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La-La Land has just released Tom Holkenborg's* score for the latest Terminator sequel TERMINATOR: DARK FATE, which returns Linda Hamilton and writer-producer James Cameron to the franchise. The label is also making available Lolita Ritmanis' score for the Latvian war drama DVESELU PUTENIS, known in English as Blizzard of Souls. (*when this column originally posted, I had stupidly attributed the Dark Fate score to Lorne Balfe, who actually scored the previous Terminator sequel; thanks to Bob DiMucci for the correction).

Kritzerland has just announced a CD of the music of concert and film composer GAIL KUBIK, featuring three concert pieces composed and conducted by Kubik -- Scenes for Orchestra (based on his unused score for I Thank a Fool), Scenario for Orchestra (based on his largely unused score for The Desperate Hours, the surviving tracks of which were featured on Intrada's Double Indemnity/Paramount noir set), and Stewball: Four Variations for Band.


The Crown: Season Three
 - Martin Phipps - Sony
The Dark Crystal: Age of Resistance, vol. 1
 - Daniel Pemberton - Varese Sarabande
The Dark Crystal: Age of Resistance, vol. 2 
- Daniel Pemberton, Samuel Sim - Varese Sarabande
Dveselu Putenis (Blizzard of Souls)
- Lolita Ritmanis - Marlo/La-La Land
La Chiave
 - Ennio Morricone - Beat
Terminator: Dark Fate
- Tom Holkenborg - La-La Land 


Atlantics - Fatima Al Qadiri - Score LP Atlantique on Milan
Autonomy - Jeff Schneider
Bluebird - Roger Alan Nichols
Charlie's Angels - Brian Tyler - Song CD on Republic
Crown Vic - Jeffery Alan Jones
Ernie & Joe: Crisis Cops - Tyler Strickland
Feast of the Seven Fishes - Matt Mariano
Ford v Ferrari - Marco Beltrami
The Good Liar - Carter Burwell - Score CD-R on WaterTower
The Hottest August - Troy Herion
I Lost My Body - Dan Levy
Radioflash - Ramin Kousha
The Report - David Wingo
Scandalous: The Untold Story of the National Enquirer - Craig DeLeon
The Shed - Sam Ewing
The Turkey Bowl - John Swihart
The Warrior Queen of Jhansi - Tuomas Kantelinen
Waves - Trent Reznor, Atticus Ross
White Snake - Haowei Guo


November 22 
Ad Astra
 - Max Richter, Lorne Balfe, Nils Frahm - Deutsche Grammophon
First Reformed - Lustmord - Vaultworks
- Thomas Wander, Harald Kloser - Varese Sarabande
Scary Stories to Tell in the Dark 
- Marco Beltrami, Anna Drubich - eOne 
November 29
Lucy in the Sky
 - Jeff Russo - Lakeshore
December 13
Animal Among Us - Alexander Taylor - Notefornote
Go Fish - George Streicher - Notefornote 
Marriage Story
- Randy Newman - Lakeshore
Uncut Gems - Daniel Lopatin - Warp
Date Unknown
The Alan Howarth Collection vol. 1
 - Alan Howarth - Dragon's Domain
Borsalino/Borsalino & Co.
 - Claude Bolling - Music Box
Cari Mostri del Mare
 - Carlo Savina - Kronos
Damon and Pythias
 - Angelo Francesco Lavagnino - Alhambra
Gail Kubik: Scenes for Orchestra etc
. - Gail Kubik - Kritzerland 
I Fratelli Corsi
 - Angelo Francesco Lavagnino - Kronos
Il Disordine
 - Mario Nascimbene - Kronos
Jesus de Nazaret
- Alejandro Karo - Kronos
La Trinchera Infinita
 - Pascal Gaigne - Quartet
Lilly's Bewitched Christmas
- Anne-Kathrin Dern - Kronos
Mientras Dure la Guerra
 - Alejandro Amenabar - Quartet
Mille Milliards de Dollars/Le Crabe-Tambour/Conte de la Folie Ordinaire
 - Philippe Sarde - Music Box
Miriam Cutler Film Music
 - Miriam Cutler - Quartet
 - Richard Band - Dragon's Domain
Noah Land
- Leon Gurvitch - Kronos
Saddles, Sagebrush and Steiner: Western Scores of Max Steiner
 - Max Steiner - BYU
Straight into Darkness 
- Michael Convertino - Dragon's Domain
Sunset Sunrise
- Nino Rota - Quartet


