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La-La Land has announced three new soundtrack releases expected to ship next week -- a two-disc expanded version of Danny Elfman's score for Sam Raimi's 1990 cult favorite comic book thriller DARKMAN, starring Liam Neeson and Frances McDormand; an expanded edition of David Newman's score for the 1992 biopic HOFFA, starring Jack Nicholson and Danny DeVito (who also directed); and music from season one of the CW sci-fi TV series PANDORA, featuring music composed by Joe Kraemer (Mission: Impossible - Rogue Nation) and Penka Kouneva (Midnight Movie)

The Varese Sarabande CD Club has announced two new limited Deluxe Editions: a two-disc, greatly expanded edition of Danny Elfman's score for the 1995 Stephen King adaptation DOLORES CLAIBORNE, starring Kathy Bates, Jennifer Jason Leigh, Christopher Plummer and David Strathairn; and a two-disc edition of W.G. Snuffy Walden's score for another King adaptation, the epic miniseries version of THE STAND, featuring the same cues as the label's recent Stephen King Collection boxed set.


Dolores Claiborne: The Deluxe Edition - Danny Elfman - Varese Sarabande CD Club
I Lost My Body - Dan Levy - Lakeshore
The Stand: The Deluxe Edition - W.G. Snuffy Walden - Varese Sarabande CD Club


Color Out of Space - Colin Stetson - Score CD due Feb. 7 on Milan
Elsewhere - Mark Orton
The Gentlemen - Christopher Benstead
Get Gone - Patrick Wilson
John Henry - DJ Quik, Will Forbes
The Last Full Measure - Philip Klein
Redoubt - Jonathan Bepler
The Turning - Nathan Barr


January 31
Anne with an E
 - Amin Bhatia, Ari Posner - Varese Sarabande 
Darkman - Danny Elfman - La-La Land
- David Arnold, Michael Price - Silva
Hoffa - David Newman - La-La Land
Pandora: Season One - Joe Kraemer, Penka Kouneva - La-La Land
The Personal History of David Copperfield - Christopher Willis - MVKA  
Samsam - Eric Neveux - 22d Music (import)
February 7
Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn - Daniel Pemberton - WaterTower [CD-R]
Color Out of Space - Colin Stetson - Milan
February 21
At Eternity's Gate - Tatiana Lisovskaya - Filmtrax (import)
Breath [UK release] - Harry Gregson-Williams - Filmtrax (import)
The Musical Anthology of His Dark Materials - Lorne Balfe - Silva  
March 13
The Matrix Symphony - Don Davis - Perseverance
Date Unknown
Antony I. Ginnane Presents Classic Australian Film Scores from the '70s and '80s
- various - Dragon's Domain
Better Watch Out 
- Brian Cachia - Howlin' Wolf
Dinosaur Land
- Chuck Cirino - Dragon's Domain
- Alan Howarth - Dragon's Domain


