La-La Land has announced their latest batch of "Black Friday" titles, now available to order, and even by the standards of La-La Land Black Fridays this is a "wow!" bunch -- the first-ever release of David Shire's unused score for Francis Ford Coppola's Oscar-winning Vietnam epic APOCALYPSE NOW; a greatly expanded, two-disc edition of David Arnold's score for the final Pierce-Brosnan-as-James-Bond movie, DIE ANOTHER DAY (not, however, including Madonna's title song); an expanded, two-disc edition of one of John Williams' first masterpieces, Steven Spielberg's CLOSE ENCOUNTERS OF THE THIRD KIND; a two-disc expanded version of the lavish 1967 musicalDOCTOR DOLITTLE, with both the Leslie Bricusse songs and the Oscar-nominated adaptation underscoring by Alexander Courage and Lionel Newman (Bricusse was nominated for the film's score and won for the song "Talk to the Animals); and last but not least, a four-disc set of James Horner's phenomenally popular, Oscar-winning score for TITANIC, with three discs of Horner music (though not Celine Dion's song) and one disc of source cues.
The label has also announced plans to release John Powell's for the new animated FERDINAND in a couple weeks. (Parental advisory -- my boss at my day-job said that his six-year-old daughter ran out screaming during one light-hearted slaughterhouse scene, so be warned.)
Intrada plans two new releases for next week, including one which, if the hints are any indication, means that my own last remaining "Holy Grail" soundtrack may finally be available. (Which doesn't mean there aren't still unreleased scores I'd love to own -- everything from the Columbo TV scores to a host of unused scores including Before the Devil Knows You're Dead, Casey's Shadow, Distant Drums, Five Days One Summer, Frenzy, The Go-Between, Goodbye Lover, Homeward Bound: The Incredible Journey, I Love Trouble, Interview with the Vampire, Kramer vs. Kramer, The New Centurions, A Night in the Life of Jimmy Reardon, Peeper, The Reivers, A River Runs Through It, The Seduction of Joe Tynan, See No Evil and The 13th Warrrior.)
CDS AVAILABLE THIS WEEK
Apocalpyse Now - David Shire - La-La Land
Artificial - Jorge Granda - Kronos
Close Encounters of the Third Kind - John Williams - La-La Land
Die Another Day - David Arnold - La-La Land
Doctor Dolittle - Leslie Bricusse, Lionel Newman, Alexander Courage - La-La Land
The Essential Thomas Newman - Thomas Newman - Silva
Flatliners - Nathan Barr - Sony [CD-R]
Le Magnifique - Claude Bolling - Music Box
Le Prix du Succes/Jimmy Riviere - Rob - Music Box
Mudbound - Tamar-kali - Milan
The Nile Hilton Incident - Krister Linder - Milan (import)
The Orson Welles/A.F. Lavagnino Collaboration - Angelo Francesco Lavagnino - Alhambra
The Red Shoes: Music from the Golden Age of British Cinema - various - Kritzerland
Suburbicon - Alexandre Desplat - Abkco
Titanic - James Horner - La-La Land
249 La Noche En Que Una Becaria Encontro A Emiliano Revilla - Jose Sanchez-Sanz - Kronos
The White King - Joanna Bruzdowicz - Silva (import)
IN THEATERS TODAY
Alien Invasion: S.U.M.1 - Christoph Schauer
Apache Warrior - Michael Trella
The Disaster Artist - Dave Porter
Love Beats Rhymes - Richard Gibbs
Loveless - Evgueni & Sacha Galperine - Score CD on Varese Sarabande
The Other Side of Hope - no original score
Princess Cyd - Heather McIntosh
The Tribes of Palos Verdes - Gustavo Santaolalla
24 Hours to Live - Tyler Bates
Voyeur - Joel Goodman
Wonder Wheel - no original score
COMING SOON
December 8
The Crown, Season 2 - Lorne Balfe, Rupert Gregson-Williams - Sony (import)
Jungle - Johnny Klimek - Varese Sarabande
Justice League - Danny Elfman - WaterTower
The Shape of Water - Alexandre Desplat - Decca
December 15
Ferdinand - John Powell - La-La Land
I, Tonya - Peter Nashel - Milan
LBJ - Marc Shaiman - Lakeshore
Mindhunter - Jason Hill - Milan
Paddington 2 - Dario Marianelli - Decca (import)