November 15 - Gianni Ferrio born (1924)
November 15 - Jurriaan Andriessen born (1925)
November 15 - Les Baxter records his score for The Comedy of Terrors (1963)
November 15 - John Williams begins recording his score to The Cowboys (1971)
November 15 - Richard Addinsell died (1977)
November 15 - Alexandre Tansman died (1986)
November 15 - Saul Chaplin died (1997)
November 15 - Roberto Pregadio died (2010)
November 15 - Luis Bacalov died (2017)
November 16 - Paul Hindemith born (1895)
November 16 - Roberto Nicolosi born (1914)
November 16 - The Lost Weekend is released in theaters (1945)
November 16 - Dennis McCarthy records his scores for the Star Trek: The Next Generation episodes “Home Soil” and “Hide and Q” (1987)
November 16 - David Bell records his score for the Star Trek: Deep Space Nine episode “Covenant” (1998)
November 17 - Robert Drasnin born (1927)
November 17 - David Amram born (1930)
November 17 - Ron Jones records his score for the Star Trek: The Next Generation episode "Where Silence Has Lease" (1988)
November 17 - Wilfred Josephs died (1997)
November 17 - Jay Chattaway begins recording his score for the Star Trek: Enterprise episode “Awakening” (2004)
November 18 - Terry Plumeri born (1944)
November 18 - Carter Burwell born (1955)
November 18 - Ben-Hur premieres in New York (1959)
November 18 - Duncan Sheik born (1969)
November 18 - Lalo Schifrin begins recording his score for The Mean Season (1984)
November 18 - Craig Safan records his scores for the Twilight Zone episodes “Dead Woman’s Shoes” and “Wong’s Lost and Found Emporium” (1985)
November 18 - George Romanis records his score for the Star Trek: The Next Generation episode “Too Short a Sesaon” (1987)
November 18 - Bruce Broughton begins recording his score for Homeward Bound: The Incredible Journey (1992)
November 18 - David Bell records his score for the Star Trek: Deep Space Nine episode “The Ascent” (1996)
November 18 - Paul Bowles died (1999)
November 18 - Michael Kamen died (2003)
November 18 - Cy Coleman died (2004)
November 19 - Harry Robinson born (1932)
November 19 - Paul Glass born (1934)
November 19 - Joel Goldsmith born (1957)
November 19 - Lyn Murray records his score for the Alfred Hitchcock Hour episode “Thanatos Palace Hotel” (1964)
November 19 - Dee Barton begins recording his score for High Plains Drifter (1972)
November 19 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Concerning Flight” (1997)
November 19 - Dennis McCarthy records his score for the Star Trek: Enterprise episode “Carpenter Street” (2003)
November 20 - Louis Levy born (1894)
November 20 - David Raksin begins recording his score for Across the Wide Missouri (1951)
November 20 - Kevin Gilbert born (1966)
November 20 - Recording sessions begin for James Newton Howard’s score for Primal Fear (1995)
November 20 - Russell Garcia died (2011)
November 21 - Malcolm Williamson born (1931)
November 21 - Hans Erdmann died (1942)
November 21 - The Best Years of Our Lives opens in New York (1946)
November 21 - Magnus Fiennes born (1965)
November 21 - Don Ellis begins recording his replacement score for The Seven-Ups (1973)
November 21 - Ralph Burns died (2001) 