January 24 - Muir Mathieson born (1911)
January 24 - Norman Dello Joio born (1913)
January 24 - Joseph Carl Breil died (1926)
January 24 - Nico Fidenco born (1933)
January 24 - Neil Diamond born (1941)
January 24 - The Treasure of the Sierra Madre opens in theaters (1948)
January 24 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “The Jar” (1964)
January 24 - Leonard Rosenman begins recording his score for The Phantom of Hollywood (1974)
January 24 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Conundrum” (1992)
January 24 - Ken Darby died (1992)
January 25 - Albert Glasser born (1916)
January 25 - Antonio Carlos Jobim born (1927)
January 25 - Benny Golson born (1929)
January 25 - Tobe Hooper born (1943)
January 25 - Hans-Erik Philip born (1943)
January 25 - Jerry Goldsmith begins recording his score for Poltergeist (1982)
January 25 - Paul J. Smith died (1985)
January 25 - James Horner begins recording his score for A Far Off Place (1993)
January 25 - Gregory Smith records his score for the Star Trek: Deep Space Nine episode “Field of Fire” (1999)
January 25 - Normand Corbeil died (2013)
January 25 - John Morris died (2018)
January 26 - Hugo Riesenfeld born (1879)
January 26 - Stephane Grappelli born (1908)
January 26 - Ken Thorne born (1924)
January 26 - Alfred Newman begins recording his score for Take Care of My Little Girl (1951)
January 26 - Christopher L. Stone born (1952)
January 26 - Miklos Rozsa begins recording his score for All the Brothers Were Valiant (1953)
January 26 - Elmer Bernstein begins recording his score for The Miracle (1959)
January 26 - George Bassman records his score for Ride the High Country (1962)
January 26 - Wendy Melvoin born (1964)
January 26 - Victoria Kelly born (1973)
January 26 - Recording sessions begin for Jerry Goldsmith’s score for Damnation Alley (1977)
January 26 - Gustavo Dudamel born (1981)
January 26 - Ron Jones records his score for the Star Trek: The Next Generation episode "A Matter of Honor" (1989)
January 26 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Far Beyond the Stars” (1998)
January 27 - Jerome Kern born (1885)
January 27 - Alaric Jans born (1949)
January 27 - Mike Patton born (1968)
January 27 - David Shire begins recording his score for All the President's Men (1976)
January 27 - Leonard Rosenman begins recording his score for The Car (1977)
January 27 - Craig Safan records his scores for the Twilight Zone episodes “To See the Invisible Man” and “Tooth and Consequences” (1986)
January 27 - Arthur Kempel records his score for the Twilight Zone episode “The Elevator” (1986)
January 28 - Karl Hajos born (1889)
January 28 - Paul Misraki born (1908)
January 28 - John Tavener born (1944)
January 28 - Burkhard Dallwitz born (1959)
January 28 - Lalo Schifrin records his score for Once a Thief (1965)
January 28 - Lalo Schifrin records his score for the Mission: Impossible pilot (1966)
January 28 - Giancarlo Bigazzi died (2012)
January 28 - John Cacavas died (2014)
January 29 - Leslie Bricusse born (1931)
January 29 - Leith Stevens begins recording his score for The Atomic City (1952)
January 29 - Victor Young begins recording his score for Forever Female (1953)
January 29 - Alfred Newman begins recording his score to A Man Called Peter (1955)
January 29 - David Robbins born (1955)
January 29 - Joseph Mullendore records his score for the Lost in Space episode "Space Beauty" (1968)
January 29 - Georges Van Parys died (1971)
January 29 - Henry Mancini begins recording his score for Condorman (1981)
January 29 - Panu Aaltio born (1982)
January 29 - Rogier Van Otterloo died (1988)
January 29 - Don Davis records his score for the Star Trek: The Next Generation episode “Face of the Enemy” (1993)
January 29 - Berto Pisano died (2002)
January 29 - Rod McKuen died (2015)
January 30 - Morton Stevens born (1929)
January 30 - Franz Waxman records his score for The Adventures of Huckleberry Finn (1939)
January 30 - Recording sessions begin for Frederick Hollander’s score for The Affairs of Susan (1945)
January 30 - Phil Collins born (1951)
January 30 - Steve Bartek born (1952)
January 30 - Recording sessions begin for Lyn Murray’s score for On the Threshold of Space (1956)
January 30 - George Duning begins recording his score to Toys in the Attic (1963)
January 30 - George Duning begins recording his score for the pilot movie for Then Came Bronson (1969)
January 30 - Robert Folk begins recording his score for Police Academy (1984)
January 30 - Jean Constantin died (1997)
January 30 - Jay Chattaway records his score for the Star Trek: Voyager episode “Rise” (1997)
January 30 - Manuel Balboa died (2004)
January 30 - John Barry died (2011)
January 30 - William Motzing died (2014)


"Should you find yourself in front of 'Bad Samaritan' (and that could only ever be by force or out of sheer masochism), just sit back and revel in the verdant Portland scenery or marvel at the ill-fitting orchestral score by Joseph Loduca, who apparently thinks he’s composing for a Devlin super-production past like 'Stargate' or 'Independence Day' -- both lost Da Vincis in comparison to this dross. Get to the end and you might even find yourself pining for 'Godzilla ’98.' Perish that thought."

Keith Uhlich, The Hollywood Reporter

BEAST - Jim Williams
"'Beast' takes place on Jersey, a secluded British island community off the coast of France. The setting plays a crucial role not only because it implies a limited suspect pool, but because the proximity to nature is so important; the themes would never resonate in a city. When Moll has a fit of rage, there’s a cross-cut to an angry ocean. Close shots of the earth create a claustrophobia like being buried alive. The soundtrack features heavy drums that bring to mind a primal call from an ancient tribe, the pulsing throb of a heartbeat. Moll says it’s Pascal’s smell that incites the attraction, as though they’re just a couple of animals with no choice but to mate -- their fate caught like a clump of golden thread in a spindle."
Danielle White, The Austin Chronicle 

