The latest release from Kritzerland features one of Jerry Goldsmith's early feature Western scores, from 1964's RIO CONCHOS, which was shortlisted for an Original Score nomination. Intrada was responsible for the first release of the Conchos score, a contemporary re-recording conducted by Goldsmith himself, while Film Score Monthly released the first CD of the original score tracks. The Kritzerland Rio Conchos restores most of the original score tracks to stereo (most of the FSM release was mono).
Next week, Intrada plans to release two CDs featuring four scores.
CDS AVAILABLE THIS WEEK
Batman: The Animated Series vol. 3 - Shirley Walker, others - La-La Land
Dolphin Tale 2 - Rachel Portman - Lakeshore
Dracula Untold - Ramin Djawadi - Backlot
Man Hunt - Alfred Newman - La-La Land
A Most Wanted Man - Herbert Gronemeyer - Groenland
Proxy - The Newton Brothers - MovieScore Media/ScreamWorks
Sleeping Beauty - George Bruns - Walt Disney
Transformers: Age of Extinction - Steve Jablonsky - La-La Land
Trust Me - Mark Kilian - Phineas Atwood
Whiplash - Justin Hurwitz, Tim Simonec - Varese Sarabande
IN THEATERS TODAY
Addicted - Aaron Zigman - Score CD due Oct. 21 on Varese Sarabande
Alexander and the Terrible, Horrible, No Good, Very Bad Day - Christophe Beck
Catch Hell - The Newton Brothers
Dead Snow: Red vs. Dead - Christian Wibe
The Disappearance of Eleanor Rigby: Him/Her - Son Lux
Dracula Untold - Ramin Djawadi - Score CD on Backlot
The Judge - Thomas Newman
Kill the Messenger - Nathan Johnson
Kite - Paul Hepker
St. Vincent - Theodore Shapiro - Score CD due Oct. 28 on Sony
Stuck - Deborah Hurwitz
Whiplash - Justin Hurwitz, Tim Simonec - Score CD on Varese Sarabande
You’re Not You - Jeanine Tesori
COMING SOON
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
Reclaim - Inon Zur - Silva
35 Whirlpools Below Sound - Thomas Newman, Rick Cox - Cold Blue
October 21
Addicted - Aaron Zigman - Varese Sarabande
Titan A.E. - Graeme Revell - La-La Land
October 28
The Hero of Color City - Zoe Poledouris-Roche, Angel Roche Jr. - Varese Sarabande
John Wick - Tyler Bates, Joel J. Richard - Varese Sarabande
Nightcrawler - James Newton Howard - Lakeshore
Revenge of the Green Dragons - Mark Kilian - Varese Sarabande
St. Vincent - Theodore Shapiro - Sony
Stonehearst Asylum - John Debney - Lakeshore
White Bird in a Blizzard - Robin Guthrie, Harold Budd - Lakeshore
November 4
The Theory of Everything - Johann Johannsson - Backlot
Tracks - Garth Stevenson - VMI
November 11
The Imitation Game - Alexandre Desplat - Sony
November 25
The Little Mermaid - Alan Menken - Disney
The Roosevelts: An Intimate History - David Cieri - PBS
Date Unknown
Chicago Fire: Season One - Atli Orvarsson - Phineas Atwood
Chicago Fire: Season Two - Atli Orvarsson - Phineas Atwood
Die Hebamme - Marcel Barsotti - Alhambra
Duel of the Titans - Piero Piccioni - Digitmovies
Halloween: The Curse of Michael Myers - Alan Howarth - Buysoundtrax
Il Delitto Del Diavolo - Angelo Francesco Lavagnino - Digitmovies
Jona Che Vise Nella Balena - Ennio Morricone - Beat
La Buca - Pino Donaggio - Quartet
Lasa & Zabala - Pascal Gaigne - Quartet
Les Onze Mille Verges/Tarot - Michel Colombier - Music Box
Loreak - Pascal Gaigne - Quartet
Miss Arizona - Armando Trovajoli - Saimel
New York Chiama Superdrago - Benedetto Ghiglia - Digitmovies
A Prayer for the Dying - Bill Conti - Quartet
Rio Conchos - Jerry Goldsmith - Kritzerland
Sinfonia Per Due Spie - Francesco De Masi - Beat
Take Five - Giordiano Corapi - Beat
Tenue de Soiree - Serge Gainsbourg - Music Box
Vieni Avanti Cretino - Fabio Frizzi - Beat
THIS WEEK IN FILM MUSIC HISTORY
October 10 - Giovanni Fusco born (1906)
October 10 - John Green born (1908)
October 10 - Marco Antonio Guimaraes born (1948)
October 10 - David Raksin begins recording his score for Whirlpool (1949)
October 10 - Midge Ure born (1953)
October 10 - Giant opens in New York (1956)
