records his only Mission: Impossible score, for the episode “The Visitors” (1971)
October 4 - Henry Mancini begins recording his score for Sunset (1987)
October 5 - Malcolm Lockyer born (1923)
October 5 - Alfred Newman begins recording his score for Leave Her to Heaven (1945)
October 5 - Harold Faltermeyer born (1952)
October 5 - Alex Wurman born (1966)
October 5 - Jerry Fielding's score for the Star Trek episode "The Trouble With Tribbles" is recorded (1967)
October 5 - David G. Russell born (1968)
October 5 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Timeless” (1998)


"To know the direction this is all headed in -- first made explicit in Dante’s increasingly honest letters about his sexuality -- doesn’t make 'Aristotle and Dante' predictable, however. Nor is it some issues-driven Afterschool Special about identity that prioritizes platitudes over human interaction. With her feature debut, Alberto keenly understands that any story of self-discovery is as much a constellation as it is a journey, and that’s how her adaptation plays, as a mature accumulation of the tender, the uneasy and the clarifying. With Akis Konstantakopoulos’ cinematography occasionally graced by the desert climate’s softly popping color, the movie breathes as it moves. (And sometimes that movement is to a lively mix of ‘80s-era radio hits and Isabella Summers’ solid score.)"
Robert Abele, Los Angeles Times 

CHOOSE OR DIE - Liam Howlett
"Part of the problem could have been budget. A lot of darkness and dry ice hide much of the action and a lot of the violence happens off camera -- although, again, a stronger visual eye would have disguised lack of funds more than anything else. It’s a strangely dull film, at least until the final act, which finally gets truly weird in a captivating way (MVP Eddie Marsan, of course). At least the movie has a banging score by Liam Howlett of Prodigy that also places it in the techno-heavy horror era of the ‘80s. Still, you’d be wise to just choose to watch 'Videodrome' again instead."
Brian Tallerico, 
"The fetishization of the 1980s -- its trends and pop culture, especially movies and music -- is recalibrated to frightening ends in Toby Meakins’ 'Choose or Die.' Unlike, say, 'Ready Player One', Simon Allen’s light script doesn’t wholly worship at the decade’s altar. Sure, overt references to  'A Nightmare on Elm Street,' Gary Newman, and industrial music artist Fad Gadget proliferate throughout the film. The Prodigy’s Liam Howlett even provides the movie’s synth score. But Meakins and Allen want to interrogate the innate horrors of living exclusively in the past. It’s a smart lesson obscured by a kitschy script that feels like Allen is taking too much pleasure in his self-perceived importance."
Robert Daniels, Polygon 
"None of this works, though you have to give Meakins credit for trying to sell it anyway, maintaining a decent pace and some visual interest despite the tissue-thin material. Catherine Derry’s widescreen cinematography puts the best, often luridly colorful face on obviously modest production resources, and an assertive electronic score by The Prodigy’s Liam Howlett is abetted by some ’80s oldies from Gary Numan and Run-DMC. Shot in London, 'Choose or Die' nonetheless aims for a non-specific 'American city' feel, though not all the cast members apparently got that memo."
Dennis Harvey, Variety 

"Its various amiable plot complications leading to a concert/police-raid climax, followed by some amusing epilogue material, 'Dinner' isn’t masterfully constructed or even wildly original. But it has a bright comic look and energy to it, with every design contribution from Jean-Philippe Bernier’s widescreen lensing to John Swihart’s thumping electro-trash score upping the viewer’s happy-pill dosage. And beyond finding a godsend in Gellner, Rehmeier gets good mileage from nearly the entire supporting cast. They grasp the slightly warped humor he’s aiming for here, hitting a suitable range of comedic notes from the deadpan to the broadly farcical."
Dennis Harvey, Variety

FLORA AND SON - Gary Clark, John Carney (songs and score)

"But also essential to 'Flora and Son' is the music, which comes from Carney and Gary Clark. The songs in Flora and Son have a delicate balance to walk: they have to sound good enough to stick with the audience, but it also has to sound like it is coming from amateurs. Yet Carney and Clark’s music manages to pull off that specific mixture. A climactic song at the end combines all the various styles of music we’ve seen these characters playing with, and the film’s best moment shows Flora and Jeff taking one of Jeff’s middling songs and improving on it bit-by-bit until it becomes a powerhouse of a song."
Ross Bonaime, Collider 

"It is well-nigh impossible to resist Carney’s optimism and sincerity as he reminds us, once again, that music is life -- even if the songs themselves, written by Carney and Gary Clark, don’t reach James Blunt’s level, let alone Hoagy Carmichael’s. But 'Flora and Son' feels more like a scrappy demo tape than a polished album. The sentimental romance with an American dreamboat doesn’t quite fit with the sharp-tongued urban grittiness in other scenes; it isn’t easy to make a mash-up of Nick Hornby and Shane Meadows."
Nicholas Barber, The Wrap 
"Carney’s insistence on guileless emotion in the songwriting (he and Scottish musician Gary Clark co-wrote the original tunes) makes for intensely open-hearted moments. But his script is typically Irish, imbued with playful jabs and crude humor, and Hewson’s forthright and foul-mouthed performance proves to be the perfect hit of sweet-and-sour acid to offset what could have been impossibly treacly. She’s a superstar in the making."