Star Wars: The Last Jedi - John Williams - Disney
Stranger Things 2 - Kyle Dixon, Michael Stein - Lakeshore
12 Monkeys: Season 3 - Stephen Barton - Varese Sarabande
December 22
Jumanji: Welcome to the Jungle - Henry Jackman - Sony
Mr. Robot vol. 4 - Mac Quayle - Lakeshore
January 5
Lady Bird - Jon Brion - Lakeshore
The Meyerowitz Stories (New and Selected) - Randy Newman - Lakeshore
January 12
Downsizing - Rolfe Kent - WaterTower
The Post - John Williams - Sony
Date Unknown
Blue Planet II -- Hans Zimmer, Jacob Shea, David Fleming - Silva
Christmas with a Capital C - Erwin Wendler - Howlin' Wolf
Garci Cervantes Film Music 2001 - 2015 - Pablo Cervantes - Rosetta
I Dolci Inganni - Piero Piccioni - Saimel
The Lion Woman - Uno Helmersson - Kronos
Reliquias - Sergio Moure de Oteyza - Rosetta
Sweet Smell of Success - Elmer Bernstein - Verve
Thunderbirds Are Go, Vol. 2 - Ben Foster, Nick Foster - Silva
THIS WEEK IN FILM MUSIC HISTORY
December 1 - Peter Thomas born (1925)
December 1 - Gerald Fried records his score for the Mission: Impossible episode “The Diplomat” (1968)
December 1 - Laurence Rosenthal begins recording his score to Heart Like a Wheel (1982)
December 1 - John Williams begins recording his replacement score for Rosewood (1996)
December 1 - Stephane Grappelli died (1997)
December 2 - Harry Sukman born (1912)
December 2 - Eddie Sauter born (1914)
December 2 - Milton Delugg born (1918)
December 2 - Artie Butler born (1942)
December 2 - Michael Whalen born (1965)
December 2 - Gerald Fried's score to the Star Trek episode "Shore Leave" is recorded (1966)
December 2 - Richard Markowitz begins recording his music for the three-part Mission: Impossible episode “The Falcon,” his final scores for the series (1969)
December 2 - Francois-Eudes Chanfrault born (1974)
December 2 - John Williams begins recording his score for Midway (1975)
December 2 - Aaron Copland died (1990)
December 3 - Nino Rota born (1911)
December 3 - Christopher Slaski born (1974)
December 3 - Elmer Bernstein begins recording his score to McQ (1973)
December 3 - Hoyt Curtin died (2000)
December 3 - Dee Barton died (2001)
December 3 - Derek Wadsworth died (2008)
December 4 - Alex North born (1910)
December 4 - Richard Robbins born (1940)
December 4 - Leonard Rosenman records his score for the Alfred Hitchcock Hour episode “One of the Family” (1964)
December 4 - Jason Staczek born (1965)
December 4 - Benjamin Britten died (1976)
December 4 - Harry Sukman died (1984)
December 4 - Frank Zappa died (1993)
December 4 - Tito Arevalo died (2000)
December 5 - Karl-Ernst Sasse born (1923)
December 5 - Johnny Pate born (1923)
December 5 - John Altman born (1949)
December 5 - Richard Gibbs born (1955)
December 5 - Osvaldo Golijov born (1960)
December 5 - Cliff Eidelman born (1964)
December 5 - Jerry Goldsmith records his score for the Room 222 pilot (1968)
December 5 - Jerry Goldsmith begins recording his score to Coma (1977)
December 5 - Masaru Sato died (1999)
December 5 - Dave Brubeck died (2012)
December 5 - Manuel De Sica died (2014)
December 6 - Mort Glickman born (1898)
December 6 - Lyn Murray born (1909)
December 6 - Dave Brubeck born (1920)
December 6 - Piero Piccioni born (1921)
December 6 - Maury Laws born (1923)
December 6 - Roberto Pregadio born (1928)
December 6 - Willie Hutch born (1944)
December 6 - Joe Hisaishi born (1950)
December 6 - Recording sessions begin for Sol Kaplan’s score for Destination Gobi (1952)
December 6 - Lalo Schifrin begins recording the original soundtrack LP to Bullitt (1968)
December 6 - Hans Zimmer begins recording his score for Broken Arrow (1995)
December 6 - Richard Markowitz died (1994)
December 7 - Ernst Toch born (1887)
December 7 - Tom Waits born (1949)
December 7 - Georges Delerue begins recording his score for Les Visiteurs (1979)
December 7 - Basil Poledouris begins recording his score for White Fang (1990)
December 7 - John Addison died (1998)
DID THEY MENTION THE MUSIC?