October 10 - Valentine McCallum born (1963)
October 10 - Andrea Morricone born (1964)
October 10 - Hawaii opens in New York (1966)
October 10 - Michael Giacchino born (1967)
October 10 - Vince DiCola begins orchestral recording sessions for his Rocky IV score (1985)
October 11 - Art Blakey born (1919)
October 11 - Laura opens in New York (1944)
October 11 - Buddy Bregman begins recording his score for The Delicate Delinquent (1957)
October 11 - Michel Legrand begins recording his score for The Happy Ending (1968)
October 11 - Henry Mancini begins recording his score for The Moneychangers (1976)
October 11 - Neal Hefti died (2008)
October 12 - Ralph Vaughan Williams born (1872)
October 12 - Joseph Kosma born (1905)
October 12 - Franz Waxman begins recording his score to The Silver Chalice (1954)
October 12 - Gil Melle begins recording his score for The Andromeda Strain (1970)
October 13 - Maurice Jarre records his score for The Last Tycoon (1976)
October 13 - Raoul Kraushaar died (2001)
October 13 - Berto Pisano born (1928)
October 13 - Paul Simon born (1941)
October 13 - Miklos Rozsa begins recording his score to Knights of the Round Table (1953)
October 13 - Lud Gluskin died (1989)
October 13 - David Newman begins recording his score for Jingle All the Way (1996)
October 13 - Dave Pollecutt died (2001)
October 14 - Bill Justis born (1926)
October 14 - Thomas Dolby born (1958)
October 14 - Recording sessions begin for Bronislau Kaper's score for Two Loves (1961)
October 14 - Leonard Bernstein died (1990)
October 14 - Jerry Goldsmith begins recording his score for Star Trek: First Contact (1996)
October 15 - Fumio Hayasaka died (1955)
October 15 - Simon Boswell born (1956)
October 15 - Bronislau Kaper begins recording his score to Home From the Hill (1959)
October 15 - Franz Reizenstein died (1968)
October 15 - Kevin Kliesch born (1970)
October 15 - Lalo Schifrin begins recording his score to THX- 1138 (1970)
October 15 - Henry Mancini begins recording his score for Jacqueline Susann’s Once Is Not Enough (1974)
October 15 - Ron Jones records his score for the Star Trek: The Next Generation episode "Lonely Among Us" (1987)
October 16 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “Misadventure” (1964)
October 16 - Maurice Jarre begins recording his score for Taps (1981)
October 16 - Art Blakey died (1990)
October 16 - Albert Elms died (2009)
October 16 - Pete Rugolo died (2011)
DID THEY MENTION THE MUSIC?
THE DAMNED - Frederik Wiedmann
"It's all well acted and expertly crafted -- quick edits that play mind and visual games with the viewer, music that heightens tension, some cool special effects -- but most of the victims are people you want to slap even before their secrets are spilled."
Ernest Hardy, Village Voice
GONE GIRL - Trent Reznor, Atticus Ross
"For the past few movies, Fincher has relied heavily on Trent Reznor and Atticus Ross, a pair of musicians who work most of the time in the fabulously popular rock outfit Nine Inch Nails, but for the filmmaker create haunting, electronically-tinged soundscapes. For 'The Social Network,' they created glittery electro pop that kept with that movies John Hughes-goes-to-hell feel, and with 'Girl with the Dragon Tattoo,' they approximated the snowy Swedish landscape in music form (listening to the accompanying album practically gave you frostbite). For 'Gone Girl,' they create something wholly different than the other two scores but yet still keeping within the same wheelhouse -- and it's totally unbelievable. Fincher instructed them to think of the music he heard in a spa while getting his back adjusted, a kind of malformed sweetness that could, over the course of the movie, curdle and rot. So taking that idea, they created the musical equivalent of Nick and Amy's relationship. On the surface, it seems so beautiful. But underneath..."