Kate Walsh, Los Angeles Times 

"While the performances are effortlessly charming, the soundtrack is more discordant this time. The majority of the compositions are either acoustic (traditional grounds for Carney) or a cross electro-pop rap dance music that don't quite work as well as, say, the soundtracks to 'Once' or the '80s tribute 'Sing Street.' Gary Clark, who also composed 'Sing Street' music, tries to incorporate Flora’s love for dance music, her son’s admiration of local YouTube rappers, and Jeff’s more traditional folk-and-rock guitar background. As the music quality slips, so does a bit of this movie’s appeal. For a movie so driven by music, it’s unfortunate that its final number is somewhat of a mess, its lyrics weaker than the performances that led up to it. Tense situations quickly resolve themselves, and everyone in the makeshift group conveniently has a part to play. I only wish it felt more like music to my ears."
Monica Castillo, 
"Flora’s motivations seem to change on a whim, alternately fueled by a need for attention, the desire for self-expression, and outright spite according to plot necessity. When she learns that Max is into a different style of music, the scene is less of a revelation due to her neglect than a hasty transition to both of them patching things up by collaborating on a song. Worse, the film can’t even lean on its soundtrack to carry these segments. Its corny attempts at rap are unfortunate, while the usual singer-songwriter material is generic and forgettable."
Steven Scaife, Slant Magazine 

"Flora and Jeff’s Zoom sessions are livelier than you might expect. At first, fueled by a large glass of wine, she comes on to him, and soberly texts an apology the next day. Their connection is obvious even through their screens, and once the lessons begin in earnest, Carney weaves in the music that infuses the film. The original songs are by Gary Clark and Carney, who together also did the music for 'Sing Street' (2016), Carney’s film about 1980’s teenagers putting together a band. The new songs are mostly ballads, some deliberately amateurish -- Jeff is never going to be a star -- and others lovely. Gordon-Levitt and Hewson do their own vocals, in voices that are pleasant, light and modest."
Caryn James, The Hollywood Reporter 
A HAUNTING IN VENICE - Hildur Guonadottir
"Such genre affectations aren’t all that effective -- Branagh is ultimately too playful and goofy a director to pull off a proper jump scare -- but the movie’s enduring sense of quiet is unusually effective. This is an eerily silent work, full of long pauses and distant, baffling sounds; even the score seems to be mixed low, as if it were drifting through a window, a dark memory. Branagh also plays with the rhythm, using pace and composition to set us ill at ease. Vast stretches of darkness in the frame are cut through with shocks of color. He shoots with aggressive canted angles and absurd fisheye lenses, then switches to elegant establishing shots, sometimes with surprisingly jagged cuts. At one point, he body-mounts the camera on himself and then follows Poirot into a darkened chamber."
Bilge Ebiri, New York 

"Visually uninspired, 'A Haunting In Venice' doesn’t take advantage of being set in the titular city with the gorgeous canals. The main setting is a big, dark house that could be anywhere; nothing about it is especially Venetian despite being billed as a 'palazzo.' There’s nary an interesting shot. In fact some of the askew angles Branagh and his usual cinematographer, Haris Zambarloukos, use to add a foreboding effect end up being just puzzling. Even the usually reliable composer Hildur Guðnadóttir delivers an unmemorable score."
Murtada Elfadl, The Onion AV Club 

INVISIBLE BEAUTY - Marc Anthony Thompson
"There is much that is lovely to gaze upon in the elegantly tailored documentary 'Invisible Beauty,' about fashion maverick Bethann Hardison, whose role in her industry, starting in the late ’60s and continuing into the present, has been remarkable personally and game-changing culturally. Those five decades -- hers and the industry’s -- are expertly woven together by co-directors Hardison and Fre´de´ric Tcheng, using a cache of personal photos, a wealth of archival images, clips and interviews sewn together by Hardison’s sharing of recollections and insights. The film is also buoyed by a delicate, sometimes moody piano-led score courtesy of Marc Anthony Thompson, with some additionally vivid musical choices that match the energy of the late, 'Black is Beautiful' ’60s and the fashion-fast-forward ’70s."
Lisa Kennedy, Variety 
IT LIVES INSIDE - Wesley Hughes
"With its low kill count and minimal gore, Dutta’s film will doubtless suffer the usual criticisms from horror buffs that it’s not hardcore enough. But the director brings the right solemnity to his script, which in less able hands might have grown ridiculous. That it doesn’t is a testament to the film’s nicely accomplished atmospherics, realized in large part by Matthew Lynn’s widescreen cinematography, Tyler Harron’s production design and Wesley Hughes’ original score."
Dennis Harvey, Variety 