"An Irish musical theater star who recently made a strong impression in the BBC’s 'War and Peace' miniseries, Buckley reveals great, gutsy range here, pivoting from otherworldly ingenuousness to headlong carnal euphoria to agonized outcast with nary a lapse in credibility. Pearce, meanwhile, pulls off a tricky high-wire act of his own, keeping the film’s whodunnit structure tightly screwed without lapsing too far into genre contrivance -- with the many, varied screeches and squeaks of Jim Williams’ terrifically rattling score lending a significant hand in this regard. Despite its most lurid trappings, 'Beast' is, first and foremost, an inquisitive and empathetic character study, focused on the psychologically possessive qualities of belatedly unleashed sexuality."
Guy Lodge, Variety 

BREAKING IN - Johnny Klimek
"Mamma Mia! One day a self-sacrificing Joan Crawford is taking the rap for her bratty daughter in the melodramatic film noir 'Mildred Pierce,' the next Faye Dunaway is channeling her as she hysterically swats yet another bratty daughter with a coat hanger in the jaw-dropping 'Mommie Dearest.' More often than not, today’s movie mom takes her cue from Sigourney Weaver’s ferocious lioness in 'Aliens,' a force of nature who’ll stop at nothing to protect her cubs. In the better-than-expected home invasion thriller 'Breaking In,' a plucky Gabrielle Union (who also co-produced the film) plays an ordinary mom faced with the unimaginable task of rescuing her two children from a crew of burglars holding them hostage in her late father’s isolated lake house. With more than a passing nod to the far classier 'Panic Room,' this derivative seat-squirmer has a few good moments in spite of Johnny Klimick’s annoying score, its energy powered by the raw determination of its Mother Courage. Union’s Shaun Russell may not possess the superhuman powers of 'Wonder Woman,' but she’s a formidable adversary nonetheless, a fearsome warrior armed with a fierce maternal instinct serving as both a weapon and a shield."
Steve Davis, The Austin Chronicle 
"Maybe the movie doesn't invest much thought to these booby-traps because it's eager for the moment when Dillon reconsiders his disavowal of firearms. Certainly, Shackleton treats the retrieval of Dillon's old revolver as if he were unearthing a holy relic. (Michael Thomas' stock-heroic score swells with similar reverence at the sight of his Ranger badge.) But the payoff, such as it is, is soured by a needless bit of antiheroics that is poorly staged and jibes with nothing else in the screenplay."
John DeFore, The Hollywood Reporter 


"Carl Theodor Dreyer practically invented the cinematic art of crying with his Maria Falconetti–starring 1928 study 'The Passion of Joan of Arc.' Ninety years later, French director Bruno Dumont is paving the way for heavy-metal hair whipping with his own take on the saint’s story, 'Jeannette: The Childhood of Joan of Arc.' It’s telling that even the title sets itself apart from previous Joan of Arc films; Dumont won’t show us Joan at trial, or even at the stake, that immolation that has fascinated filmmakers since Georges Méliès’s 'Jeanne d’Arc' in 1899. Instead, we first see Joan as a child (played by Lise Leplat Prudhomme) and then in the second half as an adolescent (played by Jeanne Voisin) as she prays, tends flock, and prepares for battle. But what really sets it apart is that nearly the entire film is sung and set to the caterwauling guitars of French experimental musician Igorrr. Yes, this is a heavy metal Joan of Arc musical."
Kristen Yoonsoo Kim, The Village Voice 