CARNAGE PARK - Giona Ostinelli
"'Carnage Park' is the kind of movie where bullets only fly in slo-mo. It's the kind of movie where a head is blown into bits and the gore has become so rote you check your watch. Even considering a couple of good performances, effectively creepy monochromatic cinematography (Mac Fisken) and a nerve-jangling score by Giona Ostinelli, 'Carnage Park' is an extremely empty experience."
Sheila O'Malley, RogerEbert.com
"Movies like 'Carnage Park' always raise the question: Does something have to be completely original to be any good? Anyone with an affection for the films cited above or a Larry Fessenden cameo -- probably two very similar fan clubs -- will find something to appreciate. (What genre fan wouldn’t be at least a little bit interested in 'Quentin Tarantino’s "Saw"?') Visually, it’s well done, as is Gino Ostinelli’s score (as opposed to the pop soundtrack, which can feel derivative). And Keating keeps the story tight, giving the audience enough twists and turns to keep the ride fun. Keating just made 'Darling,' another stylized homage to horror’s past, and risks being labeled a mere imitator if he doesn’t find a way to synthesize his influences in a less literal way in future films. His enthusiasm is endearing, but it’s time to evolve."
Katie Rife, The Onion AV Club
"The allusions to other films are never-ending in 'Carnage Park'. Keating often aims the camera straight up toward a pitiless desert sky so as to underline the unblinking, godless amorality of life in the extremes of the uncivilized world -- a device more effectively utilized by Zombie in 'The Devil’s Rejects.' Keating pumps the soundtrack up with shrill metallic screeching that complements the unsurprisingly washed-out imagery, signaling the heat of the atmosphere as well as the hopelessness of the protagonist’s fate, as in, yet again, 'The Devil’s Rejects' -- as well as in both versions of 'The Hills Have Eyes' and several versions of 'The Texas Chainsaw Massacre.'"
Chuck Bowen, Slate Magazine
"The movie kicks off with a title card dubbing the events of the film 'the most bizarre episode in the annals of American crime.' Pair that with the isolated setting, extreme violence and eerie score, and you get a bit of a 'Texas Chain Saw' vibe, a quality that carries over to the movie’s big bad in a way that makes him as unhinged, unpredictable and deadly as Leatherface. 'Carnage Park' is also packed with technical achievements. The sepia color palette pairs perfectly with Keating’s shot selection and Giona Ostinelli’s score. Together, they manage to cover an especially impressive range between classic western heist flick and sheer nightmare. There are countless stunning frames and Keating’s also got quite the eye for camera movements that actually enhance the material. For example, you’ve got a great tracking shot of Scorpion Joe (James Landry Hébert) and Lenny (Michael Villar) strutting across a parking lot to rob the bank and it’s paired with this perfect piece of music that gives the moment a jubilant vibe and ups the momentum of the film as well. There’s also a great scene set in a cabin where the angle from which Keating chooses to cover the action undoubtedly enhances the intensity of the encounter."
