This week's release from Intrada is their long-awaited, definitive, six-disc edition of what is arguably Elmer Bernstein's masterpiece, his truly epic symphonic score for Cecil B. DeMille's final film as a director, the colossal remake of THE TEN COMMANDMENTS. The complete score is featured on the first three discs, with the third disc also featuring alternate and unused cues and Bernstein's piano demos; disc four features the mono cues from the film's first soundtrack LP release, disc five has Bernstein's own 1960 stereo LP re-recording (previously released on CD), while disc six features Bernstein's 1966 LP re-recording.
Varese Sarabande has announced three new limited edition CD Club releases, currently expected to begin shipping this week -- ROBOCOP 3: THE DELUXE EDITION, a greatly expanded release of Basil Poleoduris's score for the 1993 sequel, which incoporated his themes from the original RoboCop as well as substantial new material; HELLBOY: THE DELUXE EDITION, a two-disc, expanded version of Marco Beltrami's score for Guillermo Del Toro's popular Satanic superhero adventure; and an "Encore Edition" of John Barry's electronic score for the 1985 hit thriller JAGGED EDGE starring Glenn Close, Jeff Bridges and an Oscar-nominated Robert Loggia, with the same music as the previous release but now for the first time with cue titles.
Varese Sarabande has also just announced a new, limited edition series which they are calling the "We Hear You Series," featuring scores requested by customers. Their first release, expected to begin shipping next week, will feature Lalo Schfirin's music from the 1979 gang drama BOULEVARD NIGHTS, with the same cues that were included on the original MCA soundtrack LP.
CDS AVAILABLE THIS WEEK
Collage: The Last Work - James Horner - Mercury Classics
Hellboy: The Deluxe Edition - Marco Beltrami - Varese Sarabande CD Club
Howard Lovecraft and the Frozen Kingdom - George Streicher - Varese Sarabande
Jagged Edge - John Barry - Varese Sarabande CD Club
Madame Sans-Gene - Angelo Francesco Lavagnino - Alhambra
The Man Who Fell to Earth - John Phillips, et al - Hip-O
Nagasaki: Memories of My Son - Ryuichi Sakamoto - Milan
RoboCop 3: The Deluxe Edition - Basil Poledouris - Varese Sarabande CD Club
Storks - Mychael Danna, Jeff Danna - WaterTower [CD-R]
The Ten Commandments - Elmer Bernstein - Intrada Special Collection
Under Suspicion - Christopher Gunning - Caldera
IN THEATERS TODAY
Audrie & Daisy - Tyler Strickland
Dirty 30 - Ross Flournoy
The Dressmaker - David Hirschfelder
Girl Asleep - Harry Covill
Goat - Arjan Miranda
I.T. - Tim Williams
Is That a Gun in Your Pocket? - Tom Howe
Landfill Harmonic - Michael A. Levine
The Lovers and the Despot - Nathan Halpern
My Blind Brother - Ian Hultquist
Queen of Katwe - Alex Heffes - Soundtrack CD on Disney with 5 Heffes cues
Storks - Mychael Danna, Jeff Danna - Score CD-R on WaterTower
Tanna - Antony Partos
COMING SOON
September 30
Boulevard Nights - Lalo Schifrin - Varese Sarabande
Denial - Howard Shore - Howe
Il Gladiatore Invincible - Carlo Franci - Digitmovies
Less Than Zero - Thomas Newman - La-La Land
Miss Peregrine's School for Peculiar Children - Mike Higham, Matthew Margeson - La-La Land
Sapevano Solo Uccidere - Angelo Francesco Lavagnino - Digitmovies
Set Fire to the Stars - Gruff Rhys - Twisted Nerve
Star Trek: Enterprise, vol. 2 - various - La-La Land
October 14
Blair Witch - Adam Wingard - LakeshoreThe Girl on the Train - Danny Elfman - Sony
Halt and Catch Fire - Paul Haslinger - Lakeshore
Inferno - Hans Zimmer - Sony
October 21
American Pastoral - Alexandre Desplat - Lakeshore
The Girl on the Train - Danny Elfman - Sony
The Night Of - Jeff Russo - Lakeshore
Stranger Things, Vol. 1 - Kyle Dixon, Michael Stein - Lakeshore
October 28
Don't Breathe - Roque Banos - Lakeshore
Hans Zimmer: The Classics - Hans Zimmer - Sony
Outlander: Season 2 - Bear McCreary - Madison Gate
Stranger Things, Vol. 2 - Kyle Dixon, Michael Stein - Lakeshore
November 18
Loving - David Wingo - Backlot
December 9
A Monster Calls (U.S. release) - Fernando Velazquez - Backlot
Date Unknown
A Bay of Blood - Stelvio Cipriani - CSC
