Last week Intrada released two new CDs -- an expanded and remastered edition of James Horner's score for director Michael Apted's 1983 film version of Martin Cruz Smith's bestselling mystery GORKY PARK, starring Wililam Hurt, Joanna Pacula, Brian Dennehy and Lee Marvin, a score that can be described as "48 Hrs. Goes to Moscow" (previous CD releases from Varese and Kritzerland only featured the cues from the original Varese LP); and the first release of the LP tracks from Michel Legrand's score for the 1977 romantic drama THE OTHER SIDE OF MIDNIGHT, director Charles Jarrott's film version of Sidney Sheldon's novel, starring Marie-France Pisier, John Beck and Susan Sarandon. The label also plans to release two new CDs next

The latest releaeses from La-La Land are the first-ever release of James Newton Howard's score for director John Schlesinger's 1996 thriller EYE FOR AN EYE (released in theaters nearly simultaneously with two other Howard-scored thrillers, The Juror and the Oscar-nominated Primal Fear), with Sally Field as a grieving mother plotting vengeance against the man (Kiefer Sutherland) who raped and murdered her teenage daughter; and the soundtrack to the new Civil War drama FIELD OF LOST SHOES, scored by Frederik Wiedmann (Return to House on Haunted Hill, Son of Batman).

Quartet has announced two new CDs featuring scores from Paramount films from the 1980s -- a two-disc soundtrack of 1983's Best Picture winner TERMS OF ENDEARMENT, featuring the complete, Oscar-nominated Michael Gore score for the first time, plus the original soundtrack LP cues which featured both music and dialogue; and a two-disc set featuring Carl Davis' score for dirrector Bruce Beresford's biblical drama KING DAVID, with a controversially cast Richard Gere as the Old Testament leader, co-starring Alice Krige and Edward Woodward as Saul the Equalizer (and production design by the master, Ken Adam). The label also recently released a CD pairing two previously unreleased '80s comedy scores by Alan Silvestri -- Michael Apted's CRITICAL CONDITION, starring Richard Pryor, and Carl Reiner's SUMMER RENTAL, starring John Candy -- as well as a disc pairing two previously released Ennio Morricone scores, UN GENIO, DUE COMPARI, UN POLLO and SONNY & JED.

Steven Price has followed up his Oscar-winning score for Gravity with FURY, an action-adventure drama starring Brad Pitt, Logan Lerman, Michael Pena, Jon Bernthal and Shia LaBoeuf as the crew of a U.S. army tank behind German lines in the last months of World War II. The film is from writer-director David Ayer, whose Sabotage was released less than six months ago, and Varese Sarabande will release Price's Fury score on October 14.

On October 28, Varese will release the soundtrack to the '80s-set action drama REVENGE OF THE GREEN DRAGONS, scored by Mark Kilian (Rendition, Traitor, The Ward).

CDS AVAILABLE THIS WEEK

All Good Things - Rob Simonsen - Caldera
Annette Focks: Film Music Collection Vol. 1 - Annette Focks - Alhambra
Critical Condition/Summer Rental - Alan Silvestri - Quartet
Destruction of Silence - Florian Linckus - Alhambra
Dwegons and Leprechauns - Stephen Melillo - Stormworks
Eye for an Eye - James Newton Howard - La-La Land
Field of Lost Shoes - Frederik Wiedmann - La-La Land
5 Branded Women - Angelo Francesco Lavagnino - Cometa
Frank Miller's Sin City: A Dame to Kill For - Robert Rodriguez, Carl Thiel - Morada
The Giver - Marco Beltrami - Sony
Gorky Park - James Horner - Intrada Special Collection
Grand Piano - Victor Reyes - MovieScore Media
I Briganti Italiani - Angelo Francesco Lavagnino - Alhambra
Knight Rider Vol. 3 - The Best of Don Peake - Don Peake - Perseverance
La Revolution Francaise - Georges Delerue - Music Box
La Terrificante Del Demonio - Alessandro Alessandroni - Octave
Lamica - Luis Enriquez - Octave
L'Arcidiavolo - Armando Trovajoli - Octave
The Maid's Room - Arturo Rodriguez - Kronos
The Man Who Shot Liberty Valance/Donovan's Reef - Cyril J. Mockridge - Kritzerland
Maps to the Stars - Howard Shore - Howe
The November Man - Marco Beltrami - Varese Sarabande
100,000 Dollari Per Ringo - Bruno Nicolai - Octave
The Other Side of Midnight - Michel Legrand - Intrada Special Collection
Red Sky  - Timothy Williams - Phineas Atwood
The Spider - Soren Hyldgaard - Kritzerland
Still Life - Rachel Portman - Kronos
Un Genio, Due Compari, Un Pollo/Sonny & Jed - Ennio Morricone - Quartet
Watch Dogs - Brian Reitzell - Invada
What If - A.C. Newman - Milan