THE BREADWINNER - Mychael Danna, Jeff Danna
"Novelist Ellis based her 'Breadwinner' series of books on interviews she conducted with residents of an Afghan refugee camp in Pakistan, and the filmmakers have taken similar care to ensure the cultural accuracy of their adaptation, from the realistic backdrops to the use of Afghan musicians and singers (recorded remotely) in the affecting score by siblings Mychael and Jeff Danna."
Sheri Linden, The Hollywood Reporter 
THE CAT AND THE MOON - Alex Wolff, Michael Wolff
"The film’s subterranean current of wry, hard-won wisdom is enhanced by its attractive assembly, from Anthony Savini’s unfussily handsome photography and Frank Reynolds’ sensitive editing to a diverse soundtrack that (alongside compositions by Wolff himself and real-life father Michael) makes room for classic jazz tracks by Wayne Shorter, George Shearing and others."
Dennis Harvey, Variety 

- Michael Giacchino
"What’s freshest, though, is the tone and outlook of the film. 'Coco' opened in Mexico a month before it opened in the USA and is already the highest grossing film of all time there. It assumes a non-American point-of-view on spirituality and culture -- not in a touristy or 'thought experiment' sort of way, but as if it were merely the latest product of an alternate universe Pixar Mexicano that has existed for just as long as the other one. The film’s stable of voice actors reads like a Who’s Who of Latin-American talent: the ensemble includes Edward James Olmos, Alfonso Arau, Ana Ofelia Murguia, Alanna Ubach and, in a small role, to my surprise and astonishment, playwright Octavio Solis, who was one of my teachers in high school back in Dallas. Michael Giacchino's score is unsurprisingly excellent, as are the original songs -- in particular, the future Oscar winner 'Remember Me,' the greatest tear-eruption mechanism to accompany a Pixar release since the 'Toy Story 2' centerpiece 'When She Loved Me.'"

Matt Zoller Seitz, 

It helps make “Coco,” scored by the erstwhile [sic] Michael Giacchino, play like a movie about music, rather than a musical, and the distinction is important as the story unfolds. (The movie’s signature corrida, “Remember Me,” an Ernesto standard, is by the “Frozen” team of Kristen Anderson-Lopez and Robert Lopez, and its use as both an anthem for popularity and tear-jerking familial plea is well-deployed.)
Robert Abele, The Wrap

"Equally affecting is the film’s musical palette, with resident Disney-Pixar composer Michael Giacchino delivering yet another stirring score that blends seamlessly with traditional source music and tunes contributed by Molina and Germaine Franco, all topped off with the film’s soulful signature song, 'Remember Me,' penned by Frozen twosome Kristen Anderson-Lopez and Robert Lopez."
Michael Rechtshaffen, The Hollywood Reporter 
GOD'S OWN COUNTRY - A Winged Victory for the Sullen [Dustin O'Halloran, Adam Wiltzie]
"Lee and Richards show little interest in prettifying the characters’ austerely spectacular surroundings, which look gustily, angrily gray even in the height of spring. Instead, they frame the landscape as oppressively or expansively as Johnny’s mood dictates. (The bucolic, brightly tinted archive footage of old-school farm labor that plays over the closing credits looks beamed in from another world entirely.) The emotional tenor of proceedings is faithfully tracked by a sparse, shivering score by American ambient duo A Winged Victory for the Sullen (one half of which, Dustin O’Halloran, is presently reaping plaudits for his work on 'Lion'). By the time that tightly controlled soundscape blooms into the widescreen baroque pop of Patrick Wolf for the closing credits, the resulting heart-swell feels thoroughly earned."
Guy Lodge, Variety 

"That characteristic extends to the sparing use of music, from ambient duo Dustin O'Halloran and Adam Wiltzie, who record as A Winged Victory for the Sullen; and to the muted color palette and elegant framing of Richards' cinematography. 'God's Own Country' announces Lee as an assured new voice, his own personal ties to the setting reinforced in gorgeous colorized vintage farm footage over the end credits."
David Rooney, The Hollywood Reporter
"But something’s gone right with the cast -- not just returning Wonder Woman Gal Gadot (owning every subtle smile) but Ben Affleck, too, roused out of his bat stupor. As the junk-food-cramming speed-demon the Flash, Ezra Miller introduces some welcome comic neuroticism (he yearns to fist-bump with his colleagues). Even 'Justice League''s jaunty, cavorting orchestral score, supplied by Tim Burton’s old foil Danny Elfman, harks to a better time, when “Why so serious?” wasn’t the rule. The pendulum swings back."
Joshua Rothkopf, Time Out New York 