Drew Taylor, Moviefone
"Flynn's novel found wry humor in our 24/7 media culture, but for Fincher ('The Social Network,' 'Se7en'), it's a horror show. Even more upsetting than this movie's blood-splattered crescendo (Trent Reznor and Atticus Ross, Fincher's go-to composers, have never delivered a more haunting score) is this movie's quietly chilling conclusion. By then, reality no longer matters at all."
Rafer Guzman, Newsday
"It's Flynn's plotting that takes the cake, but it's Fincher's direction that bakes it to perfection. Even though much of the film takes place in the sunny outdoors of suburbia or similarly everyday settings, there's an ominous tone that Fincher invokes with ease. He's ably assisted by regular scorers Trent Reznor and Atticus Finch [sic], who turn in their most discordant soundtrack to date, which is predominantly good and aids the sense of dread but unfortunately threatens to overpower the dialogue at times."
Matt Neal, The Standard
"This wallop of a surprise hit me clear out of the blue when I read the book, and knowing it's on its way saps the movie of a bit of its potency. But it's still fun to watch the curve coming, and given the narrative challenges posed by translating a literary ta-da into a cinematic flourish, I think 'Gone Girl' manages quite well. As his film veers into wilder, weirder territory, Fincher lets the mannered menace of the first half give way to a mounting sense of chaotic doom, Trent Reznor’s and Atticus Ross’s hypnotic score thudding and plinking and wailing like some otherworldly distress call."
Richard Lawson, Vanity Fair
"The story calls for such unrelenting work with mood, though, that there are times when it feels in danger of stalling to gaze at its own blue-gray color palette. Fincher loves his Trent Reznor/Atticus Ross scores, too, and while the dreamlike, woozy music in the first part of the film has just the right unnerving constancy, it seems at times to admit too little silence."
Linda Holmes, NPR
"As with their work on Fincher’s 'The Social Network,' for which they won an Oscar, Trent Reznor and Atticus Ross’ atmospheric score is an unseen character in the film, subtly heightening the mood while playing against expectations. In flashback happier moments of the couple’s formative years, for example, there is a distinctive touch of melancholy to the romantic underpinning, echoing the juxtaposed theme of love and despair."
Kirk Baird, Toledo Blade
"Beginning with investigations into the disappearance of a mid-western ice queen, the film swivels towards complete absurdity in its second half. In the hands of a more hysterical director, the rampaging melodrama might prove utterly indigestible. But repeated application of the Fincher Method -- insidious, minimal score by Trent Reznor and Atticus Ross; smoky, low- contrast photography from Jeff Cronenweth; unhurried editing by Kirk Baxter -- flattens out the peaks and the troughs to allow steady progress towards a satisfactorily grim ending. No such ministrations can cure the film of its profoundly puzzling misogyny, but maybe Flynn and Fincher are, in this area, actively trying to creep out their audience. If so, they succeed."
Donald Clarke, The Irish Times
"Fincher, working from Flynn's script, handles the story with a measured grace and unleashes exactly two virtuosic sequences, one midway through the film that turns everything in the story on its axis, the other a late inning squirmer that pushes the boundaries of the film's R-rating and will have many moviegoers ducking for cover. Meanwhile, the score by Trent Reznor and Atticus Ross -- they won an Oscar for their work on Fincher's 'The Social Network' soundtrack -- keeps the tension high and the dread mounting throughout.
Adam Graham, The Detroit News
"Amy, a New York trust-fund princess of a wife (her parents made a fortune writing a series of children’s books entitled 'Amazing Amy'), is traumatized by her Cinderella-in-reverse transition. Throughout, the electronic score by Trent Reznor and Atticus Ross grinds, squawks and groans, communicating the rising panic beneath the placid surface."