IN THEATERS TODAY

Atlas Shrugged: Who Is John Galt? - Elia Cmiral
Canopy - no original score
The Disappearance of Eleanor Rigby: Them - Son Lux
Dolphin Tale 2 - Rachel Portman - Score CD due Oct. 7 on Lakeshore
The Drop - Marco Beltrami
The Green Prince - Max Richter
Honeymoon - Heather McIntosh
My Old Lady - Mark Orton
No Good Deed - Paul Haslinger
The Quitter - David Cieri
The Skeleton Twins - Nathan Larson
Something Wicked - Kyle Newmaster - Score CD-R on Lakeshore
Wetlands - Enis Rotthoff

COMING SOON

September 16
The Knick - Cliff Martinez - Milan
The Maze Runner - John Paesano - Sony
September 23
The Boxtrolls - Dario Marianelli - Backlot
Chicago Fire: Season One - Atli Orvarsson - Phineas Atwood
Chicago Fire: Season Two - Atli Orvarsson - Phineas Atwood
The Damned - Frederik Wiedmann - Phineas Atwood
The Equalizer - Harry Gregson-Williams - Varese Sarabande
Hannibal: Season 2, Vol. 1 - Brian Reitzell - Lakeshore
Hannibal: Season 2, Vol. 2 - Brian Reitzell - Lakeshore
Houdini Vol. 1 - John Debney - Lakeshore
Houdini Vol. 2 - John Debney - Lakeshore
A Walk Among the Tombstones - Carlos Rafael Rivera - Varese Sarabande
September 30
Ninjago Masters of Spinjitzu - Jay Vincent, Michael Kramer - Varese Sarabande
October 7 
Addicted - Aaron Zigman - Varese Sarabande
Dolphin Tale 2 - Rachel Portman - Lakeshore
A Most Wanted Man - Herbert Gronemeyer - Groenland
Sleeping Beauty - George Bruns - Walt Disney
Trust Me - Mark Kilian - Phineas Atwood
Whiplash - Justin Hurwitz, Tim Simonec - Varese Sarabande
October 14
Birdman - Antonio Sanchez - Milan
Crash - Howard Shore - Howe
Dead Ringers - Howard Shore - Howe
Fury - Steven Price - Varese Sarabande
Naked Lunch - Howard Shore - Howe
October 28
Revenge of the Green Dragons - Mark Kilian - Varese Sarabande
Date Unknown
At Middleton - Arturo Sandoval - Perseverance
Avere Vent'annia/L'Ambiziozo - Franco Campanino - Digitmovies
Die Hebamme - Marcel Barsotti - Alhambra
Ennio Morricone: Rare & Unreleased Soundtracks from the 60s and 70s (re-recording) - Ennio Morricone - Intermezzo Media
The Good, the Bad and the Ugly (re-recording) - Ennio Morricone - Intermezzo Media
Halloween: The Curse of Michael Myers - Alan Howarth - Buysoundtrax
King David - Carl Davis - Quartet
New York Chiama Superdrago - Benedetto Ghiglia - Digitmovies
Terms of Endearment - Michael Gore - Quartet
Tokarev (Rage) - Laurent Eyquem - Caldera
U-Boats: The Wolfpack - Christopher Young - Buysoundtrax