"'It Lives Inside' chronicles Sam’s attempt to find her friend. She embarks on a frantic search for clues, asking her mother vague questions and pulling from her patchy memory. The film grips us with its jump scares and Wesley Hughes’ propulsive score. The stakes are high and we believe them -- at first."
Lovia Gyarkye, The Hollywood Reporter 

OUR FATHER - Gregory Tripi
"Jourdan struggles to let the tragic stories shared by these men and women to breathe. A jagged and eerie score adds an unnecessary, overbearing mood and tone to their recounting. Staged scenes of Ballard dressed in a red hoodie, hunched over her computer as a web of papers and photos surround her, are closer to comical than serious. And the obvious reenactments of an actor playing Cline in scenes with the real-life Ballard are strained, at best; amateurish at worst. At every turn, Jourdan is determined to relegate this crime to a tacky TruTV documentary."
Robert Daniels, 
THE TALE OF KING CRAB - Vittorio Giampietro
"At the very least, they’re wonderfully confident artists with image, texture and music. The Italian countryside, as explored in Simone D’Arcangelo’s cinematography and the directors’ shotmaking, is captured in all its heavy beauty, and the lined, sunbaked faces of the area’s denizens provide their own painterly topography. When the movie flings itself halfway across the world for the second half, the change of scenery to the gray-green vastness of southern Argentina’s chilly archipelago is bracing, as is the almost mystical redness of that crab. Meanwhile, Vittorio Giampietro’s score -- a spare meld of folk singing, percussion and lonely instruments -- is its own artful coloring."
Robert Abele, Los Angeles Times 

"The rapscallion of yore discussed by the storytellers is Luciano (Gabriele Silli), the unruly son of a town doctor in the late 19th or early 20th century (nothing is related here without a caveat of uncertainty). When he first appears on screen, the boozy declarations become voiceover, and we’re transported to a bucolic village of crumbling edifices and wild vegetation that suggests something out of Pier Paolo Pasolini’s 'The Decameron,' complete with scene-setting flute music by Vittorio Giampietro. Accounts of Luciano range from the unflattering ('crazy' and 'a drunk') to the reverent ('an aristocrat' and 'a saint'), and an austere Silli, hidden behind a mangy beard and an ever-emptying wine bottle, splits the difference by articulating a stubborn nonconformity and a ruthless determination whose end goal is unclear."
Carlos Lund, Slant Magazine 

TORN HEARTS - Brittany Allen
"'Torn Hearts' has its moments of predictability between bickering bandmates vying for leadership and the tolls of megastardom -- plus some iffy weapons logic -- but that’s overcome by a trio of actresses who embrace madness right on key. Music is the heart, soul and scapegoat at the core of Croft’s story, which composer Brittany Allen channels through lyrics that tell an unstable story about everything from trusting the media to men who control and manipulate even the most popular female talents. Grant packs plenty into 'Torn Hearts'' double-barrel approach, and assures herself as a director who knows her way around a joyfully dark midnighter romp. It’s a sinister and fork-tongued tune that holds a nutty tempo, sure to delight audiences who are into hootin’ and hollerin’ at some honky-tonk horrors."
Matt Donato, Paste Magazine 


Screenings of older films in Los Angeles-area theaters.

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]
THE PLOT AGAINST HARRY (Frank Lewin) [Los Feliz 3]
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]
THE CROW (Graeme Revell) [BrainDead Studios]
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]
TICKLED (Rodi Kirkcaldy, Florian Zwieting) [Alamo Drafthouse]

October 2
DOCTOR SLEEP (The Newton Brothers) [Alamo Drafthouse]
EYES WIDE SHUT (Jocelyn Pook) [Alamo Drafthouse]
FUTURA [Academy Museum]
OPERA [Alamo Drafthouse]
THE SHINING (Wendy Carlos, Rachel Elkind) [Alamo Drafthouse] 
THEY LIVE (John Carpenter, Alan Howarth) [New Beverly]