"For art-film fiends, there’s an obvious point of comparison in the work of Jean-Marie Straub and the late Danièle Huillet, whose boldly original debut feature, 'The Chronicle Of Anna Magdalena Bach,' toured in a restoration earlier this year: the focus on critical adaptation and text, the emphasis on natural landscape, the conscious stiffness. (Straub and Huillet had a sense of humor, too.) But like 'Slack Bay,' which lampooned 'Ordet' in a subplot, it’s also 'in conversation' with the films of Carl Theodor Dreyer -- in this case, 'The Passion Of Joan Of Arc,' for which it serves as the craziest kind of fan-fiction prequel. One might also point to the medieval European tradition of portraying religious figures in what was then modern dress as another conceptual influence. Because Jeannette, which is staged largely outdoors, has the basic shape of a two-act medieval religious play, with a Sunday-school vibe that’s further underscored by the casting (mostly kids and teenagers, all non-professional), off-key singing, awkwardly choreographed dancing, and burlap-bag costumes. But the ludicrous score (by the French black-metal and breakcore musician Gautier Serre, a.k.a. Igorrr) is nobody’s idea of pop idiom or even good taste."
Ignatiy Vishnevetsky, The Onion AV Club 
"Please bear with me while I try to explain why writer/director Bruno Dumont ('Slack Bay,' 'Lil Quinquin') and his collaborators deserve the benefit of the doubt. Make up your minds later: just keep an open mind for now. Firstly, an apology: you could, theoretically, get distracted by any number of things in this film, like stiff acting, generic music, or blocky dialogue. These things do, admittedly, make it harder to focus on the essence and not the artifice of Dumont's project. But that often seems to be the point of 'Jeannette:' you have to grapple with the dual impulse to seriously consider and/or roll your eyes at the title heroine, a girl whose relationship with God is expressed through childish rhetorical questioning and child-like dancing and singing. She skips, jumps, and spins around whenever she's not head-banging. And she asks God if He was right to send Christ down to Earth -- 'Could you have sent your son in vain? And could Jesus have died in vain?' -- before admonishing other children her age: 'Until war is killed, we have to work.' Her best friend Hauvette (Lucile Gauthier) tries to placate her: 'You must be suffering to call God to account.' But this child cannot be shaken from her conviction that only a peaceful land can be saved."
Simon Abrams, 
"On the technical side of the production, the playbook for 'Jeannette' is adapted verbatim from a pair of turn-of-the-century novels written by Charles Péguy, while the music is composed by French electro-pop act IGORRR. According to Dumont, the artist was chosen for ability to 'switch in a second from Scarlatti to heavy metal.' As far as this style concerns 'Jeannette,' the composer’s repetitive schtick is mostly set to 'headbang' with a few softer moments interspersed. Each song offers up a few power chords, some double-bass drumming and dance breakdowns, but -- indispensable for a musical -- no single track stands out, with each musical moment blending in with the next as they cycle through a grab bag of sonic stunts. Dumont’s most popular French predecessor in the 'wall of sound' approach to the genre is 'The Umbrellas of Cherbourg' (albeit a tenuous pairing, otherwise). However, the success of Jacques Demy’s film is built in part on the vitality of a handful its score’s themes, and comparing the two it’s clear IGORRR brings nothing of the like to 'Jeannette.' Dumont’s fidelity to Péguy’s classic works has drawn comparisons to the challenging corpus of directing duo Jean-Marie Straub and Danièle Huillet. The pair is known for their exacting use of music and treatment of history, and the director of 'Jeannette' acknowledges Straub-Hullet’s 'Moses and Aaron' as an antecedent to his own use of live sound during production. The feat might have been an impressive technical accomplishment if the poetry of the lyrics weren’t washed away in the noise before any meaning might take hold. By that token, the cumulative effect of the music and lyrics suggests about as much substance as one would expect from a local Christian hardcore band. It’s unclear exactly what Dumont wishes to accomplish by resurrecting Joan of Arc and drawing upon the nationalistic sentiment that the historical figure signifies, particularly at such an uneasy political moment. It comes off as just another shallow provocation, and one tailor-made for French audiences."
Bradley Warren, The Playlist

"However, characterizing this minimalist gimmick as a 'musical' doesn’t even begin to convey its bizarre nature. Dumont’s story unfolds against two time periods -- one, as an adolescent Jeanette grapples with a crisis of faith and ponders how she can help her struggling people, and another years later as the teen decides to leave her rural village of Domremy to save France from an English invasion. But it’s not really a story so much as a series of hard-rocking melodies by French death metal rocker IGORR; the songs are delivered by amateur performers with ironic distance, and set against a gorgeous desert landscape where you’d never expect to see pious figures in medieval wear head-banging to distorted chords. But that’s 'Jeanette' in a nutshell. Once the premise settles in, 'Jeanette' doesn’t push the material much further, and the movie’s repetitive quality has the odd effect of normalizing its outrageous approach. Fortunately, IGORR’s soundtrack is a competent, album-length range of soulful declarations. More importantly, Dumont is fresh from his bigger, wackier surrealistic effort 'Slack Bay,' and knows exactly what he’s doing, so no matter its peculiar qualities, 'Jeanette' is a prankish exploration of real ideas from a world-class filmmaker who knows how to deliver a well-timed lark as much as a sophisticated drama (as he did most recently with the crime investigation miniseries 'Li’l Quinquin'). If 'Jeanette' is a B-side to Dumont’s more layered achievements, it’s still unquestionably his voice."
Eric Kohn, IndieWire 