THIS WEEK IN FILM MUSIC HISTORY

September 12 - David Raksin begins recording his score for Laura (1944)
September 12 - Christopher Dedrick born (1947)
September 12 - Hans Zimmer born (1957)
September 12 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “Terror at Northfield” (1963)
September 12 - Lalo Schifrin begins recording his score to Bullitt (1968)
September 12 - Nathan Larson born (1970)
September 12 - Franz Grothe died (1982)
September 12 - Recording sessions begin for Pino Donaggio's Body Double score (1984)
September 12 - William Alwyn died (1985)
September 13 - Leith Stevens born (1909)
September 13 - Maurice Jarre born (1924)
September 13 - Gene Page born (1939)
September 13 - Harvey R. Cohen born (1951)
September 13 - Don Was was born (1952)
September 13 - Franz Waxman begins recording his score to Beloved Infidel (1959)
September 13 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "A Home Away from Home" (1963)
September 13 - Evan Evans born (1975)
September 13 - James Guymon born (1977)
September 14 - Franz Waxman begins recording his score to Cimarron (1960)
September 14 - Sol Kaplan's score to the Star Trek episode "The Enemy Within" is recorded (1966)
September 14 - Recording sessions begin for Danny Elfman’s score for Scrooged (1988)
September 15 - Gail Kubik born (1914)
September 15 - Shinichiro Ikebe born (1943)
September 15 - Recording sessions begin for Bronsislau Kaper's score for The Naked Spur (1952)
September 15 - Leigh Harline begins recording his score for Visit to a Small Planet (1959)
September 15 - Oliver Wallace died (1963)
September 15 - Sol Kaplan begins recording his score for The Spy Who Came in from The Cold (1965)
September 15 - Don Ellis begins recording his score for The Deadly Tower (1975)
September 15 - Jerry Fielding begins recording his score for The Black Bird (1975)
September 15 - Bruce Montgomery died (1978)
September 15 - Leonard Rosenman begins recording his score for Star Trek IV: The Voyage Home (1986)
September 15 - Ron Jones records his score for the Star Trek: The Next Generation episode "Evolution" (1989)
September 15 - Aldemaro Romero died (2007)
September 16 - J. Peter Robinson born (1945)
September 16 - Alfred Newman begins recording his score to The Best of Everything (1959)
September 17 - Franz Grothe born (1908)
September 17 - Recording sessions begin for Leigh Harline’s score for The Remarkable Mr. Pennypacker (1958)
September 17 - Elmer Bernstein begins recording his score for Guns of the Magnificent Seven (1968)
September 17 - John Barry begins recording his score for The Black Hole (1979)
September 17 - James Horner begins recording his score for Extreme Close-Up (1990)
September 17 - Georges Delerue begins recording his score for American Friends (1990)
September 17 - Joel Hirschhorn died (2005)
September 18 - Dee Barton born (1937)
September 18 - Vince Tempera born (1946)
September 18 - A Streetcar Named Desire is released (1951)
September 18 - The Day the Earth Stood Still opens in New York (1951)
September 18 - Henry Mancini begins recording his score to Bachelor in Paradise (1961)
September 18 - John Powell born (1963)
September 18 - Leonard Rosenman begins recording his score for Hide in Plain Sight (1979)
September 18 - Thomas Newman records his score for the Amazing Stories episode "Santa '85" (1985)
September 18 - Fred Steiner records his score for the Amazing Stories episode "Life on Death Row" (1986)

DID THEY MENTION THE MUSIC?

ARE YOU HERE - David Carbonara

"As we were in 'Silver Linings Playbook,' we are asked to ponder whether a man with mental troubles is indeed sick, or rather something of a true American original; though Weiner undermines this very question by playing Ben's antics not just for laughs but for ridicule. Other questions arise: will Steve ever prove he's genuine enough to win over Angela? Is friendship rarer than love? Are American urban lifestyles damagingly inauthentic, and is a return to the land the only salvation? Will the soundtrack ever stop telegraphing suggested emotions?"

Chris Michael, The Guardian

"['Are You Here'] is a shockingly inept comedy, a project with the look and style of a mid-'90s Ivan Reitman or Harold Ramis comedy, not the first film from one of our finest TV writers. The first warning sign arrives with the opening credits: David Carbonara’s musical score is easily the worst in recent memory, a trumpet-y abomination that, like the movie itself, seems trucked in from some weak-kneed Chevy Chase vehicle. Yet in some ways, the music helps prepare the audience for what is to come."