Perri Nemiroff, Collider
"The shrieky score by Giona Ostinelli sounds a little like Mica Levi’s work on 'Under the Skin,' though its success is more in inducing sensation than in creating atmosphere. To enhance the grindhouse vibe, the color scheme mimics that of a fading film print that has 'gone pink,' which presumes a staying power that 'Carnage Park' is unlikely to have."
Ben Kenigsberg, Variety
THE LITTLE PRINCE - Hans Zimmer, Richard Harvey
"It helps one overlook the narrative and philosophical repetition that the film is accomplished on a technical level as well. Most notably, the score, co-composed by Hans Zimmer, is a lyrical, lovely piece of work. It carries the viewer along, fluidly tying together the worlds of 'The Little Prince' (both the girl’s and the story of the prince). Visually, the first act of the film, with its square trees to match its square houses, reminded me of the suburban rigidity of the first act of Brad Bird’s 'The Incredibles,' while visions of the world of the title character reminded me of LAIKA gems like 'Coraline' and 'Paranorman.' These are good comparisons to make when one watches a family film. It’s in good company."
Brian Tallerico, RogerEbert.com
"Parts of the original film 'The Little Prince,' distributed by Netflix, hint at the source’s dreamlike qualities. The animation (a mix of CG and stop-motion pulled off beautifully by Lou Romano and Céline Desrumaux) is expressive but not precise. Richard Harvey and Hans Zimmer’s twinkling celestial score sounds like a childhood music box heard through internal fog. But the book’s unique tone -- its peculiar openness, clarity, and lyricism -- is hard to sustain over 100-plus minutes of plot-driven screen time. With Osborne’s adaptation, we get all the necessary cinematic trappings: character development, jokes, wholesome messaging (friendship is important), a bad guy to escape, a plane to be whisked away from a ginormous trash compactor at the last possible moment. If Saint-Exupéry offered readers a petite, queer-tasting square of some delicate cake they’d never heard of, Netflix has served up a familiar, fragrant, well-balanced meal. You’ll enjoy it, but it’s the cake you’ll remember. Even in its most earthbound moments, Netflix’s 'The Little Prince' does a lot right. It addresses the novella’s serious woman deficit, not only by creating the Little Girl and her mother, but -- fascinatingly and enchantingly -- through the soundtrack. Harvey and Zimmer’s score often features a female vocalist, Camille, either singing or whispering. Is she the Prince’s lost rose, a profoundly unknowable presence throughout the story? Some aspect of the Little Girl’s psyche, beckoning her onward?"
Katy Waldman, Slate.com
"The aesthetics of the dreary, starless world outside of the prince's fantasy universe seem inspired primarily by the relentlessly gray, boxed-in world of Jacques Tati’s masterpiece of French cinema, 'Playtime,' itself a hymn to the human spirit of ingenuity and individuality in a drab grown-up life. Meanwhile, Hans Zimmer’s lush score, punctuated by a coterie of lively French-ish ditties, as always finds a perfect blend between the film’s different worlds."
Aja Romano, Vox
"The film score by Oscar winner Hans Zimmer and collaborators Richard Harvey and French singer-songwriter Camille is equally effective in bringing the various levels of the overall story to life. At times, the music swells with the imagination. At others, it veers into period French jazz and Camille’s effectively catchy songs."
David Wiegand, San Francisco Chronicle
"In lieu of traditional musical numbers, composers Hans Zimmer and Richard Harvey provide a suitably wispy, wistful underscore, interlaced with a few original ballads performed by French chanteuse Camille and several classic chansons francises from the immortal Charles Trenet."