Cezanne et Moi - Eric Neveux - Quartet
Gernika - Fernando Velazquez - Quartet
Il Giovane Garibaldi - Carlo Rustichelli - Kronos
It's Only the End of the World - Gabriel Yared -
A Monster Calls (European release) - Fernando Velazquez - Quartet
Salome - Egisto Macchi - Kronos
Spain in a Day - Alberto Iglesias - Quartet
The Welts - Adrian Kornarski - Caldera
THIS WEEK IN FILM MUSIC HISTORY
September 23 - Clifford Vaughan born (1893)
September 23 - Gino Paoli born (1934)
September 23 - Lionel Newman begins recording his score for North to Alaska (1960)
September 23 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “The Life Work of Juan Diaz” (1964)
September 23 - Jerry Fielding records his score for the Mission: Impossible episode “The Cardinal” (1968)
September 23 - Richard Hazard records his first Mission: Impossible score, for “Commandante” (1969)
September 23 - Dave Grusin begins recording his score to The Yakuza (1974)
September 23 - Craig Safan records his score for the Amazing Stories episode "The Main Attraction" (1985)
September 23 - Dennis McCarthy records his score for the Star Trek: Enterprise episode “Shockwave, Part II” (2004)
September 23 - Malcolm Arnold died (2006)
September 24 - Leonard Salzedo born (1921)
September 24 - Douglas Gamley born (1924)
September 24 - Michael Tavera born (1961)
September 24 - Walter Scharf records his score for the Mission: Impossible episode “The Survivors” (1967)
September 24 - Billy Goldenberg records his score for the Amazing Stories episode "What If...?" (1986)
September 25 - Dmitri Shostakovich born (1906)
September 25 - Eric Rogers born (1921)
September 25 - Michael Gibbs born (1937)
September 25 - Richard Harvey born (1953)
September 25 - Randy Kerber born (1958)
September 25 - Danny Elfman and Steve Bartek's score for the Amazing Stories episode "Mummy Daddy" is recorded (1985)
September 25 - Alan Silvestri begins recording his score for The Bodyguard (1992)
September 26 - George Gershwin born (1898)
September 26 - Simon Brint born (1950)
September 26 - Maureen McElheron born (1950)
September 26 - Joseph Mullendore records his score for the Lost in Space episode "The Haunted Lighthouse" (1967)
September 26 - Henry Mancini begins recording his replacement score for The Molly Maguires (1969)
September 26 - Edward Ward died (1971)
September 26 - Robert Emmett Dolan died (1972)
September 26 - Les Baxter records his score for the Buck Rogers in the 25th Century episode “Vegas in Space” (1979)
September 26 - Shelly Manne died (1984)
September 27 - Recording sessions begin for Sol Kaplan’s score for Niagara (1952)
September 28 - Evan Lurie born (1954)
September 28 - Leith Stevens begins recording his score for The Scarlet Hour (1955)
September 28 - Laurent Petitgand born (1959)
September 28 - John Williams records his score for the Lost in Space episode "The Hungry Sea" (1965)
September 28 - Geoff Zanelli born (1974)
September 28 - Miles Davis died (1991)
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)
DID THEY MENTION THE MUSIC?
THE CUT - Alexander Hacke
"The journey is brutal, and at over two hours it’s exhausting. But it’s a story that needs to be told. The script (co-authored by Martin Scorsese collaborator Mardik Martin) engages some unfortunately facile metaphors (soaring cranes, debilitating parasites), but German-Turkish director Fatih Akin makes good use of the landscape and aggressive musical score. Nazaret’s voiceless struggle speaks louder than spoken words."
Jordan Hoffman, New York Daily News
"But I’m getting ahead of myself. To set the scene: Nazaret is a blacksmith who miraculously survives a genocidal march into the desert. In the first half of 'The Cut,' we follow him as he struggles to rejoin with society as he knows it. Composer Alexander Hacke’s droning electric guitar score sets the pace for these scenes -- a dull ache that imperceptibly builds in strength as time passes. Nazaret wanders the desert, encountering some emaciated Armenians, and some Turkish collaborators, bandits, and/or persecutors. It’s a forbidding journey, but he eventually discovers that his daughters are alive, and embarks on a years-long journey to rejoin them."