Christopher Schobert, The Playlist

"Back to 'Mad Men' again, that show’s elevated position in the pop-cultural consciousness is at least partly due to the meticulous attention to detail that goes into its visual aesthetic. The series superbly manipulates mood and atmosphere to train shafts of illumination on often opaque characters. Despite the recruitment of key collaborators from the AMC drama -- including producer Scott Hornbacher, cinematographer Chris Manley, production designer Dan Bishop, editor Christopher Gay and composer David Carbonara -- 'Are You Here' looks completely generic and lurches from scene to scene with neither flow nor a cohesive tone."

David Rooney, Hollywood Reporter

FRANK - Stephen Rennicks

"The music, composed by Stephen Rennicks, instantly places him on the map as one to watch (or listen for, rather), and perhaps most impressive is the fact that every note in the film is actually the actors playing live to the camera. Much like the interpersonal dynamics of the band, Soronprfbs is discordant, chaotic, and noisy, but like the genius of the Velvet Underground, there’s always a sublime tune swaying beneath the madness (the soundtrack will be a must-own for music heads and one particular song at the end beautifully moving and transcendent)."

Rodrigo Perez, The Playlist

"Frank and his surly band, the unpronounceable Soronprfbs -- dominated by a vicious theremin artist played by Maggie Gyllenhaal -- are bickering their way through an unsuccessful UK tour when we first meet them via Jon (Domhnall Gleeson), a spectacularly untalented dork who's somehow recruited to the lineup. Arguments persist whether Frank called the new guy 'cherishable' or 'perishable,' but Jon is in -- and, it must be said, director Abrahamson is on his side, giving us a twinkly, quirky score and Jon's near-obnoxious onscreen tweets. (One dreams of what David Lynch would have made of this material.)"

Joshua Rothkopf, Time Out New York

"Director Leonard Abrahamson frames the film as a millennial myth, sealing the band away in a remote cabin in Ireland to record its first album, which sounds like whale noises, acid freak-outs and The B-52's. (Composer Stephen Rennicks may be a genius himself.)"

Amy Nicholson, L.A. Weekly

"Where the script departs from Mr. Ronson's memoir is in the fictional Jon's basic cluelessness about what Frank is all about -- not just his music, which composer Stephen Rennicks turns into a brilliantly inaccessible amalgam of Sun Ra, Zappa and John Cage, but the delicate balancing act of Frank's band, which includes a surly rhythm section (Carla Azar, François Civil) and an electronic-noise maker/Theremin player and Frank devotee named Clara (Ms. Gyllenhaal), who looks at Jon the way a community gardener looks at a building developer. Mr. Abrahamson does a balancing act of his own. Mr. Rennicks's cheery, chime-y, glockenspiel-informed soundtrack and Jon's upbeat voiceovers belie everything we see on screen -- the fights, the oddness, the Brian Wilson homages (the recording of nutmeg graters, or slender tree branches being whipped through the air, or water being poured into a bucket), as the band attempts to work at a picturesque island compound on which Don has stopped paying the rent."

John Anderson, Wall Street Journal

"Getting the performers to play the music for real pays dividends, with composer Stephen Rennicks leading the cast through songs that range from the oblique (such as Lone Standing Tuft, an ode to a stray carpet strand) to the hilarious (Frank's Most Likeable Song -- 'people will love it') to the heartbreaking (I Love You All, already a haunting indie classic)."

Mark Kermode, The Observer

"Frank debunks the mainstream ideal of what music should be -- something catchy, easy to sing, likable. The music, avant-garde rock written by Abrahamson regular Stephen Rennicks and recorded live by the band, is spiky, abrasive and extremely hard to predict."

Henry Barnes, The Guardian

JAMIE MARKS IS DEAD - Francois-Eudes Chanfault

"Fashion photographer turned filmmaker Carter Smith (who caused a ripple in the indie world with 2008’s gore-filled thriller 'The Ruins') knows how to build an unsettling, melancholy mood with shadowy corners, barren trees and overcast skies. The soundtrack trades off between starkly minimalist piano tinkling and an unnerving ambient throb whose volume shifts in accordance of what is occurring onscreen."

Susan Wloszczyna, RogerEbert.com

"The looming threat of violence and a heavy-handed score do little to up the eeriness. The movie’s weirdly retrograde terror over the boys’ homoerotic connection is the only disquieting note to be found."