Scott Foundas, Variety
"Nevertheless, some viewers may be much more forgiving and open to this film's brand of didactic, pseudo-literary schmaltz. For the most part, it's more than competently made, especially the background designs that create -- in the framing device -- a dystopian suburbia that's one part 'The Truman Show' and two parts 'Mr. Hulot's Holiday,' all done in muted greys, olives and dusty teals.The score credited to Hans Zimmer and Richard Harvey, featuring the voice of Camille has sweep without overwhelming the action, and in all other technical respects it's a perfectly respectable piece of work. At least when it comes out on home-entertainment platforms viewers will have the option of cutting to all the stop-motion bits based on Saint-Exupery and leaving the rest out, which will make a short just long enough for pre-bedtime viewing."
Leslie Felperin, Hollywood Reporter
MIDNIGHT SPECIAL - David Wingo
"But for the vast majority of the runtime, the film we get is masterful in its control. Aided by a thrillingly immersive score from David Wingo, and wonderful twilight/dawn, low-contrast photography from DP Adam Stone, it unfolds with a kind of relentless linearity (once you accept the basic premise, it is remarkably un-twisty in its revelations and reveals). And once again, in constant collaborator Michael Shannon, Nichols finds the perfect engine to power this slender story forward -- was ever any actor so able to project an aura of utter conviction, even when faced with the impossibly wrenching eventuality that the only way to save his child might be to let him go?"
Jessica Kiang, IndieWire
"Nichols is clearly influenced by the science fiction films of the 80s, when the genre evolved from an exercise in optimism to dystopian tales of catastrophe and Armageddon (on score duty, David Wingo even recreates the pulsating electronic soundscapes that typified the period), and understands the genre's capacity to enthrall and educate in equal measure. However, although shaped by the works of Carpenter and Spielberg, this isn’t a straight-up homage to the sci-fi of Regan’s [sic] America. Nichols uses the limitless boundaries of the genre affords him greater time to explore the intimate."
Patrick Gamble, The Skinny
"It’s perhaps unfair to praise a movie’s ambition only to then call the product of that ambition silly, but there’s something too lopsided about the way the grave, matte-finish artistry of 'Midnight Special''s earlier stretches gives way to sudden, loopy fantasy. Nichols’s actors almost sell it -- particularly a fantastic Dunst, who is riding some exciting career momentum right now -- as does David Wingo’s churning score and Adam Stone’s enveloping cinematography. But the film falls victim to the power of its own evocative invention. You find yourself not wanting answers, because they narrow down what once was a wide-open vista of eerie possibility. And yet, you also need the answers, so all these loaded looks and jangling set pieces aren’t all for moody nothing."
Richard Lawson, Vanity Fair
"Given its twilit suburban adventures and encroaching security forces, the story exudes a superficially classical sensibility, recalling 'Starman,' 'Close Encounters of the Third Kind,' and last year’s 'Tomorrowland.' Nichols has an easy mastery of pacing and tension, employing a churning sound design (and a pulsing score by David Wingo) that allows moments of occasionally bloody action to arrive with a frightening blast or a deep, quaking rumble of bass. 'Midnight Special' moves with purpose to its final destination, but the film offloads too much baggage along the way. The motives of that ammunition-hoarding religious cult, for instance, seem tantalizingly undeveloped until the group is unceremoniously excised from the final act."
Christopher Gray, Slant Magazine
"'Midnight Special' boasts an abundance of stunning visuals and a spot-on score, both of which contribute to creating an all-consuming atmosphere, but even though you’re engaged from start to finish, the film is slow and can leave you feeling hollow. It’s clear that this is the movie Nichols set out to make. He’s got a deft hand on every element of this production and it suggests that he’s thought through the details of this sci-fi scenario extensively. The problem is, he doesn’t share them and that can make 'Midnight Special' frustrating and unfulfilling, especially if you focus on the curious nature of Alton’s abilities and what they mean. It isn’t about the sci-fi elements of the film but rather the emotional effects they have on the main characters. Perhaps going into it with that understanding will allow you to appreciate the experience more than I did."