Liam Lacey, The Globe and Mail
"Fincher fixates on causality; one thing is always leading to another -- a clue to a clue, a detail to an inference, a fake-out to a reveal, a kiss to an oral swab. It all seems intoxicatingly logical, pasted with date stamps, connected by associative cuts, and wrapped up in Trent Reznor and Atticus Ross’ silky, Mark Isham-esque score."
Ignatiy Vishnevetsky, The Onion AV Club
"Beyond that point it's not fair to go. Turn instead to an admiration for Fincher's ability to deploy everything in his filmmaking toolbox to keep the machine in tune. He's been working with the same collaborators -- editor Kirk Baxter, production designer Donald Graham Burt, cinematographer Jeff Cronenweth, composers Atticus Finch and Trent Reznor -- for three movies in a row and they've got it down. 'Gone Girl' works the way a Swiss watch works, money well spent in every frame.
Jeff Baker, The Oregonian
"Mention should be made of Trent Reznor and Atticus Ross’ sharp score, alternately ambient and thunderous, which supports Jeff Cronenweth’s stellar, moody photography and Kirk Baxter’s often brilliant editing. There is a tremendous amount of story to get through. Scenes play out with precision and velocity, and everyone and everything works in concert to ensure that the viewer never feels the 2 1/2-hour running time."
Joe Gross, Austin American-Stateman
"The score by Trent Reznor and Atticus Ross, Oscar winners for 'The Social Network,' imparts a constant feeling of dread and distrust, even though it often resembles something you’d hear in a fairy tale -- or spa, to use Fincher’s preferred comparison."
Peter Howell, Toronto Star
"Fincher and his cinematographer, Jeff Cronenweth, shoot their characters from just below eye level. The angles aren’t extreme -- just slanted enough to catch the ceilings, to suggest how hemmed in these people are by circumstance and stupid choices and a house (the production design is by Donald Graham Burt, the spooky astral music by Trent Reznor and Atticus Ross) that’s like purgatory in beige."
David Edelstein, New York
"That precision plays out, among other factors, in the return of some previous Fincher collaborators, notably cinematographer Jeff Cronenweth and composers Trent Reznor and Atticus Ross, all of whom have been helping steer the look and sound of Fincher’s films since 'The Social Network,' and all of whom do characteristically effective but unflashy work in 'Gone Girl.' Cronenworth’s cinematography, in particular, takes a muted, fragmented approach that complements the tabloid nature of the story, while exposing depth in unexpected places, like the perfectly appointed Dunne residence, which all but echoes in its vast, shadowy emptiness."
Genevieve Koski, The Dissolve
"Did Nick kill his wife? Who do we believe? As the clues mount and often lead viewers astray, the saga grows all the more compelling. A pervasively menacing atmosphere -- intensified by Trent Reznor and Atticus Ross' eerily evocative score -- keeps the audience mesmerized."
Claudia Puig, USA Today
"Fincher’s adaptation bears all of the filmmaker’s trademark precision, his impeccable ability to conjure dread in the most seemingly benign locales of the Show Me State heightened by the terror-drone composed by Trent Reznor and Atticus Ross, who’ve collaborated with the director since 'The Social Network' (2010). His film is a perfect, soulless machine in service to a likewise impressively crafted, hollow novel.
Melissa Anderson, Artforum
"As in the book, the film narrative is split between Amy’s voiceovers as she writes in or reads from her diary, and Nick’s parallel story of his crumbling life, as clue after clue insinuates that he’s a cold-hearted wife-killer. Affleck pulls off a tremendously difficult balancing act, alternately being sympathetic or a total jerk, while Pike is the type of blonde only Alfred Hitchcock could love. Fincher and cinematographer Jeff Cronenweth move from bleakly mesmerizing scene to mesmerizingly bleak scene with a sure hand, while Trent Reznor and Atticus Ross complement the film’s jagged, uncertain tone with a suitably downbeat electronic score."