"In 'Jeannette: The Childhood of Joan of Arc,' the pitchy singing of young girls within static tableaux is such a constant that it’s hard to gauge Dumont’s intent: humor, awe at the sheer gusto of it at all, or a genuine theatrical expression of an inner world. Typical of the filmmaker’s slippery, multifaceted cinema, there’s room for all three responses here, as the adolescent version of France’s supreme religious icon (initially played by Lise Leplat Prudhomme, then by Jeanne Voisin when the character ages three years) bounds across the screen belting out verses from longwinded Charles Péguy poetry to an equally longwinded prog-metal score by French musician Igorrr. The year is 1425, and Jeannette is experiencing an awakening of spiritual and political conscience as British forces ravage her nation’s people miles away in the heart of the Kingdom of France. Prudhomme, with her crooked teeth and unkempt long hair blowing in the salty winds of Dumont’s beloved northern France, betrays a guilelessness that very nearly passes for visionary clairvoyance, at least when the actress isn’t eyeing the ground to find her marks. Jeannette escalates in hilarity in this final passage, finally departing from its remote location to visit its heroine’s lurid domestic life. Though the narrative’s macro focus on a crisis of Christian faith and its consequence of extreme action places the film squarely in Dumont’s thematic wheelhouse, it’s not until this narrative diversion that 'Jeannette' genuinely feels like a product of the director’s staging. In a nightmarish snapshot of quotidian labor at the rustic d’Arc homestead, we witness the peculiar antics of Jeannette’s family. Durand’s erratic physicality, which encompasses a variety of unorthodox hip-hop-influenced gestures that follow along with the beat of the continuous musical accompaniment (Leclaire is an aspiring rapper, so perhaps he’s auditioning his moves), is contrasted with that of Jeannette’s parents, who appear caught in exaggerated domestic routines. In one Monty Pythonesque tableau, mother Isabeau (Régine Delalin) picks at the feathers of her chicken like a possessed maniac while Durand ecstatically cuts a rug in the background. 'Slack Bay' staged a similar conflict between the integrity of youth and the neuroses and repressions of the adult world, but here that tension is pushed even further beyond credibility by the excesses of the ensemble. For all its natural beauty and genuine sense of surprise, however, this is a film handicapped by Igorrr’s uniquely terrible music, a near-constant formless riffing that alternately suggests reheated Evanescence tracks, Raffi sing-alongs, and the electronic tinkerings of a GarageBand apprentice. Where the silences in between words in Dumont’s cinema used to be filled with spacious field sounds and feelings of unspoken dread, now they’re stuffed with skittering breakbeats and doomy double-bass-pedal hammering. It’s true that the disorientation produced in the collision of Igorrr’s frenetic style-mashing and Dumont’s unadorned long-take aesthetic ensures that the film feels remarkably distinct from prior cinematic adaptations of Joan of Arc’s life, but it’s also hard not to wonder how this particular story might have played without the farfetched musical conceit grafted atop it. As it stands, 'Jeannette' is admirable in its defiance of recognizable modes and its naked showcase of Dumont’s exploding imagination, but it’s a tedious novelty indeed."
Carson Lund, Slant Magazine 
"Set in the sandy terrain of Dumont’s native Calais region, not far from the northern French coast, 'Jeannette' takes the words of French poet Charles Péguy’s 'The Mystery of the Charity of Joan of Arc' (an obscure play, seldom produced) and sets them to music. But not just any music -- intense, eardrum-rattling death metal, with a bit of a freestyle rap thrown in for good measure. Granted, young Joan’s emotions ran strong, but one can’t help but laugh when the 8-year-old shepherd girl starts head-banging to the beat of a holy drum. Looking like one of the burlap-clad shepherds in a grammar-school Christmas pageant, Prudhomme probably ought to be dancing to Justin Bieber, not hardcore heavy-metal anthems by the likes of IGORRR, the unclassifiable French electro-pop artist whose anarchic, over-the-top mix of instruments and musical styles comes out sounding like so much retro noise pollution -- although, to be fair, at the time it was composed, much of what we now consider 'classical music' had a similarly confrontational sound. Rather than studying what works in other musicals (specifically in the transition from spoken dialogue to song-and-dance), Dumont does his own thing, cuing songs out of thin air and recording the vocals live, instead of lip-syncing them later. The music comes on at full blast, with no visual device or lead-in to prepare the audience, forcing awkward chuckles when what we ought to feel is rapture."
Peter Debruge, Variety
"As this is a Dumont movie, the performers are all unknown but definitely have some pipes -- except perhaps for one rapping teenager (Durand Lassois) who plays Jeannette’s uncle, and who seems to have emerged straight out of Dumont Central Casting. Luckily he's also there to provide some comic relief, including a classic horse-and-saddle gag, as well as a scene where, as composer Igorrr’s music blares on the soundtrack, the kid dabs and hands-spins in the background while someone plucks a chicken. But 'Jeannette' isn’t all fun and games, even if it’s hard to tell at times whether Dumont isn’t slightly mocking Peguy and his deeply Catholic-nationalistic beliefs by having his play interpreted by a bunch of kids dancing around in costumes. On the other hand, the utter seriousness, if not devoutness, with which those kids perform, can be fairly mesmerizing to watch, especially when the music accelerates into a speed metal jam and Jeanette starts to headbang, her hair swinging up and down in religious ecstasy."
Jordan Mintzer, The Hollywood Reporter 

