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The latest CDs from La-La Land, due next week, are new and improved releases of previously available scores -- a remastered version of one of Leonard Rosenman's finest scores, the Oscar-winning science-fiction adventure FANTASTIC VOYAGE, featuring the same cues as the early Film Score Monthly CD but with improved sound; and a greatly expanded version (78 minutes, compared to the original 32-minute Varese release) of Patrick Doyle's full-bodied romantic thriller score for his second feature collaboration with director-star Kenneth Branagh, DEAD AGAIN.

The British Academy of Film and Television Arts has announced their latest nominations for their film awards, including Original Film Music:

THE BOOK THIEF - John Williams
GRAVITY - Steven Price
SAVING MR. BANKS - Thomas Newman
12 YEARS A SLAVE - Hans Zimmer


The Abyss: The Deluxe Edition
 - Alan Silvestri - Varese Sarabande CD Club
Brass Target 
- Laurence Rosenthal - Varese Sarabande CD Club
A Christmas Carol/A Child Is Born - Bernard Herrmann - Kritzerland
House of Forbidden Secrets
- Fabio Frizzi - Beat
Le Ruffian
- Ennio Morricone - Beat
Runaway: The Deluxe Edition
 - Jerry Goldsmith - Varese Sarabande CD Club
Star Trek Nemesis: The Deluxe Edition
 - Jerry Goldsmith - Varese Sarabande CD Club
 - Michael Kamen - Varese Sarabande CD Club
Transformers: The Movie - Vince DiCola - Intrada Special Collection
 - James Horner - Varese Sarabande CD Club
The Young Savages - David Amram - Intrada Special Collection


Banshee Chapter - Andreas Weidinger
The Best Offer - Ennio Morricone - Score CD La Migliore Offerta on Warner (import)
Cold Comes the Night - Jeff Grace
Dumbbells - Michael Muhlfriedel
The Legend of Hercules - Tuomas Kantelinen
Raze - Frank Riggio
The Saratov Approach - Robert Allen Elliott
The Truth About Emanuel - Nathan Larson
The Wait - Owen Pallett


January 14
Afrikaioli/Travail D'arabe/Les 4 Saisons Despigoule
- Michel Korb - Music Box
Dead Again - Patrick Doyle - La-La Land
Fantastic Voyage - Leonard Rosenman - La-La Land
- Roque Banos - Varese Sarabande
Tough Guys Don't Dance
- Angelo Badalamenti - Music Box
January 21
I, Frankenstein - Johnny Klimek, Reinhold Heil - Lakeshore
January 28
Big Bad Wolves - Frank Ilfman - MovieScore Media/Kronos
El Tiempo Entre Costuras
- Cesar Bonito - MovieScore Media/Kronos
Labor Day - Rolfe Kent - Warner Bros.
Person of Interest: Season Two - Ramin Djawadi - Varese Sarabande
Ride Along - Christopher Lennertz - Varese Sarabande
February 4
Jack Ryan: Shadow Recruit - Patrick Doyle - Varese Sarabande
The Monuments Men - Alexandre Desplat - Sony
RoboCop - Pedro Bronfman - Sony
February 11
The Lego Movie - Mark Mothersbaugh - Watertower
A Winter's Tale - Hans Zimmer, Rupert Gregson-Williams - Watertower
Date Unknown
- Daniel Tjernberg, Mikael Tjernberg - Intermezzo
The Best of Silent Hill
 - Akira Yamaoka - Perseverance
The Buccaneer - Elmer Bernstein - Kritzerland
Colpo Di Mano 
- Stelvio Cipriani - GDM
Die Spionin
 - Nic Raine - MovieScore Media/Kronos
The Doll Squad - Nicholas Carras - Monstrous Movie Music
Firefly: Music for Solo Piano
 - Greg Edmonson - Buysoundtrax
Ladyhawke - Andrew Powell - La-La Land
Legends of Chima
 - Anthony Lledo - MovieScore Media/Kronos
Libera, Amore Mio!
 - Ennio Morricone - GDM
Music on Hold
 - Guillermo Guareschi - Howlin' Wolf
Omaggio a Donaggio
 - Pino Donaggio - MovieScore Media/Kronos
Patrick - Pino Donaggio - Quartet
Sherlock: Series Three
 - David Arnold, Michael Price - Silva
Silent Night
 - Kevin Riepl - Howlin' Wolf
Three Days (of Hamlet) 
- Jonathan Beard - Buysoundtrax