Mark Savlov, The Austin Chronicle
"Fincher ('Benjamin Button,' 'Social Network') rises to the mood and imagery of this chiaroscuro portrait. Frequent collaborator Trent Reznor (Nine Inch Nails) colors in Fincher’s vision with a tense soundscape. Fincher’s eye falls on Flynn’s story in a style not unlike his vision for 'The Girl With the Dragon Tattoo.' His camera is blunt and unsentimental, his lighting schemes claustrophobic and his editing clipped."
Graydon Rice, Minneapolis Star-Tribune
"The most intriguing thing about 'Gone Girl' is how droll it is. For long stretches, Fincher's gliding widescreen camerawork, immaculate compositions and sickly, desaturated colors fuse with Trent Reznor and Atticus Ross's creepy-optimistic synthesized score to create a perverse big-screen version of one of those TV comedies built around a pathetically unobservant lump of a husband and his hypercontrolling, slightly shrewish wife."
Matt Zoller Seitz, RogerEbert.com
"Fincher’s movies are usually long, but those running times are justifiable in terms of movies like 'Fight Club' and 'Zodiac,' that woefully underrated thriller. This is the guy who made 'The Social Network,' after all, which holds one’s attention far more than 'Gone Girl,' even though it’s a movie about the early days of a website. Even though he has command of the material -- and has wisely, once again, tapped Trent Reznor and Atticus Ross for an off-putting, discordant score that keeps you on edge -- making an audience feel icky isn’t enough, when we know he’s capable of so much more."
Anders Wright, San Diego Union-Tribune
"In time with the doomy pump-scratch-screech score by composers Trent Reznor and Atticus Ross, the opening title sequence flips by, the way you would flip pages if you were skimming them for something. He fails to bring Missouri even to dusty life. That could be intentional. Nick and Amy had come to North Carthage in defeat. There was nothing to celebrate. Even so, the first half of the film has the drab flatness of certain television Lifetime movies. Only once this film has lost its mind does Fincher recover his lurid, horror-movie composure."
Wesley Morris, Grantland
"'Gone Girl' looks and sounds sensational, with elegant gray-and-green toned cinematography by longtime Fincher collaborator Jeff Cronenweth and an eerie (if a little too omnipresent) electronic score by Trent Reznor and Atticus Ross, who also wrote the fine music for Fincher’s 'The Social Network.' The link between eroticism and violence, present beneath the surface throughout, becomes explicit in one virtuosically filmed late sex scene that’s gross, graphic, and horrifyingly gorgeous."
Dana Stevens, Slate.com
"And even if the humor felt out of place to me, I can't deny it got laughs from the audience - and was exactly what Fincher wanted. One of the most exacting of directors, he's always in complete control. In fact, the movie is a primer in how to make a movie, from the hypnotic score by Trent Reznor and Atticus Ross, to the unsettling sound mix, to sudden striking visuals -- sugar dusting the air like snow, crimson blood worn like war paint."
Stephen Whitty, Newark Star-Ledger
"On a technical level it's almost easy to take for granted how great a filmmaker Fincher is. It's his sixth film with cinematographer Jeff Cronenweth, and yes, 'Gone Girl' looks terrific. Procedurals are almost never shot with such a command of spacing and framing, and it's a pleasure to see. Fans might be surprised at how subtle the score by Trent Reznor and Atticus Ross is this time around. Not as omnipresent as their work in 'The Social Network,' or insistent as their compositions for 'Dragon Tattoo,' here the music is more tastefully employed."
Kevin Jagernauth, The Playlist
"All the actors have killer moments -- Tyler Perry as Nick's shark lawyer, Kim Dickens and Patrick Fugit as the cops on the case, and a stellar Neil Patrick Harris, who miraculously finds the romantic soul in a stalker perv from Amy's past. On the tech side, Fincher vets, including cinematographer Jeff Cronenweth, editor Kirk Baxter and composers Trent Reznor and Atticus Ross, artfully escalate the seething tension."