Simon Abrams, RogerEbert.com
"Akin’s a director whose previous work we’ve admired enormously, and 'The Cut'’s been high on our Most Anticipated lists since we first heard about it. But part of his appeal has always been a kind of rambunctious irreverence, like his iconoclastic use of music, and the highly individual, raw authenticity he brought crackling to the screen. But when it’s not awkward, 'The Cut' is, of all things, staid, and with a bland lead and uninspired execution it’s very very far from the 'Sergio Leone meets Charlie Chaplin' vibe that Akin teased. Alexander Hacke’s score at times threatens to do something interestingly anachronistic in its use of electric guitar, and Rainer Klausman‘s cinematography is handsome, but all else is folly: grandiose, self-serious, and dull. But worst of all, it’s an opportunity squandered: 2002’s 'Ararat' aside, the world has waited a long time for a major film that gets to the heart of one of the worst-reported atrocities of the 20th Century. Guess we’re going to have to wait a bit longer."
Jessica Kiang, The Playlist
"The widescreen film’s globe-trotting locations and sets, handsomely designed by Allan Starski ('Schindler’s List,' 'The Pianist'), are often captured by cinematographer Rainer Klausmann in wide shots that take audiences from the desert to the Atlantic Ocean and finally to rural North Dakota, with especially the influence of Westerns noticeable in the compositions. And Akin’s regular composer, Alexander Hacke, at least avoids falling into the trap of copying the scores of the epics of yesteryear, instead coming up with his own rocky, often electric-guitar driven compositions."
Boyd van Hoeij, Hollywood Reporter
THE GREEN INFERNO - Manuel Riveiro
"The NYC-set first act of the film is by far the weakest. The acting, score and cheap digital cinematography all make it look like bad British TV and the script does not fare much better."
Cory Everett, The Playlist
I SMILE BACK - Zack Ryan
"The film, directed by Adam Salky, is shot in a crisp and clear light-saturated style, smooth and sophisticated, and capturing all the beautiful upper-middle class trappings that cannot satisfy Laney. The score switches from propulsive percussive beats when Laney’s addict comes out, to lilting chimes that tread a shade too close to uneasy."
Katie Walsh, The Playlist
"Unfortunately, 'I Smile Back' conceives of Laney as little more than the sum of her good and bad days; she’s less a character than a bomb waiting to explode, as the tick-tick-tick of Zack Ryan’s anxious score occasionally emphasizes."
A.A. Dowd, The Onion AV Club
SICARIO - Jóhann Jóhannsson
"Amazing to look at, amazing to listen to, yet just a bit underwhelming to really think about, 'Sicario' Denis Villeneuve‘s Mexican drug cartel drama is superlatively strong in every conceivable way except story. The craft is impeccable, with Roger Deakins‘ cinematography and the spectacular Jóhann Jóhannsson score, with its memorable four-descending-note motif (finally trailer cutters have a riff to rival Hans Zimmer‘s BRAAM! for 'grim foreboding') conspiring to add levels of interest that keep you hungry for the next scene. But it’s a hunger never wholly satisfied."
Jessica Kiang, The Playlist
"At times, 'Sicario' is a deeply satisfying, intense examination of a war with no rules of engagement, driven by a spectacular performance by Benicio Del Toro and typically mesmerizing cinematography from Roger Deakins. At other times, especially in its middle act, 'Sicario' can be frustratingly self-indulgent, filled with overhead helicopter shots of the Mexican border and a thumping, pretentious score. It’s a film that lacks the urgency of the really great thrillers, but exists in that rarefied air of refined production values on every level and a flawless ensemble. That it falls short of greatness could be considered a disappointment, but there’s still much to like here."
Brian Tallerico, RogerEbert.com
"As Kate realizes that she’s more a witness than participant, Blunt does more and more with her eyes, her open mouth, her body that starts going one way -- its muscles trained to obey -- while her mind tries to intervene with a stop, whoa, what the f*ck. It’s a beautifully reactive performance, abetted by Daniel Kaluuya as a brotherly FBI compadre. Around her, Villeneuve, the great Expressionist cinematographer Roger Deakins, and the vigorously dissonant composer Jóhann Jóhannsson create a scrambled, alien world in which harsh-lit desert landscapes give way to black tunnels. When Kate descends into one, Jóhannsson comes up with a noise that’s like the Earth giving up a final groan. Before that was what sounded like the keening of lost souls -- fuzzed out, leaving the planet for somewhere better."