Elizabeth Weitzman, New York Daily News

"The result is a movie much stronger on atmosphere and intrigue than on substance, leaving a somewhat frustrating narrative aftertaste. Still, for most of the running time at least, the offbeat premise and mood will hold the attention of those not automatically irritated by story’s failure to enter straight thriller or horror terrain. Darren Lew’s widescreen compositions and other visual design contributions extend the wintry rural setting’s silent, purgatorial feel to both interior and exterior scenes. Francois-Eudes Chanfrault’s score uses drone and ambient sounds to create a general sense of unease."

Dennis Harvey, Variety

LIFE AFTER BETH - BRMC

"Despite some fine talent both behind and in front of the camera, 'Life After Beth' has trouble distinguishing itself from the army of flesh-eating peers. The film starts promisingly, opening with a foreboding shot of a girl wandering through Griffith Park, scored with ominous guitar squalls courtesy of Black Rebel Motorcycle Club, who compose the film’s atmospheric score. As brief an introduction as it may be, it sets the tone for a film much weirder and more interesting than the one that follows."

Cory Everett, The Playlist

"This is always a tale of love and loss, even if the 'gets girl'/'loses girl' arc repeats and distorts itself in some novel ways. Sometimes tender, sometimes frantic and always funny, the film's surprising coherence is exemplified in a climactic scene that pairs credible heartbreak with pure slapstick. (A great, electric-guitar-heavy score by BRMC, the rock band also known as Black Rebel Motorcycle Club, goes a long way toward maintaining a consistent atmosphere.) Few of 'Shaun of the Dead''s descendants have mixed opposing elements so well."

John DeFore, Hollywood Reporter

LIFE OF CRIME - The Newton Brothers

"[Writer-director Daniel] Schecter surrounds their irreverent situations with pervasive jolliness: an exuberant score by The Newton Brothers is filled with whistling interludes and upbeat tempos complimented by cinematographer Eric Alan Edwards’ colorful, pulp-ready imagery."

Eric Kohn, IndieWIRE

"Schechter keeps things moving at a decent pace and it features a snappy script (much of it Leonard's), immaculate production design and a sharp soundtrack. Yet there's no sense of escalating danger or tension, with some promising sub-plots (such as the involvement of Will Forte's smitten family friend) failing to catch fire."

Matthew Turner, The List

"Schechter (who previously directed the lower-profile 'Goodbye Baby' and 'Supporting Characters') eschews flash for a gritty, realistic feel that weaves absurdism and jokes into the general sad-sack-’70s atmosphere rather than punching them across. The period’s tackier sides are amply represented in the design contributions (and notably the Newton Brothers’ original score, which could pass for a mid-Me Decade B-movies) without reducing the pic to campy retro caricature."

Dennis Harvey, Variety

"Tech values are solid, heavy on the credibly ugly Seventies threads, though The Newton Brothers' score is occasionally too authentic -- calling to mind an era of over-lit, wide-lapel crime films that were rarely as fun as they promised."

John DeFore, Hollywood Reporter

THE NOVEMBER MAN - Marco Beltrami

"There are some decent car chases; lots of taut scenes where a character almost gets caught doing something sneaky; a tense, driving score; old allies coming into conflict; and numerous story strands. It’s that shades-of-gray world of international intrigue where the bad guys are bad, but even the supposed good guys aren’t so squeaky clean, either."

Brent McKnight, Paste Magazine

"For its first third or so, 'The November Man' is a perfectly serviceable spy thriller, a sort of take-your-dad alternative to 'The Hundred-Foot Journey,' a take-your-mom movie if ever there was one. Both feature a beloved UK movie star, and both shamble along pleasantly from expected beat to expected beat. Like 'Journey,' 'November Man' also goes off the rails, but its desperation surfaces earlier. You can tell that veteran director Roger Donaldson ('The Bank Job,' 'No Way Out') senses that he's losing his audience when the music starts getting louder and the blood spray gets more slow motion-y."

Alonso Duralde, The Wrap

"The film’s Serbian locations, however, are well scouted and well shot, with the film’s geographic specificity representing a nice change of pace from the often vague Eastern European settings employed in such films. Marco Beltrami’s score is sufficiently loud."