Perri Nemiroff, Collider
"'Midnight Special' also relies on essential contributions from cinematographer Adam Stone (who has worked with Nichols on all of his films) and composer David Wingo. Stone captures the natural world almost as another character (as he did in 'Take Shelter' and 'Mud') and makes a work of art out of a sequence that hinges on a sunrise. Nichols and Stone's compositions are completed by Wingo’s score, which often drives us to the film’s emotions as it goes daringly dialogue-free for large chunks of the action In the end, that’s what I take away from 'Midnight Special' -- the power of visual storytelling. It is images from the film that pass through my mind most -- flames falling from the sky, a father carrying his child, the shaking of grass as something is about to happen, and the jaw-dropping finale. Nichols is the rare filmmaker who understands that this is what we take away from the best films, and the powerful way that art reflects that which transcends words: a father's dedication, the pain of a sick child, belief in something greater than ourselves. Sure, we quote our favorite lines and do impressions of characters, but it is the pictures that haunt us, that linger in our mind, and that stay with us. Sometimes forever."
Brian Tallerico, RogerEbert.com
"It was Nichols’ sophomore feature, 'Take Shelter,' that first brought attention to the writer-director. It starred Shannon as a construction worker in Lorain County, Ohio, who is troubled by visions of an impending apocalypse. The film introduced Nichols’ unique take on contemporary Americana; it was part Old Testament, part psychological character study, set in a flat landscape dotted with propane tanks and pick-up trucks. 'Midnight Special,' nominally about a supernaturally gifted child pursued by the government and by a Texas doomsday cult, is more of a genre piece than anything Nichols has done, carried by its steady momentum and its engrossing sense of mystery. It has car crashes, shoot-outs, and bursts of digital effects, but is carefully minimized, its mood set and sustained by the score’s piano motif, a repeated bum-dum-da-dee-da-dee-da-du-da-du. It is plainspoken in its treatment of the fantastic. It knows its metaphors."
Ignatiy Vishnevetsky, The Onion AV Club
"With the exception of the latter detail, which makes for one of the film’s most stunning sequences (a meteor shower over a remote Louisiana gas station), the beauty of Nichols’ screenplay is that it relies almost entirely on our imaginations -- that, plus anticipation of whatever big reveal might be waiting at the end of the road. He keeps us mostly in the dark, literally, reveling in the deep, velvety blacks of d.p. Adam Stone’s widescreen 35mm cinematography. Considering Alton’s extreme photosensitivity -- so much so that he might die or explode if exposed to light -- Roy and Lucas drive exclusively by night, using a succession of different vehicles, beginning with a classic 1972 Chevelle whose rumbling motor makes your insides vibrate, while composer David Wingo amplifies our sense of squirmy unease with his agitated score."
Peter Debruge, Variety
"In his fourth feature, 'Midnight Special,' Jeff Nichols pays transporting homage to the rich tradition, spanning the late 1970s through the mid-'80s, of intelligent sci-fi emotionally grounded in relatable human dynamics. There's an explicit nod, in particular, to John Carpenter's 'Starman,' echoed even in the enveloping mood of David Wingo's driving electronic score. But this suspenseful, beautifully acted supernatural thriller is also very much of a piece with Nichols' overarching thematic concerns and stylistic approach, with notably strong links to another riveting study in fatherhood, family and home, 'Take Shelter.' And like that film, it's built around a performance of formidable gravitas from Michael Shannon."
David Rooney, 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, Laemmle, New Beverly, Nuart and UCLA.