LET THE SUNSHINE IN - Stuart A. Staples
"'Let the Sunshine In' again finds Denis working with her regular collaborators on picture and sound, director of photography Agnés Godard and composer Stuart A. Staples of the band Tindersticks. Regrettably, the project gives neither talent a great deal to chew on; the majority of the film is a string of conversations composed in a series of close-ups and two-shots. Godard does her best to keep things interesting, most notably in an early scene with Xavier Beauvois and Juliette Binoche in a upscale bar. In an extended take, the camera pans back and forth between tight framings of the two as he pompously expounds on the nature of their relationship. When the banker finally states that he’ll never leave his wife, the framing shifts to a two-shot, draining the moment of any illusions of romantic intimacy. Throughout this long take, the yellow mood lighting of the bar keeps the shot visually pleasant, but it would be a stretch to describe this encounter -- or any other in the film, for that matter -- as 'atmospheric' in the fashion that audiences have come to expect from Denis. This extends to Staples’ largely anonymous score, which is only lightly applied and is of a piece with the jazz music that dominates the spaces that Isabelle frequents."
Bradley Warren, The Playlist 

"Confined mostly to dialogue sequences, 'Sunshine' lacks the visual oomph of Denis' best films and feels closest to 2002's 'Vendredi soir,' another more character-based effort. Regular DP Agnes Godard nonetheless captures some of the gray sadness of the Paris settings, while a jazzy score by the Tindersticks' Stuart A. Staples adds to the gloomy tone. For admirers of Denis, it's probably not a shock that she hasn't made the cheeriest comedy in history. What's surprising is how much her jokes can touch us."
Jordan Mintzer, The Hollywood Reporter 

"Sean Bobbitt’s stunning lighting simultaneously creates a feeling of the times as it leads away into psychological realms, like the iconic shot of Edward standing alone, a small figure on the beach, and gazing after Florence’s retreating figure. Dan Jones’ music track is right on cue between pieces of Schubert and songs by Chuck Berry."
Deborah Young, The Hollywood Reporter 

"Dogs also feature in Roskam’s previous Brooklyn-set feature 'The Drop,' which again boasted a lead performance that elevated its less convincing twists: perhaps canines and casting are emerging as the most impressive elements of the Belgian director’s style. Though the velvety, low-lit cinematography and slightly throwback scoring, not to mention Schoenaerts ability to look like an off-duty tennis pro one moment and a tortured bad-boy the next, as well as Exarchopoulos’ facility for wearing the hell out of a cable-knit sweater, mean that 'Racer and the Jailbird' also looks and sounds silkily, seedily delicious."
Jessica Kiang, The Playlist 