"The movie struggles to match its epic scope with a reason to care. Danny Elfman’s forgettable score (sadly, there have been many in recent years) does nothing to enhance the suspense, and the vibrant cinematography by Fabian Wagner, making his feature-length debut after years in television, provides a dizzying assemblage of swooping camerawork that rarely lingers on a single face. When a major D.C. character emerges one hour into the proceedings, he arrives with less fanfare than matter-of-factness, carried along by the pure necessity of keeping the franchise in flux. Then it’s back to business as usual."
Eric Kohn, IndieWire
"Most of the action sequences are incomprehensible light shows, presented against the now-standard DC-movie palette of strewn rubble, warehouses, and abandoned construction. Joss Whedon, of 'Buffy The Vampire Slayer' and 'The Avengers' fame, took over directing duties late in production, which means viewers end up with a soundtrack that includes both a depressing late-period Danny Elfman score (à la Whedon’s 'Avengers: Age Of Ultron') and Snyder’s cheesy, shudder-inducing rock covers. As for who actually helmed what, it’s hard to tell; compared to his bombastic slow-mo shots, Snyder’s direction of dialogue has always been completely anonymous. And it’s in the dialogue that the influence of Whedon -- who only received a screenplay credit for his work -- becomes obvious."
Ignatiy Vishnevetsky, The Onion AV Club 

THE KILL TEAM - Zacarias M. de la Riva
"The documentary serves as a more of a holistic view of this sad chapter in American history, compiling various testimonies and featuring Winfield’s parents and fellow platoon members much more prominently. The narrative film enhances Andrew’s feeling of isolation in his unenviable position, the paranoia that crept into every part of his life and the unending guilt of not figuring a way to stop the killings sooner. Overall, this latest version is still relatively straightforward, with somber music cues and enough artistic license to separate it from the archival footage in the documentary."
Monica Castillo, The Wrap
"This present-tense perspective is useful, but while the leads are credible, the filmmaking (including a hacky score) adds a sheen of macho familiary to a narrative that was eerily matter-of-fact in doc form.  Dramatizing these events makes them seem isolated -- a bad-apples incident. The documentary had a more haunting implication: If you train soldiers for Hollywood-ready comabt, violence on peacekeeping missions becomes inevitable."
Ben Kenigsberg, The New York Times 
"As Briggman’s paranoia escalates, so too does 'The Kill Team''s suspense, although not enough to push the material into truly harrowing territory. Stéphane Fontaine’s cinematographic vision of this arid landscape is relatively familiar and straightforward, and Zacarías M. de la Riva’s score is most notable during those rare moments when it strains too hard to elicit an emotional response. Those familiar with this story won’t find any novel twists here, but Krauss astutely conveys the literal and moral quagmires produced by such military situations. In that cause, he’s aided by an increasingly disillusioned, confused, and terrified Wolff, and an intensely menacing Skarsgård, who -- flashing spiteful smiles beneath a ’70s-era mustache, and exuding a relaxed confidence that belies his coiled-spring viciousness -- proves that wickedness sometimes comes in friendly fatherly packages."
Nick Schager, Variety 
LAST FLAG FLYING - Graham Reynolds
"Linklater doesn’t help the opinion some will have that this is a bit too manipulative with a score that hits the tinkly piano chords whenever emotion comes into the narrative, but I’d be lying if I didn’t admit to being moved on more than one occasion. Death comes into all of our lives. If we’re lucky, it doesn’t come into our lives when it comes to our own children. We’re not all so lucky. People very important to me are dealing with the injustice of death as I write this, and 'Last Flag Flying' reminded me how essential it is to just be there for them in whatever capacity I can. One of the last lines of the film is 'Doc needs us.' Linklater is reminding people to be present when they’re needed. Be aware. Be caring. Be truthful. Be alive. More than anything, just be human."
Brian Tallerico,