January 10 - Recording sessions begin for Frederick Hollander's score for The 5,000 Fingers of Dr. T (1952)
January 11 - Charles Previn born (1888)
January 11 - Francesco De Masi born (1930)
January 11 - Ron Jones records his score for the Star Trek: The Next Generation episode "The High Ground" (1990)
January 12 - Franco Piersanti born (1950)
January 12 - Miklos Rozsa begins recording his score to Men of the Fighting Lady (1954)
January 12 - Frank LaLoggia born (1954)
January 12 - John Williams begins recording his score for Family Plot (1976)
January 12 - Basil Poledouris begins recording his score to Amerika (1987)
January 12 - David Newman records his score for the Amazing Stories episode "Such Interesting Neighbors" (1987)
January 13 - Richard Addinsell born (1904)
January 13 - Trevor Rabin born (1954)
January 14 - Hans J. Salter born (1896)
January 14 - Elmer Bernstein begins recording score to The Great Escape (1963)
January 14 - Dave Grohl born (1969)
January 14 - Harry Nilsson died (1994)
January 14 - Fred Myrow died (1999)
January 14 - Angela Morley died (2009)
January 15 - Alessandro Cicognini born (1906)
January 15 - Kenyon Hopkins born (1912)
January 15 - David Raksin begins recording his score for The Vintage (1957)
January 15 - Georges Delerue records his score for the Amazing Stories episode "Dorothy and Ben" (1986)
January 15 - Georges Delerue records his score for the Amazing Stories episode "Without Diana" (1987)
January 15 - Ron Jones records his score for the Star Trek: The Next Generation episode "11001001" (1988)
January 15 - Les Baxter died (1996)
January 16 - John Carpenter born (1948)
January 16 - John Williams begins recording his score to The Fury (1978)



"After his uneven directorial debut with 'Coriolanus,' Fiennes is on top of every aspect of this film, which benefits from agile and eye-catching cinematography by Robert Hardy and production design by Maria Djurkovic and costumes by Michael O’Connor that richly evoke the era. Ilan Eshkeri’s score is another plus."

Todd McCarthy, Hollywood Reporter

LABOR DAY - Rolfe Kent

"The creative team does its part to set the tone. Cinematography is handled by Eric Steelberg, who has worked with the director from the beginning, with frequent collaborators Steve Saklad on production design and Danny Glicker on costumes. And in a year of excellent movie scores, British composer Rolfe Kent contributes another one."

Betsy Sharkey, Los Angeles Times

"With a squeeze of Henry's neck, Frank strongly encourages Adele to take him home, where he engages in a bit of light bondage by binding her hands and feeding her homemade chili. (What is this, 'Fifty Shades of Bobby Flay?') The music frets as if he may still eat her liver for dessert. But like Hannibal Lecter, Frank Chambers is fictional nonsense -- a handsome quasi-kidnapper who promptly decides to change the oil, wax the floors, grout the cellar, quiet a whiny door, bake fabulous homemade biscuits and teach Henry to play catch."

Amy Nicholson, L.A. Weekly

"Based on a well-regarded 2009 novel by Joyce Maynard, 'Labor Day' signals its awfulness right from the opening credits, a slow breeze through suburbia set to an oppressively doleful Rolfe Kent score."

Ben Kenigsberg, The Onion AV Club

"Writer-director Reitman, adapting the novel by Joyce Maynard, gives us a glimpse at the more interesting movie this material might have yielded: The camera tells us almost everything we need to know about the characters’ inner lives, their yearnings and their heartbreak. Unfortunately, audiences apparently can’t be trusted to pay attention, so Reitman pours on unnecessary narration (provided by Tobey Maguire) that rarely adds anything that the movie hasn’t already told us. Rather than choose to show us or tell us, 'Labor Day' all too frequently does both, to the film’s detriment. And if the narration wasn’t enough, Rolfe Kent’s insistent score lets us know exactly what we’re supposed to be feeling every time it comes surging up.

Alsonso Duralde, The  Wrap

"Adele (Winslet), an unkempt, pushing-40 beauty, lives with son Henry (Gattlin Griffith) in a similarly untended-to house in smalltown 1987 New England (New Hampshire in the novel, Massachusetts here). Reitman, with crucial assistance from the low-keyed underscoring of composer Rolfe Kent, keeps the suspense at a purposeful low boil throughout the early going as the brutishly handsome and powerfully built Frank (Josh Brolin) politely but firmly approaches the pair in a large convenience store and insists they give him a ride."