David Edelstein, Vulture
"Villeneuve's canny ability to surround himself with outstanding collaborators pays dividends too -- credit must go to Jóhan Jóhannson's deeply disturbing, ear-smothering score, and Roger Deakins' crisp, hauntingly beautiful cinematography. (Surely Deakins' Oscarlessness will soon be remedied?)"
John Nugent, The Skinny
"As she slowly learns the troubling details of her mission so do we, adding to the stifling sense of dread and confusion so brilliantly cultivated by Jóhann Jóhannsson’s score, which rises to deafening levels and sounds like the whirring blades of a helicopter coming directly at you. The penetrating echoes serve as a constant reminder of the noise of a drug war taking place right on America’s doorstep."
Katherine McLaughlin, The List
"Either way, the movie is stunningly effective, with special credit due to the peerless cinematographer Roger Deakins, who turns the deserts of Arizona and Mexico into eerie alien landscapes, and composer Jóhann Jóhannsson, whose score embeds itself right in the solar plexus. Much like 'Seven,' a film it also resembles closely, the atmosphere is so dark and the violence so extreme that it feels abstracted from the real world, like a bad dream that shakes you with its vividness. The drug war is merely the catalyst. Sicario is about the evils that men do --emphasis on men."
Scott Tobias, GQ
"The great cinematographer Roger Deakins delivers sweeping aerial views of desolate desert landscapes, and a night-vision fight in a smuggler's tunnel that evokes 'Zero Dark Thirty.' Johann Johannsson's score rumbles and thumps like a dying animal."
Stephen Whitty, Newark Star-Ledger
"'Sicario' is a setup for scalding action in a world where right and wrong are no longer absolutes. As Kate tries to stand her moral ground while the ground keeps shifting, Villeneuve stages one gut-wrenching scene after another, set to a jittery, jangling score by Jóhan Jóhannsson. And kudos to cinematographer Roger Deakins: His aerial shots of a white-knuckle border crossing contrast vividly with a breathless chase through drug tunnels, and he achieves visual miracles. Still, it's on Blunt's expressive face that 'Sicario' writes its darkest poetry. Prepare to be haunted for a good long time."
Peter Travers, Rolling Stone
"The real star is cinematographer Roger Deakins, who went for it, shooting an entire scene through nightvision googles and using shadows and glare as a signal that nothing is what it seems on the border. Deakins' light is harsher in 'Sicario' than in 'No Country,' fitting for an even bleaker border tale. Johann Johannsson, the Icelandic composer who worked with Deakins and Villanueve on 'Prisoners' and won [sic] an Oscar for 'The Theory of Everything,' wrote a score that sounds like wind and sand and rock."
Jeff Baker, The Oregonian
"These performances are all first-rate and often convey more by what is not said than what is. Roger Deakins’ sharp cinematography captures both the vivid outlines cast by the blazing Mexican sun and the murky, night-vision interiors of the frightening drug tunnels. A ride through Ciudad Juarez showing dead bodies swinging from bridges and severed heads lined up like shamanistic warnings evokes some of that same sense of impending dread we feel as Capt. Willard travels up the Mekong River in search of Col. Kurtz in 'Apocalypse Now.' Joe Walker edits the film for maximum tension, and composer Jóhan Jóhannsson’s score lends the film a sense of perpetual menace. Yet the screenplay by first-timer Taylor Sheridan seems a bit slack, even as it successfully keeps the viewer guessing about each character’s motivations and true nature. Sometimes, segments can feel like discrete episodes rather than integral tentacles. 'Sicario' is at its best when its borderlines are fluid and indistinct."