THE SEAGULL - Nico Muhly, Anton Sanko
"'The Seagull' has been 'opened up' so that some scenes play outdoors, and that works well because these characters are supposed to be amidst nature on a country estate. This mobility helps keep the material fluid, as does the very hard-working score by Nico Muhly and Anton Sanko, which becomes particularly ominous before Konstantin’s attempted suicide (what sounds like a mixed male and female chorus starts to shriek on the soundtrack). But the most impressive thing about this film of 'The Seagull' is that every role has been ideally cast."
Dan Callahan, The Wrap
"Whether you know the play well or are experiencing it for the first time, you may well find yourself asking, What was Mayer hoping to achieve? Despite the gift of Chekhov’s words (as adapted by Stephen Karam) and a noteworthy cast (which also boasts 'House of Cards' actor Corey Stoll as celebrated writer Tregorin), the play has been transformed into a whirling pinwheel of busy activity and swooping camera moves, brusquely cut and energetically scored to suggest a kind of urgency that’s entirely at odds with its setting, which remains the far-from-Moscow remove of a 19th-century Russian estate."
Peter Debruge, Variety
"Mayer accentuates the actors' fine work by endlessly filling the screen with close-ups that bring an intense intimacy to the proceedings. Despite its low budget, the film looks terrific, thanks to the evocative upstate New York locations, Matthew J. Lloyd's sun-dappled cinematography making extensive use of natural light, Jane Musky's detailed production design and Ann Roth's handsome period costumes. The musical score by contemporary classical composer Nico Muhly and Anton Sanko, the latter of whom has written the music for several horror films including 'Ouija' and 'Jessabelle,' successfully adds to the tense atmospherics."
Frank Scheck, The Hollywood Reporter
THE WAVE - Eldad Guetta, Kirk Spencer
"Long is always watchable, though his primarily reactive character doesn’t really give the actor a lot of room for idiosyncrasy. Support turns are nicely handled if variably caricatured. The accomplished packaging is highlighted by Lana Wolverton’s adept editing and appropriately spectral original music contributions by Eldad Guetta and Kirk Spencer."
Dennis Harvey, Variety 


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

January 24
THE CAT O'NINE TAILS (Ennio Morricone) [Cinematheque: Egyptian]
THE DEAD ZONE (Michael Kamen) [Vista]
FRIGHT NIGHT (Brad Fiedel) [New Beverly]
MEPHISTO (Zdenko Tamassy), CONFIDENCE [Cinematheque: Egyptian]
NAKED LUNCH (Howard Shore) [Fairfax Cinema]
THE ROAD WARRIOR (Brian May) [Fairfax Cinema]
STAGECOACH (Richard Hageman, Frank Harling, John Leipold, Leo Shuken), MEEK'S CUTOFF (Jeff Grace) [Cinematheque: Aero]
SWEET SMELL OF SUCCESS (Elmer Bernstein) [Fairfax Cinema]
THX-1138 (Lalo Schifrin) [Alamo Drafthouse]

January 25
BATMAN: MASK OF THE PHANTASM (Shirley Walker) [Vista]
CREEPSHOW (John Harrison) [Vista]
GOODFELLAS [New Beverly]
HOWL'S MOVING CASTLE (Joe Hisaishi) [New Beverly]
THE MAN WHO SHOT LIBERTY VALANCE (Cyril Mockridge), SANJURO (Masaru Sato) [Cinematheque: Aero]
NAKED LUNCH (Howard Shore) [Fairfax Cinema]
OPERA, A BLADE IN THE DARK (Guido & Maurizio DeAngelis), TORSO (Guido & Maurizio DeAngelis), THE BLACK CAT (Pino Donaggio), WHAT HAVE THEY DONE TO YOUR DAUGHTERS? (Stelvio Cipriani) [Cinematheque: Egyptian]
RICHARD [Cinematheque: Egyptian]
THE ROAD WARRIOR (Brian May) [Fairfax Cinema]
SWEET SMELL OF SUCCESS (Elmer Bernstein) [Fairfax Cinema]
TOY STORY (Randy Newman), TOY STORY 2 (Randy Newman), TOY STORY 3 (Randy Newman) [Cinematheque: Aero]

January 26
HOWL'S MOVING CASTLE (Joe Hisaishi) [New Beverly] 
THE LAST OF SHEILA (Billy Goldenberg) [Cinematheque: Egyptian]
NAKED LUNCH (Howard Shore) [Fairfax Cinema]
NIGHT TRAIN TO MUNICH [Cinematheque: Egyptian]
ONCE UPON A TIME IN THE WEST (Ennio Morricone), MY DARLING CLEMENTINE (Cyril Mockridge) [Cinematheque: Aero]
RAIDERS OF THE LOST ARK (John Williams) [Arclight Culver City]
THE ROAD WARRIOR (Brian May) [Fairfax Cinema]
SWEET SMELL OF SUCCESS (Elmer Bernstein) [Fairfax Cinema]
THE WHOLE SHOOTIN' MATCH (Chuck Pinnell), NORTHERN LIGHTS (David Ozzie Ahlers) [UCLA] 

January 27
BLADE RUNNER (Vangelis) [Arclight Culver City]
BLADE RUNNER (Vangelis) [Arclight Sherman Oaks]
HEAVEN KNOWS WHAT (Paul Grimstad, Ariel Pink) [Alamo Drafthouse]
KLUTE (Michael Small) [New Beverly]
RAIDERS OF THE LOST ARK (John Williams) [Arclight Hollywood]