December 1
NATIONAL LAMPOON'S CHRISTMAS VACATION (Angelo Badalamenti), SCROOGED (Danny Elfman) [Cinematheque: Aero]
RESERVOIR DOGS [New Beverly]
STOP MAKING SENSE (David Byrne) [Nuart]
December 2
LA VIDA BOHEMIA (Alexander Borisoff), VERBENA TRAGICA (Lee Zahler) [UCLA]
NO DEJES LA PUERTA ABIERTA (Samuel Kaylin), CASTILLOS EN EL AIRE (Lee Zahler) [UCLA]
ONE MAGIC CHRISTMAS (Michael Conway Baker) [New Beverly]
Q: THE WINGED SERPENT (Robert O. Ragland) [Cinematheque: Egyptian]
SIDEWAYS (Rolfe Kent), ELECTION (Rolfe Kent) [Cinematheque: Aero]
December 3
CONTRA LA CORRIENTE (Juan Aguilar), LA VIRGEN QUE FORJO UNA PATRIA (Miguel Bernal Jiminez) [UCLA]
ONE MAGIC CHRISTMAS (Michael Conway Baker) [New Beverly]
UNFORGIVEN (Lennie Niehaus) [Cinematheque: Egyptian]
December 4
DEEP CRIMSON (David Mansfield) [AMPAS]
PLANES, TRAINS AND AUTOMOBILES (Ira Newborn) [Arclight Hollywood]
December 5
DIE HARD (Michael Kamen) [Arclight Hollywood]
HOME ALONE (John Williams) [Arclight Culver City]
LOVE ACTUALLY (Craig Armstrong) [Arclight Santa Monica]
PHANTOM LADY (Hans J. Salter) [LACMA]
POINT BLANK (Johnny Mandel) [Laemmle Ahyra Fine Arts]
SCROOGED (Danny Elfman) [Arclight Sherman Oaks]
December 6
THE AMERICANIZATION OF EMILY (Johnny Mandel) [New Beverly]
December 7
BLUE VELVET (Angelo Badalamenti) [Laemmle NoHo]
THE SEA WOLF (Erich Wolfgang Korngold), THE BREAKING POINT [Cinematheque: Egyptian]
SUNSET BLVD. (Franz Waxman) [Cinematheque: Aero]
TOM THUMB (Kenneth V. Jones) [New Beverly]
December 8
A CLOCKWORK ORANGE (Wendy Carlos) [Nuart]
MR. HORN (Jerry Fielding) [New Beverly]
RESERVOIR DOGS [New Beverly]
SILENT NIGHT, DEADLY NIGHT (Perry Botkin), SILENT NIGHT, DEADLY NIGHT 3: BETTER WATCH OUT! (Steven Soles), SILENT NIGHT, DEADLY NIGHT 5: THE TOY MAKER (Matthew Morse) [Cinematheque: Egyptian]
SOME LIKE IT HOT (Adolph Deutsch), THE SEVEN YEAR ITCH (Alfred Newman) [Cinematheque: Aero]
December 9
DOUBLE INDEMNITY (Miklos Rozsa), THE LOST WEEKEND (Miklos Rozsa) [Cinematheque: Aero]
EL VAMPIRO (Gustavo C. Carrion), SOMBRA VERDE (Antonio Diaz Conde) [UCLA]
GET MEAN (Bixio-Frizzi-Tempera) [New Beverly]
THE GREAT ESCAPE (Elmer Bernstein) [New Beverly]
MARIA CADELARIA (Francisco Dominguez, Rodolfo Halffter), CITA EN LA FRONTERA (Mario Maurano) [UCLA]
MIRACLE ON 34TH STREET (Cyril B. Mockrdige) [New Beverly]
THE ROOM (Mladen Milicevic) [Cinematheque: Egyptian]
December 10
THE APARTMENT (Adolph Deutsch), ONE, TWO, THREE (Andre Previn) [Cinematheque: Aero]
DARBY'S RANGERS (Max Steiner), 36 HOURS (Dimitri Tiomkin) [New Beverly]
ENAMORADA (Eduardo Hernandez Moncada), ALLA EN EL RANCHO GRANDE [UCLA]
KISS KISS, BANG BANG (John Ottman), THE LONG KISS GOODNIGHT (Alan Silvestri) [Cinematheque: Egyptian]
MIRACLE ON 34TH STREET (Cyril B. Mockrdige) [New Beverly]
NUTCRACKER: THE MOTION PICTURE (Pyotr Ilyich Tchaikovsky, Mark Adler) [UCLA]
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