Marjorie Baumgarten, The Austin Chronicle
"'Sicario' opens on a power chord of fear, nausea, and dread that resonates throughout the whole movie. After an introductory screen defining the title -- it’s drug-cartel slang for hit man—the seventh feature film from Québécois director Denis Villeneuve ('Incendies,' 'Prisoners', 'Enemy') drops the viewer straight into the noise and chaos of a tense FBI raid on a cartel-owned house near Phoenix. The electronic soundtrack (by Icelandic composer Jóhann Jóhannsson) delivers a series of jolting sonic booms as a young field agent, Kate Macer (Emily Blunt), leads her team to an unexpected and macabre discovery: hidden in the walls of the house are dozens of decomposing bodies.With that unsettling electronic score and the elegant cinematography of legendary DP Roger Deakins (who has worked with Villeneuve before, on 'Prisoners'), 'Sicario' sweeps the viewer up in its jagged, menacing rhythm. Something violent is always either happening or definitely about to happen any moment, and when it comes it’s usually even worse than you expected. The Mexican underworld’s practice of mutilating and displaying its victims’ corpses, both as trophies and deterrents to would-be double-crossers, is frequently and graphically on display. The movie’s two-hour running time passed in a fevered rush, leaving me as exhausted and tense as the increasingly hollow-eyed Kate."
Dana Stevens, Slate.com
"There's a Hitchockian musicality to Villeneuve's propulsive artistry. Jóhann Jóhannsson's score, layered atop images of vehicles gliding past border control and government agents worming their way through a tunnel connecting El Paso to Juarez, is just one of many elements that conjure a relentlessly terrifying realm of despair. Even the film's pregnant pauses hum with an unbearably anxious vitality. The overall effect of 'Sicario''s spectacular overwroughtness, then, is similar to that of Villeneuve's prior 'Polytechnique,' in that the concentration of its philosophical thought -- the obsessiveness with which it regards how tragedy metaphysically links its victims—can feel subservient to its political imagination. There isn't much to the narrative beyond sending Kate off screen every so often to mull over some issue-oriented talking point about the give and take of fighting the war on drugs."
Ed Gonzalez, Slant Magazine
"Clawing his way up the power ranks of Directors Least Likely To Make A Romantic Comedy, Denis Villeneuve takes on the Mexican drug trade in this stern, robust, abandon-hope-all-ye-who-enter thriller. And during its throat-grabbingly effective opening, it seems he may have the final word on this oft-visited genre. As an FBI team, headed by Emily Blunt's stoic agent Kate, literally crashes an Arizona drug-cartel hideout, a gruesome cache of human corpses is uncovered behind the drywall -- and the filmmaking practically gives off its own vivid, indignant stench. Cinematographer Roger Deakins's dynamic camera forces us to look where we'd rather not; Johann Johannsson's score swarms with malevolent foreboding. Even as he borrows from other movies' hellish visions -- some of the most arresting imagery here feels lifted from Amat Escalante's 2013 Cannes winner 'Heli' -- Villeneuve knows how to overwhelm his audience."
Guy Lodge, Time Out London
"In the meantime, Villeneuve stages one extraordinary suspense setpiece after another, starting with an epic traffic jam at the border that ensnares the Americans just as they are heading back home with a piece of very precious cargo in tow. Using no special tricks -- just the sharp, color-saturated compositions of cinematographer Roger Deakins; the airtight cutting of editor Joe Walker; and the subtly menacing score of composer Johan Johannsson -- Villeneuve creates a sequence as nail-biting as any 'Fast and the Furious' car chase, except that here all the cars are standing perfectly still."
Scott Foundas, Variety
"Shot in New Mexico, the production has been superbly decked out in every department. But special note must be made of the brilliantly idiosyncratic and disturbing score by Icelandic composer Johann Johannson, which cranks up the unease of key scenes with an electronic bass wallow that then descends to seemingly impossible depths of apocalyptic dread."
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, Crest, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.