"Cinematographer Shane F. Kelly strikes a melancholy tone with exteriors shot mostly in rain or muted wintry light, and composer Graham Reynolds' gentle score mirrors that mood. The same goes for Carell's subdued performance as soft-spoken Doc, who has absorbed his share of disappointment and hurt in life but remains a man of quiet integrity. Fishburne uses his mellifluous voice to commanding effect as the man of the cloth whose less pious past manner keeps reasserting itself in amusing ways. But Cranston's characterization is too one-note abrasive to support the philosophical baggage Sal is meant to carry, and the function of Johnson's Washington in the story as a modern reflection of the Vietnam vets' experience barely registers."
David Rooney, The Hollywood Reporter 
"Director Bharat Nalluri depicts each of these figures -- and many more -- as if they were characters in one of Dickens’ novels, and soon they will be (Dickens fans may also recognize their imprint on other works still to come, especially as regards the author’s crusade on behalf of children’s rights). But the movie strikes an odd tone en route to Dickens’ career-saving triumph, as the author himself is hyper-animated, a somewhat fatigue-inducing force of nature who pinwheels from one end of London to another outfitted like Willy Wonka (the Gene Wilder version), even as we’re told he’s crippled by writer’s block. These two paradoxical states combine in Mychael Danna’s manic score, which embodies the sporadic march of stop-start inspiration, while contributing to the film’s rather dizzying sensibility overall."
Peter Debruge, Variety 

"Despite writing credits split between Waddington, Brian DeLeeuw and Nacho Vigalondo, the script is unrefined and simplistic. Characters explain what they’re doing, instead of just doing it. The plot almost holds no surprise in store until the very end. Much of the dialogue is clunky and unsteadily paced, almost to campy levels of bad delivery but without any degree of fun. The editing by Guillermo de la Cal provides little relief, as a number of the cuts linger on for a second or more too late, neutralizing any sense of rhythm between exposition and action. The futuristic music by Lucas Vidal fits fine, but I hope he’s not the man behind the songs sung by Roberts, Jovovich and González because those were dreadful moments."
Monica Castillo, 
"Of course, McDonagh deserves a ton of credit for not only directing her but giving her such a great part in such a smart script. Empathy and peace with the too-common injustice of our world is a common theme in cinema, but it’s usually handled with kid gloves or pat resolutions. There are no easy answers in McDonagh’s world -- no clear-cut heroes and villains. You will start to question Mildred and you will start to defend Dixon. In a sense, that’s one of McDonagh’s most stunning tricks with this film. The world is more complex than most movies would have you think, and it takes a writer of his remarkable ability to convey that. He’s also operating at a more technically accomplished level than ever before, particularly in the way the film uses a great score from Coen regular Carter Burwell and well-balanced cinematography from Ben Davis."
Brian Tallerico,
"Shot in North Carolina by British cinematographer Ben Davis in an unfussy style that never draws attention to itself, the film looks sharp, and production designer Inbal Weinberg captures the vintage small-town Main Street charms without overdoing it. More than the visuals, the depth of the movie owes much to Carter Burwell's flavorful, distinctly American score, with its roots and folk elements, and to superb song choices."
David Rooney, The Hollywood Reporter


Screenings of older films, at the following L.A. movie theaters: AMPASAlamo DrafthouseAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianArclightArena Cinelounge, LaemmleNew Beverly, Nuart, UCLA and Vista.   

November 15
AKIRA (Yamashiro Shoji) [Nuart]
GONE TO EARTH (Brian Easdale) [Cinematheque: Egyptian]
PULP FICTION [New Beverly]
VIDEODROME (Howard Shore) [New Beverly]
ZARDOZ (David Munrow) [Cinematheque: Aero]