Peter Travers, Rolling Stone
"Flynn makes a couple of missteps, I think, in adapting her hit novel for the screen, at least one of which will fuel the argument that the author's conception of the story is misogynist. But so much works well here, from the spectacularly right casting to the eerie musical score. The story implications are what they are, but we're talking about high-grade pulp fiction here, crafty and unsettling. It's up to Fincher to take us home, and to justify the two-and-a-half-hour running time. That he does. His control-freakish mastery draws out something strange or discordant in each new scene. And the big moments carry genuine impact. Take, for example, the way the director stages and edits (with editor Kirk Baxter) the film's bloodiest act of violence. It's shocking and, like all the sex-related material in the movie, about as sexy as a trip to the morgue. But the scene itself, scored with remarkable, throbbing underscoring by composers Trent Reznor and Atticus Ross, is enough to make you forget the story's phonier constructs and less plausible supporting characters, such as Amy's boarding-school sweetheart played (a tad archly) by Neil Patrick Harris."
Michael Phillips, Chicago Tribune
"All the technical command of image, sound and production design for which Fincher is justly famous is here as well. (As usual, the cinematography is by Jeff Cronenweth, the music by Trent Reznor and Atticus Ross, the editing by Kirk Baxter and the design team led by Donald Graham Burt.) It’s a work of chilly wit and bleak metaphor, an artifice that invites the kind of analytical response where we pull on our chins and discuss how other people, more naive than we, will receive it."
Andrew O’Hehir, Salon.com
"At first blush, 'Gone Girl' is natural Fimcherland. Not geographically; he seems less absorbed in North Carthage, described by Amy as 'the navel of the country,' than he was in the California of 'Zodiac' or the Harvard of 'The Social Network.' Those are his masterpieces: the two movies that I can’t not watch when they turn up on TV, and the two occasions on which his pedantry and his paranoia have fused together, engrossing us in a crazed aggregation of detail. Nothing could equip him better for the coiled and clustered goings on in the new film, and, for good measure, he has hired Trent Reznor and Atticus Ross, whom he last used for 'The Girl with the Dragon Tattoo,' to compose the score. They don’t let him down. 'Gone Girl' boasts one major act of savagery, drenched in a downpour of blood, and what we hear during it sounds like the wah-wah pedal of Satan. So why doesn’t the movie claw us as 'The Social Network' did? Who could have predicted that a film about murder, betrayal, and deception would be less exciting than a film about a Web site?"
Anthony Lane, New Yorker
"Soon, though, via an entry in Amy’s diary, the film flashes back to the couple’s first meeting at a chichi New York party. The voluptuous, Angelo Badalamenti-ish score, by Trent Reznor and Atticus Ross, aches and swells, while Amy and Nick’s conversation snaps along to a seductive, screwball beat. Afterwards, they go walking arm in arm through the city at night, when they’re suddenly enveloped by clouds of icing sugar that come billowing out of a baker’s window. They stop and share a sweetened kiss in the tawny moonlight. The past, for these two, looks like a sugar storm."
Robbie Collin, Daily Telegraph
"With its shifting perspectives and timelines, its constant conflict between what's said and what's truly seen, 'Gone Girl' is clean, clear, and perfectly constructed. Cinematographer Jeff Cronenweth and editor Jeff [sic] Baxter, both regular Fincher collaborators, deliver the kind of work that looks easy but, assuredly and on reflection, is decidedly not. The score, by Trent Reznor and Atticus Ross, is a more mixed proposition, effective in the places it works and distracting on several occasions where it doesn't."
James Rocchi, The Wrap
"As ever, Fincher’s behind-the-scenes collaborators turn in work of an exceptionally high standard. His camera unerringly well placed in every scene, d.p. Jeff Cronenweth brings a drab, underlit look to the Dunnes’ McMansion, the police station and other North Carthage locations (actually Cape Girardeau, Mo.), suitably nondescript in Donald Graham Burt’s production design. Trent Reznor and Atticus Ross, whose moody electronic compositions have become synonymous with the director’s work, once again devise a soundscape that all but pulses with dread, this time by lacing more traditional orchestral fare with their trademark synths."
Justin Chang, Variety
"Craft and technical contributions are at the expected high level across the boards, while the score by Trent Reznor and Atticus Ross consists more of weird electronic rumblings, spasms and burst than of anything conventionally musical."
Todd McCarthy, Hollywood Reporter
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.