Todd McCarthy, Hollywood Reporter

PHILOMENA - Alexandre Desplat

"Playing prickly, insensitive media figures is Coogan’s specialty, and the film pitches Phil and Martin as a couple of mismatched social blunderers; his faux pas tend to be snobbish (acting dismissive, snapping at waitresses), while hers are naïve. But for all of its road-movie character comedy, 'Philomena' is essentially about how a person reconciles their faith with an organized religion’s misdeeds, with Phil as the Catholic-in-crisis and Martin as her atheist observer. This is where the movie finds its most moving moments (accompanied, invariably, by Alexandre Desplat’s twinkly score), and also where it takes its biggest stumbles."

Ignatiy Vishnevetsky, The Onion AV Club

"It's certainly a crowd-pleaser (it played like gangbusters to the Venice audience this morning) and something close to a triumph, if not an unqualified one. The film's depiction of the world of journalism is a bit one-note -- Coogan, who's had his tangles with the press, clearly has a bit of an axe to grind here. And while some of the creative team are top-tier, the contributions of composer Alexandre Desplat's overbearing score and the great Robbie Ryan's handsome, but atypically anonymous photography are a bit disappointing. But if you leave your preconceptions about the film's awards-related motives at the door, you'll still find a lovely and deceptively complex film that marks a real return to form for its director."

Oliver Lyttleton, The Playlist

"Ace d.p. Robbie Ryan’s HD lensing brings an attractive polish to the D.C. and London locations, but the film’s real formal coup lies in the flashbacks to 1950s Roscrea, distinctively shot on Super 16 and evoking the grainy look of an earlier era. Alexandre Desplat’s churning score is expectedly overactive."

Justin Chang, Variety

"Robbie Ryan’s cinematography, like the other tech work, is beautifully balanced and unobtrusive. Given the extended time frame, Valerio Bonelli’s editing advances the story through natural-feeling flashbacks. Alexandre Desplat’s musical commentary is mellow and listenable."

Deborah Young, Hollywood Reporter


"There’s plenty of serious silliness (including a Chaplin-esque taser scene), but Stiller gives the film a soul. He and Wiig have a sweet, mellow chemistry, while stunning landscapes, a soulful score and keen supporting work from Patton Oswalt, Kathryn Hahn and Penn provide lovely grace notes."

Joe Neumaier, New York Daily News

"In fact, as ‘Walter Mitty’ ascends towards its climax, it becomes like a series of would-be anthemic and life-affirming music video montages that ring either silly, hokey or false (and occasionally even unintentionally funny). Dialing up Arcade Fire, Of Monsters and Men, and The Lumineers (and practically every other contemporary band you can think of that writes rousing, lighter-raising pop hymns), the two-thirds mark of the movie is essentially defined by sequences serving as launch pads for yet another life affirming music moment (the score by Theodore Shapiro also employs the help of autumnal indie pop troubadour Jose Gonzalez to mildly better effect)."

Rodrigo Perez, The Playlist

"The result may be the oddest film of the season. It boasts an array of sublime backdrops and a yearning score, but the climate of feeling is anxious and inward, encapsulated in Stiller’s darting gaze, and the movie itself keeps glancing backward, at the lost and the obsolete. Walter works at Life, which is closing down and preparing its farewell issue. His grail, as he hops the globe, is a single negative from a strip of 35-mm. film. This air of elegy infects the story and sucks the fun out of it. It kills a beautiful idea and leaves no trace."

Anthony Lane, New Yorker

"As in the original James Thurber short story, Mitty dreams he's leading a more exciting life -- a Hollywood fantasy. Here, he imagines larger-than-life heroes and toughs in the visual language of film: The leaves swirl, the music quickens, and his eyes burn."

Amy Nicholson, L.A. Weekly

"From a technical perspective, this is Stiller’s slickest pic yet, demonstrating creative widescreen framing and an inspired blend of dramatic score and recent pop tunes throughout. While the confusing mix of genres and ideas might throw first-wave auds for a loop, the approach is timeless enough to hold up. Who knows? In 20 years, the death of Life might seem less outdated, and Walter’s awakening could be as profound as he imagines."