September 23
AKIRA (Yamashiro Shoji) [Nuart]
CAPE FEAR (Bernard Herrmann), RETURN FROM THE ASHES (John Dankworth) [New Beverly]
CHAN IS MISSING (Robert Kikuchi) [Silent Movie Theater]
DEADLY PREY (Tim Heintz, Tim James, Steve McClintock) [Cinematheque: Egyptian]
THE HATEFUL EIGHT (Ennio Morricone) [New Beverly]
McCABE AND MRS. MILLER (Leonard Cohen)[Cinematheque: Aero]
September 24
BASIC TRAINING [Silent Movie Theater]
CAPE FEAR (Bernard Herrmann), RETURN FROM THE ASHES (John Dankworth) [New Beverly]
DEMONS (Claudio Simonetti) [Cinematheque: Egyptian]
MESSENGER OF DEATH (Robert O. Ragland) [New Beverly]
THE MUPPET MOVIE (Paul Williams, Kenny Ascher) [Crest]
THE RULES OF THE GAME (Joseph Kosma), THE RIVER (M.A. Partha Sarathy) [Cinematheque: Aero]
TIME BANDITS (Mike Moran) [New Beverly]
September 25
THE BIG HEAT (Mischa Bakaleinikoff) [Cinematheque: Egyptian]
BLACK ORPHEUS (Antonio Carlos Jobim, Luiz Bonfa) [Silent Movie Theater]
CINEMA PARADISO (Ennio Morricone) [Cinematheque: Egyptian]
THE FLYING DUECES (John Leipold, Leo Shuken), THE WILD WORLD OF LAUREL & HARDY [New Beverly]
TIME BANDITS (Mike Moran) [New Beverly]
UNDER THE ROOFS OF PARIS (Raoul Moretti, Vincent Scotto) [Silent Movie Theater]
September 26
DAZED AND CONFUSED [Arclight Hollywood]
THE FLYING DUECES (John Leipold, Leo Shuken), THE WILD WORLD OF LAUREL & HARDY [New Beverly]
GREASE (Louis St. Louis) [Arclight Sherman Oaks]
THE INTERRUPTERS (Joshua Abrams) [UCLA]
SIXTEEN CANDLES (Ira Newborn) [Arclight Santa Monica]
September 27
ALVIN PURPLE (Brian Cadd), HIGH ROLLING IN A HOT CORVETTE (Sherbet) [New Beverly]
KWAIDAN (Toru Takemitsu) [LACMA]
ON GOLDEN POND (Dave Grusin) [Crest]
PRETTY IN PINK (Michael Gore) [Arclight Hollywood]
PURPLE NOON (Nino Rota) [Silent Movie Theater]
September 28
AN AMERICAN IN PARIS (George Gershwin, Johnny Green, Saul Chaplin), [Silent Movie Theater]
THE HINDENBURG (David Shire), INGLOURIOUS BASTERDS [New Beverly]
September 29
THE HINDENBURG (David Shire), INGLOURIOUS BASTERDS [New Beverly]
September 30
ALIENS (James Horner) [Nuart]
THE BAD AND THE BEAUTIFUL (David Raksin), TWO WEEKS IN ANOTHER TOWN (David Raksin) [UCLA]
FROM DUSK TIL DAWN (Graeme Revell) [New Beverly]
POLTERGEIST III (Joe Renzetti) [Silent Movie Theater]
REBEL WITHOUT A CAUSE (Leonard Rosenman) [Cinematheque: Aero]
THE REINCARINATION OF PETER PROUD (Jerry Goldsmith), HAPPY BIRTHDAY TO ME (Bo Harwood, Lance Rubin) [New Beverly]
TAXI DRIVER (Bernard Herrmann) [Cinematheque: Egyptian]
October 1
ALIEN (Jerry Goldsmith) [New Beverly]
ESSENE [Silent Movie Theater]
JOURNEY TO THE CENTER OF THE EARTH (Bernard Herrmann) [New Beverly]
KING OF NEW YORK (Joe Delia) [Silent Movie Theater]
MISHIMA: A LIFE IN FOUR CHAPTERS (Philip Glass), THE LAST TEMPTATION OF CHRIST (Peter Gabriel) [Cinematheque: Aero]
PHANTASM (Fred Myrow, Malcolm Seagrave) [Cinematheque: Egyptian]
THE REINCARINATION OF PETER PROUD (Jerry Goldsmith), HAPPY BIRTHDAY TO ME (Bo Harwood, Lance Rubin) [New Beverly]
STREET TRASH (Ray Ulfik), NEON MANIACS (Kendall Schmidt) [Cinematheque: Egyptian]
October 2
AMERICAN GIGOLO (Giorgio Moroder), HARDCORE (Jack Nitzsche) [Cinematheque: Aero]
THE BEYOND (Fabio Frizzi - performing live!), THE GATES OF HELL (Fabio Frizzi) [Cinematheque: Egyptian]
CAT PEOPLE (Roy Webb) [Silent Movie Theater]
FELLINI SATYRICON (Nino Rota) [Silent Movie Theater]
FLASH GORDON: ROCKET SHIP, FLESH GORDON (Ralph Ferrraro) [New Beverly]
JOURNEY TO THE CENTER OF THE EARTH (Bernard Herrmann) [New Beverly]
KING OF NEW YORK (Joe Delia) [Silent Movie Theater]
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