October 3
A.I. ARTIFICIAL INTELLIGENCE (John Williams) [Alamo Drafthouse] 
EYES WIDE SHUT (Jocelyn Pook) [Alamo Drafthouse] 
MEAN GIRLS (Rolfe Kent) [Alamo Drafthouse]
OPERA [Alamo Drafthouse]
THE SHINING (Wendy Carlos, Rachel Elkind) [Alamo Drafthouse] 
STREETS OF FIRE (Ry Cooder) [Vidiots]

October 4
ENNIO [Academy Museum]
MENACE II SOCIETY (Q D III) [Academy Museum]
NOWHERE [Los Feliz 3]
OPERA [Alamo Drafthouse]
THE SHINING (Wendy Carlos, Rachel Elkind) [Alamo Drafthouse] 

October 5
CEMETERY MAN (Manuel De Sica) [Aero]
HAIRSPRAY (Kenny Vance) [Academy Museum]
HAPPINESS (Robbie Kondor) [New Beverly]
THE LION KING (Hans Zimmer) [El Capitan]

October 6
DRACULA [Alamo Drafthouse]
DUDE BRO PARTY MASSACRE III (Tyler Burton) [Vidiots]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
THE GOOD, THE BAD AND THE UGLY (Ennio Morricone) [Academy Museum]
HAPPINESS (Robbie Kondor) [New Beverly] 
HOUR OF THE WOLF (Lars Johan Worle) [BrainDead Studios]
PET SEMATARY (Elliot Goldenthal) [New Beverly]
SUSPIRIA (Goblin) [Nuart]
TRUE ROMANCE (Hans Zimmer) [Aero]

October 7
BRAVE (Patrick Doyle) [Vidiots]
EYES WITHOUT A FACE (Maurice Jarre) [Vidiots]
FULL MOON IN PARIS (Elli) [Academy Museum]
THE IRON GIANT (Michael Kamen) [Aero]
IT FOLLOWS (Disasterpeace) [Vidiots]
NOWHERE [Alamo Drafthouse]
PACIFIC RIM (Ramin Djawadi) [Aero]
POLTERGEIST (Jerry Goldsmith) [Vidiots]
THE RAID: REDEMPTION (Mike Shinoda, Joseph Trapanese) [Aero]
THE ROOM (Mladen Milicevic) [Landmark Westwood]
SLEEPY HOLLOW (Danny Elfman) [Alamo Drafthouse]
STAND BY ME (Jack Nitzsche) [Academy Museum]
THE TINGLER (Von Dexter) [Academy Museum]

October 8
BENNY'S VIDEO [BrainDead Studios]
BLACK SWAN (Clint Mansell) [New Beverly]
THE CRAFT (Graeme Revell) [Alamo Drafthouse]
DAYS OF HEAVEN (Ennio Morricone) [Academy Museum]
ERNEST SCARED STUPID (Bruce Arnston, Kirby Shelstad) [New Beverly] 
FINAL DESTINATION (Shirley Walker) [Aero]
HENRY: PORTRAIT OF A SERIAL KILLER (Robert McNaughton, Ken Hale, Steven A. Jones) [BrainDead Studios]
HOLY MOTORS [Academy Museum] 
HOTEL TRANSYLVANIA (Mark Mothersbaugh) [Vidiots]
THE MAGICIAN (Erik Nordgren) [Los Feliz 3]
THE NIGHT OF THE HUNTER (Walter Schumann) [Vidiots]
SORCERER (Tangerine Dream) [Alamo Drafthouse]
2001: A SPACE ODYSSEY [Fine Arts]
2046 (Shigeru Umebayashi) [Vidiots]


The Orchestral Film Music of Mark McKenzie Vol. 1 (McKenzie); Survive (Fried); Selena (Grusin); Rollercoaster (Schifrin); A Man Called Horse (Rosenman); Gray Lady Down (Fielding); Avalanche (Kraft); The Black Stallion (Coppola/Walker); The Swarm (Goldsmith); The Return of a Man Called Horse/Inherit the Wind (Rosenthal); Beyond the Poseidon Adventure (Fielding); The Mission (Morricone); The Black Stallion Returns (Delerue); The Concorde: Airport '79 (Schifrin); The End of Violence (Cooder); Hurricane (Rota)

Read: Galapagos, by Kurt Vonnegut Jr.

Seen: "The Tawdry Visions of George and Mike Kuchar"; Expend4bles; Diva; It Lives Inside; Flora and Son; The Macaulso Sisters; The Tall T; Ride Lonesome

Watched: Poker Face ("Rest in Metal," "Time of the Monkey," "Exit Stage Death," "The Future of the Sport," "The Orpheus Syndrome," "Escape from Sh*t Mountain," "The Hook"); The Newsroom ("5/1"); Veep ("Andrew"); Person of Interest ("Wolf and Cub"); The Venture Bros. ("The Terminus Mandate")

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