October 10
THE BEST OF TIMES (Arthur B. Rubinstein), MOSCOW ON THE HUDSON (David McHugh) [New Beverly]
NOSFERATU, NOSFERATU THE VAMPYRE (Popol Vuh) [LACMA/AMPAS]
SCREAM 2 (Marco Beltrami) [Nuart]
SHAUN OF THE DEAD (Daniel Mudford, Pete Woodhead) [Arclight Hollywood]
STOP MAKING SENSE [Cinematheque: Aero]
October 11
PINK FLOYD - THE WALL (Roger Waters, Michael Kamen) [Cinematheque: Aero]
SCREAM (Marco Beltrami) [Arclight Hollywood]
THREE AMIGOS (Elmer Bernstein), AN AMERICAN WEREWOLF IN LONDON (Elmer Bernstein) [LACMA/AMPAS]
THE WITCHES (Stanley Myers) [Silent Movie Theater]
October 12
BEETLEJUICE (Danny Elfman) [Arclight Hollywood]
MOROCCO, HIS GIRL FRIDAY [New Beverly]
A NIGHTMARE ON ELM STREET (Charles Bernstein) [Arclight Hollywood]
THE PRESTIGE (David Julyan) [Arclight Hollywood]
WRITTEN ON THE WIND (Frank Skinner), YOUNG MAN WITH A HORN [Cinematheque: Aero]
October 13
THE TEXAS CHAIN SAW MASSACRE (Wayne Bell, Tobe Hooper) [Arclight Sherman Oaks]
VIDEODROME (Howard Shore) [Arclight Hollywood]
October 14
THE BIG BOSS, THE BIG BOSS PART II [New Beverly]
CLEOPATRA (Rudolph Kopp) [LACMA/AMPAS]
CREATURE FROM THE BLACK LAGOON [Arclight Sherman Oaks]
October 15
LE MANS (Michel Legrand), THE RACING SCENE (Don Randi) [New Beverly]
THE TERMINATOR (Brad Fiedel) [Cinematheque: Egyptian]
October 16
AKIRA (Shoji Yamashiro) [Cinematheque: Aero]
IT'S ALIVE (Bernard Herrmann) [Nuart]
LE MANS (Michel Legrand), THE RACING SCENE (Don Randi) [New Beverly]
NIGHTBREED (Danny Elfman) [Silent Movie Theater]
October 17
FAUST, FAUST [LACMA/AMPAS]
LIGHTNING SWORDS OF DEATH (Hiroshi Kamayatsu, Hideaki Sakurai), SHOGUN ASSASSIN (W. Michael Lewis, Mark Lindsay) [New Beverly]
POLTERGEIST (Jerry Goldsmith) [Arclight Hollywood]
PSYCHO II (Jerry Goldsmith) [Nuart]
RESERVOIR DOGS [New Beverly]
October 18
COUNT DRACULA AND HIS VAMPRIE BRIDE [THE SATANIC RITES OF DRACULA] (John Cacavas) [New Beverly]
DRACULA'S DAUGHTER [Cinematheque: Egyptian]
FERRIS BUELLER'S DAY OFF (Ira Newborn), THE BREAKFAST CLUB (Keith Forsey, Gary Chang) [LACMA/AMPAS]
FROM DUSK TILL DAWN (Graeme Revell) [Arclight Hollywood]
LIGHTNING SWORDS OF DEATH (Hiroshi Kamayatsu, Hideaki Sakurai), SHOGUN ASSASSIN (W. Michael Lewis, Mark Lindsay) [New Beverly]
THE OLD WELL (Youfu Xu) [UCLA]
TROLL (Richard Band) [Silent Movie Theater]
October 19
CORPSE BRIDE (Danny Elfman) [Arclight Sherman Oaks]
GREMLINS (Jerry Goldsmith) [Arclight Hollywood]
HOWL'S MOVING CASTLE (Joe Hisaishi) [Cinematheque: Aero]
MEMENTO (David Julyan) [Arclight Hollywood]
RAGE (Lalo Schifrin), THE SAVAGE IS LOOSE (Gil Melle) [New Beverly]
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