November 16
BLUE VELVET (Angelo Badalamenti), WILD AT HEART (Angelo Badalamenti) [Cinematheque: Aero]
THE 'BURBS (Jerry Goldsmith) [Alamo Drafthouse]
JASON AND THE ARGONAUTS (Bernard Herrmann) [New Beverly]
PEACEMAKER (Dennis Michael Tenney) [New Beverly]
REBECCA (Franz Waxman) [Cinematheque: Egyptian]
SPELLBOUND (Miklos Rozsa) [Cinematheque: Egyptian]
SUPERGIRL (Jerry Goldsmith) [Vista]
THREE CASES OF MURDER (Doreen Carwithen) [Cinematheque: Egyptian]

November 17
THE BROTHERS BLOOM (Nathan Johnson) [Alamo Drafthouse]
EXCALIBUR (Trevor Jones) [Alamo Drafthouse]
JASON AND THE ARGONAUTS (Bernard Herrmann) [New Beverly]
LAURA (David Raksin) [Cinematheque: Egyptian]
NIGHTMARE ALLEY (Cyril Mockridge) [Cinematheque: Egyptian]
RAMBLING ROSE (Elmer Bernstein), SMOOTH TALK (Bill Payne, Russ Kunkel, George Massenberg)[Cinematheque: Aero]

November 18
THE JERK (Jack Elliott) [Alamo Drafthouse]
LOST HIGHWAY (Angelo Badalamenti) [New Beverly]
THE STALKING MOON (Fred Karlin), PIECES OF DREAMS (Michel Legrand) [New Beverly]

November 19
THE BICYCLE THIEF (Alessandro Cicognini) [Laemmle Royal]
THE BLACK HOLE (John Barry), SUPERNOVA (David Williams) [New Beverly]
BOWFINGER (David Newman) [Cinematheque: Egyptian]
DAYS OF HEAVEN (Ennio Morricone) [Cinematheque: Aero]
RE-ANIMATOR (Richard Band) [Alamo Drafthouse]

November 20
THE BIG SLEEP (Max Steiner) [New Beverly]
THRASHIN' (Barry Goldberg) [Alamo Drafthouse]
VIGILANTE (Jay Chattaway), THE DELTA FORCE (Alan Silvestri), AVALANCHE (William Kraft) [New Beverly]

November 21
VIGILANTE (Jay Chattaway), THE DELTA FORCE (Alan Silvestri), AVALANCHE (William Kraft) [New Beverly]

November 22
CRASH (Howard Shore) [New Beverly]
FLIGHT OF THE NAVIGATOR (Alan Silvestri) [Cinematheque: Egyptian]
FREEWAY (Danny Elfman) [Nuart]
PULP FICTION [New Beverly]

November 23
DEMOLITION UNIVERSITY (Dennis Michael Tenney) [New Beverly]
MYSTERIOUS ISLAND (Bernard Herrmann) [New Beverly]
TROPIC THUNDER (Theodore Shapiro) [Vista]
YOU'VE GOT MAIL (George Fenton) [Alamo Drafthouse]

November 24
BRICK (Nathan Johnson) [Alamo Drafthouse]
MYSTERIOUS ISLAND (Bernard Herrmann) [New Beverly]
THAT DARN CAT (Robert Brunner) [UCLA]


Heard: Guy and Madeline on a Park Bench (Hurwitz), Monster House (Pipes)

Read: We Can Build You, by Philip K. Dick

Seen: Cousins [2019]; Krasue: Inhuman Kiss; Marriage Story; American Dharma; Midway [2019]; Doctor Sleep; Motherless Brooklyn; Reflections in a Golden Eye; Justine; And Then We Danced; Earthquake Bird; Light from Light

Watched: Maniac ("Exactly Like You"), The Lady Eve

I was surprised at how much I enjoyed Doctor Sleep. Given that I had just been raving in a recent column about The Haunting of Hill House by the same writer-director, Mike Flanagan, I suppose it shouldn't have been such a surprise, but as a huge fan of Kubrick's film of The Shining, I have never been aching for a sequel, and my ambivalence about Stephen King and his later novels made me wary of a spinoff. 