Andrew Barker, Variety

WHEN THE GAME STANDS TALL - John Paesano

"According to inspirational sports movies, winning demands you train hard, play with heart, be a team, and not care about winning. So it goes in the sturdy, crowd-pleasing 'When the Game Stands Tall,' a profile in saintliness puffed up from a true story: the Northern California Catholic school whose football team enjoyed a 151-game winning streak in the early 2000s. Of course, one of the lessons that coach Bob Ladouceur (a stoic Jim Caviezel) teaches on-screen is that winning isn’t everything, an assertion that’s true in real life and even moving in Neil Hayes’s book about Ladouceur but seems ridiculous in a movie that only exists because those De La Salle High School teams won so often. Here, where each football scene is juiced with Hollywood music and stunt work, Coach’s homilies play like a porn star stopping mid-thrust to tell us what really matters is the love in your heart."

Alan Scherstuhl, Village Voice

THE NEXT TEN DAYS IN L.A.

Screenings of older films, at the following L.A. movie theaters: AMPAS, American Cinematheque: Aero, American Cinematheque: Egyptian, Arclight, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.

September 12
HOUSE ON HAUNTED HILL (Von Dexter), 13 GHOSTS (Von Dexter) [LACMA/AMPAS]
RED (Zbigniew Preisner), THE DOUBLE LIFE OF VERONIQUE (Zbigniew Preisner) [Cinematheque: Aero]
RUSHMORE (Mark Mothersbaugh) [Nuart]
SUNSET BLVD. (Franz Waxman) [UCLA]

September 13
FANTASIA [LACMA/AMPAS]
THE JERK (Jack Elliott), THE MAN WITH TWO BRAINS (Joel Goldsmith)[Cinematheque: Aero]
WHIRLPOOL (David Raksin), THE BLUE GARDENIA (Raoul Kraushaar) [UCLA]

September 14
CARRIE (David Raksin), THE COUNTRY GIRL (Victor Young) [UCLA]
LA DOLCE VITA (Nino Rota) [Arclight Sherman Oaks]
M [Arclight Hollywood]
THE RUSSIANS ARE COMING, THE RUSSIANS ARE COMING (Johnny Mandel) [Cinematheque: Aero]

September 15
CAUGHT (Frederick Hollander), THE LOCKET (Roy Webb) [UCLA]
GROUNDHOG DAY (George Fenton) [Silent Movie Theater]
LOS ANGELES PLAYS ITSELF [Silent Movie Theater]

September 16
THE BLACK SWAN (Alfred Newman) [LACMA/AMPAS]
HOWL'S MOVING CASTLE (Joe Hisaishi) [Arclight Hollywood]
LOS ANGELES PLAYS ITSELF [Silent Movie Theater]

September 17
HEAVENLY CREATURES (Peter Dasent) [Arclight Hollywood]
LOS ANGELES PLAYS ITSELF [Silent Movie Theater]
SPIRITED AWAY (Joe Hisaishi) [Arclight Sherman Oaks]

September 18
LA DOLCE VITA (Nino Rota) [Arclight Hollywood]
MORNING OF THE EARTH [Silent Movie Theater]

September 19
THE DARK MIRROR (Dmitri Tiomkin), JEALOUSY (Hanns Eisler) [UCLA]
ENTER THE VOID (Thomas Bangalter) [Nuart]
MR. SARDONICUS (Von Dexter), THE NIGHT WALKER (Vic Mizzy) [LACMA/AMPAS]
SUMMER SCHOOL (Danny Elfman), SIBLING RIVALRY (Jack Elliott) [Cinematheque: Aero]
WOODSTOCK [Cinematheque: Egyptian]

September 20
ASSAULT WITH A DEADLY WEAPON (Franco Micalizzi) [Silent Movie Theater]
THE COLOR OF POMEGRANATES (Tigran Mansuryan) [LACMA/AMPAS]
ENTER LAUGHING (Quincy Jones), THE COMIC (Jack Elliott) [Cinematheque: Aero]
THE LAST WALTZ [Cinematheque: Egyptian]

September 21
A HARD DAY'S NIGHT (The Beatles, George Martin) [Cinematheque: Egyptian]
M [Arclight Sherman Oaks]
A NEW KIND OF LOVE (Errol Garner, Leith Stevens), ARTISTS AND MODELS [UCLA]
THE WILD PARROTS OF TELEGRAPH HILL (Chris Michie) [UCLA]