January 28
CAPE FEAR (Bernard Herrmann, Elmer Bernstein) [Cinematheque: Aero]
THE GUEST(Steve Moore) [Alamo Drafthouse]
2001: A SPACE ODYSSEY [Arclight Hollywood]
THE WORLD OF HENRY ORIENT (Elmer Bernstein) [Royal]

January 29
JACK AND JILL (Rupert Gregson-Williams) [Alamo Drafthouse]
NETWORK (Elliot Lawrence) [New Beverly]
ORCA (Ennio Morricone), NIGHTWING (Henry Mancini), PROPHECY (Leonard Rosenman) [New Beverly]

January 30
ANACONDA (Randy Edelman) [Alamo Drafthouse]
MEAN STREETS [Cinematheque: Aero]
ORCA (Ennio Morricone), NIGHTWING (Henry Mancini), PROPHECY (Leonard Rosenman) [New Beverly]

January 31
FRANKENSTEIN MUST BE DESTROYED (James Bernard) [Fairfax Cinema]
FRIDAY THE 13TH PART V: A NEW BEGINNING (Harry Manfredini) [New Beverly]
THE HIDDEN FORTRESS (Masaru Sato) [Alamo Drafthouse]
MEET JOE BLACK (Thomas Newman) [Alamo Drafthouse]
THE MISFITS (Alex North) [Fairfax Cinema]
MR. SMITH GOES TO WASHINGTON (Dimitri Tiomkin), YOUNG MR. LINCOLN (Alfred Newman) [Cinematheque: Aero]
PAPRIKA (Susumu Hirasawa) [Vista]
RASHOMON (Fumio Hayasaka) [Arena CineLounge]
SCOTT PILGRIM VS. THE WORLD (Nigel Godrich) [Nuart]
STRANGE SHADOWS IN AN EMPTY ROOM (Armando Trovajoli) [Cinematheque: Egyptian]

February 1
FRANKENSTEIN MUST BE DESTROYED (James Bernard) [Fairfax Cinema]
THE MISFITS (Alex North) [Fairfax Cinema]
THE SEARCHERS (Max Steiner), SAVING PRIVATE RYAN (John Williams) [Cinematheque: Aero]
THIS IS NOT A TEST (Greig McRitchie) [Cinematheque: Egyptian]
TO DIE FOR (Danny Elfman) [Alamo Drafthouse]

February 2
FRANKENSTEIN MUST BE DESTROYED (James Bernard) [Fairfax Cinema]
THE GRAPES OF WRATH (Alfred Newman), THE OX-BOW INCIDENT (Cyril Mockridge) [Cinematheque: Aero]
HORSE FEATHERS [Cinematheque: Egyptian]
LONG SHOT (Marco Belrami, Miles Hankins) [Alamo Drafthouse]
THE MISFITS (Alex North) [Fairfax Cinema]
MY DINNER WITH ANDRE [Cinemathque: Egyptian]
PUTNEY SWOPE (Charley Cuva) [Cinematheque: Egyptian]
THIRST (Cho Young-wuk) [Alamo Drafthouse]

Heard: The Wedding Singer (Sklar), The Art of The Theremin (Rockmore), The Wild Wild West (various)

Read: still more of The Waste Lands: The Dark Tower III, by Stephen King

Seen: Bad Boys for Life; all of the 2019 Oscar-nominated Documentary, Animated and Live Action short films; Hangover Square; Dolittle; Unconquered; Reap the Wild Wind; The Cave [2019]

Watched: Voyage to the Bottom of the Sea ("Turn Back the Clock"), Columbo ("Undercover")

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Today in Film Score History:
September 24
Bernard Herrmann begins recording his score to Joy in the Morning (1964)
Billy Goldenberg records his score for the Amazing Stories episode "What If...?" (1986)
Douglas Gamley born (1924)
Jay Chattaway begins recording his score for the two-part Star Trek: The Next Generation episode “Gambit” (1993)
Jerry Goldsmith begins recording his score for Baby: Secret of the Lost Legend (1984)
Jerry Goldsmith begins recording his score for Star Trek - The Motion Picture (1979)
Leonard Salzedo born (1921)
Michael Tavera born (1961)
Paul Baillargeon records his score for the Star Trek: Enterprise episode “Rajiin” (2003)
Richard Markowitz records his score for The Wild Wild West episode “The Night of Sudden Death” (1965)
Richard Shores records his score for The Wild Wild West episode “The Night of the Kraken” (1968)
Walter Scharf records his score for the Mission: Impossible episode “The Survivors” (1967)
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