Conversely, considering my love of Kubrick's film, what worked for me best in Doctor Sleep was, for the most part, those aspects that didn't connect directly to the earlier film. The horror film in Doctor Sleep that isn't about The Shining is suprisingly good, despite a potentially goofy storyline and some less than compelling King terminology (if the villains had said "steam" or "steamy" one more time...). Rebecca Ferguson manages to walk the extremely fine line of creating a truly despicable character without overplaying that I'm-the-bad-guy-you-love-to-hate smarminess that actors can so easily slip into. The psychic-link scenes are among the most effective in the film, with an especially well designed and executed sequence of Ferguson's consciousness flying over the earth at night. This storyline (including a role for a cleverly cast Jacob Tremblay) is so effective in the film that it made me consider reading recent King novels.

The end of the second act is so strong that it's disappointing when the third act goes whole-hog into Shining-sequel mode, and while the recreation of settings and moments from the original film is impressive, a lot of the tension is lost and it starts to feel like "fan service" (and without the strong element of surprise which Ready Player One managed in its Shining-homage setpiece).

Some of the nicest Shining homages are the subtlest -- Carl Lumbly does a spectacular job of evoking Scatman Crothers' performance as Halloran, while an early shot of Bruce Greenwood in his office is lit and framed to look uncannily like the Barry Nelson job interview scene from Kubrick's film. The Newton Brothers' score works mostly to evoke the Shining music without adding anything especially noteworthy, though my opinion might change when I eventually listen to the WaterTower score CD.

But much as I enjoyed Doctor Sleep (it actually managed to sustain my interest at a running time that was even longer than The Shining), I can't say I ever found it scary -- Flanagan's Hill House managed to be much more intense and genuinely disturbing.

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Comments (6):Log in or register to post your own comments
The score for TERMINATOR: DARK FATE is by Tom Holkenborg, not Lorne Balfe.

DOCTOR SLEEP is one of those flicks I personally enjoyed while despairing of its chances of ever connecting with a large audience owing to its languid pace and lack of wow factor (its user score at Metascore is pitiful). I also reckon Bruce Greenwood's office decor was a creative mistake (I was thinking, "Wait, is Danny applying for a job at the Overlook?"). Also, the possibility of the Overlook itself remaining intact with the boilers still working is rather risible (not to mention the possibility of getting to the hotel in winter without a snow plow).

Still, a decent flick. But why is everyone saying that "some guy" is playing Jack Torrance when that "some guy" is the kid from E.T.?

The score for TERMINATOR: DARK FATE is by Tom Holkenborg, not Lorne Balfe.

Damn, good catch. I was obviously confusing it with Terminator:Genesis, or however you spell tha last one (and every other film Balfe has scored in the last two years).

Will fix.

DOCTOR SLEEP is one of those flicks I personally enjoyed while despairing of its chances of ever connecting with a large audience owing to its languid pace and lack of wow factor (its user score at Metascore is pitiful). I also reckon Bruce Greenwood's office decor was a creative mistake (I was thinking, "Wait, is Danny applying for a job at the Overlook?"). Also, the possibility of the Overlook itself remaining intact with the boilers still working is rather risible (not to mention the possibility of getting to the hotel in winter without a snow plow).

Still, a decent flick. But why is everyone saying that "some guy" is playing Jack Torrance when that "some guy" is the kid from E.T.?

I actually thought it was "some guy" they found who looked like Nicholson from certain angles, not realizing it was Henry Thomas until the end credits. And I felt especially dumb since I only finished watching Thomas in Hill House a few weeks ago.

I wonder if they would have been able to get Jacob Tremblay for his role if he hadn't already done Before I Wake for Flanagan. (On the other hand, given this and The Predator, maybe Tremblay just loves horror sequels).

The score for TERMINATOR: DARK FATE is by Tom Holkenborg, not Lorne Balfe.

Same fucking difference.

What was it Andy Warhol once said?

"In the future, every film will be scored by Lorne Balfe for 15 minutes."

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Evan Lurie born (1954)
Geoff Zanelli born (1974)
Jay Chattaway records his score for the Star Trek: The Next Generation episode “Relics” (1992)
Jerry Goldsmith begins recording his score for The Lonely Guy (1983)
John Williams begins recording his score to Home Alone 2: Lost in New York (1992)
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