Peter Debruge, Variety

"Composer Theodore Shapiro’s score is deftly augmented with symphonic indie alt-rock and beautiful vocal tracks by neo-folkie Jose Gonzalez, breathing epic scope into what’s at heart a small New York fairy tale. While this duality is not entirely germane to the material, there’s enough idiosyncratic charm in the treatment to ride over the languorous patches of a movie that pushes close to two hours."

David Rooney, Hollywood Reporter


"But the whole production is prehistoric, a shoddy culmination of the TV series in which the migration is accompanied by a full orchestra with a percussion section that bangs away as if the dinos were trudging to war. Another form of headbutting."

Joe Morgenstern, Wall Street Journal


Screenings of older films, at the following L.A. movie theaters: AMPASAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianLACMANew Beverly, NuartSilent Movie Theater and UCLA.

January 10
BEING JOHN MALKOVICH (Carter Burwell), THE PURPLE ROSE OF CAIRO (Dick Hyman) [New Beverly]
FRITZ THE CAT (Ed Bogas, Ray Shanklin), HEAVY TRAFFIC (Ed Bogas, Ray Shanklin) [Cinematheque: Egyptian]
THE HAMMER (John Swihart, Matt Mariano) [Silent Movie Theater]
HOUSE (Asei Kobayashi, Mikki Yoshino) [Nuart]

January 11
BEING JOHN MALKOVICH (Carter Burwell), THE PURPLE ROSE OF CAIRO (Dick Hyman) [New Beverly]
CINEMA PARADISO (Ennio Morricone) [Cinematheque: Egyptian]

January 12
HEAVY METAL (Elmer Bernstein), AMERICAN POP (Lee Holdridge) [Cinematheque: Egyptian]
INTOLERANCE [Cinematheque: Aero]
THIS ISLAND EARTH (Herman Stein), IT CAME FROM OUTER SPACE (Herman Stein, Irving Gertz, Henry Mancini) [New Beverly]

January 13
BEFORE MIDNIGHT (Graham Reynolds) [Cinematheque: Aero]
MS. 45 (Joe Delia) [Silent Movie Theater]
THIS ISLAND EARTH (Herman Stein), IT CAME FROM OUTER SPACE (Herman Stein, Irving Gertz, Henry Mancini) [New Beverly]
WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN (Bernardo Bonezzi) [Silent Movie Theater]

January 14
GILDA (Morris Stoloff, Marlin Skiles) [LACMA]
KANSAS CITY CONFIDENTIAL (Paul Sawtell), 99 RIVER STREET (Emil Newman, Arthur Lange) [New Beverly]
MS. 45 (Joe Delia) [Silent Movie Theater]

January 15
KANSAS CITY CONFIDENTIAL (Paul Sawtell), 99 RIVER STREET (Emil Newman, Arthur Lange) [New Beverly]
MS. 45 (Joe Delia) [Silent Movie Theater]

January 16
KANSAS CITY CONFIDENTIAL (Paul Sawtell), 99 RIVER STREET (Emil Newman, Arthur Lange) [New Beverly]
MS. 45 (Joe Delia) [Silent Movie Theater]
UPSTREAM COLOR (Shane Carruth), PRIMER (Shane Carruth) [Cinematheque: Aero]

January 17
DAY FOR NIGHT (Georges Delerue), IRMA VEP (Philippe Richard) [New Beverly]
FANTASTIC PLANET (Alain Goraguer), WAKING LIFE (Glover Gill) [Cinematheque: Egyptian]
GHOST WORLD (David Kitay) [Silent Movie Theater]
GIMME THE LOOT (Nicholas Britell) [Silent Movie Theater]
VERTIGO (Bernard Herrmann) [Cinematheque: Aero]

January 18
DAY FOR NIGHT (Georges Delerue), IRMA VEP (Philippe Richard) [New Beverly]
THE KNEELING GODDESS (Rodolfo Halffter), RED FISH (Miguel Asins Arbo) [UCLA]
THE LODGER, STRANGERS ON A TRAIN (Dimitri Tiomkin) [Cinematheque: Aero]
PAPRIKA (Susumu Hirasawa), TOKYO GODFATHERS (Keiichi Suzuki) [Cinematheque: Egyptian]

January 19
LAURENCE ANYWAYS (Noia) [Silent Movie Theater]
SON OF FRANKENSTEIN (Frank Skinner), HOUSE OF FRANKENSTEIN (Hans J. Salter, Paul Dessau) [New Beverly]
SPELLBOUND (Miklos Rozsa), NOTORIOUS (Roy Webb) [Cinematheque: Aero]

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