Thanksgiving has come early this year for soundtrack collectors!
Traditionally, La-La Land announces its annual batch of much-anticipated "Black Friday" releases the day after Thanksgiving, but this year they announced them on the first of November -- a two-disc edition of THE GODFATHER PART II, featuring Nino Rota's complete score plus the additional music by Carmine Coppola (both composers shared the Original Score Oscar that year); a three-disc edition of SPIDER-MAN 2, featuring an expanded version of Danny Elfman's score plus additional cues composed by John Debney and Christopher Young; and a two-disc edition of the score for JURASSIC PARK III, composed by Don Davis featuring new Davis themes as well as the classic themes from the series by John Williams.
The latest releases from Quartet are a new edition of Ennio Morricone's score for THE DESERT OF THE TARTARS, the 1976 military drama which features practically every male European star from the era - Jacques Perrin, Vittorio Gassman, Helmut Griem, Fernando Rey, Philippe Noiret, Jean-Louis Trintignant and Max von Sydow; an expanded edition of Riz Ortolani's score for the 1971 "Mondo" movie GOODBYE UNCLE TOM; and Victor Reyes' score for the new film ESCAPE, which re-teams him with director Rodrigo Cortes (Buried, Red Lights).
The lastest releases from Music Box are a remastered edition of one of Bernard Herrmann's last great scores, for Brian De Palma's 1973 thriller SISTERS; the first release of Philippe Sarde's score for the 2006 drama LE GRAND MEAULNES; and an expanded edition of Ennio Morricone's score for LE RUFFIAN.
CDS AVAILABLE THIS WEEK
Europa Centrale - Zbigniew Preisner - Caldera
IN THEATERS TODAY
The Best Christmas Pageant Ever - Dan Hasseltine, Matthew S. Nelson
Christmas Eve in Miller's Point - Sebastien Pan
Elevation - H. Scott Salinas
Heretic - Chris Bacon
Meanwhile on Earth - Dan Levy
Pedro Paramo - Gustavo Santaolalla
The Piano Lesson - Alexandre Desplat
Small Things Like These - Senjan Jansen
Weekend in Taipei - Matteo Locasciulli
COMING SOON
November 15
Coraline - Bruno Coulais - Mnrk Music
Gladiator II - Harry Gregson-Williams - Verve
The Godfather Part II - Nino Rota, Carmine Coppola - La-La Land
Jurassic Park III - Don Davis - La-La Land
The Matrix: 25th Anniversary Edition - Don Davis - Varese Sarabande
Spider-Man 2 - Danny Elfman - La-La Land
November 22
Avatar: The Last Airbender - Book I: Water - Jeremy Zuckerman - Republic Kids
Nosferatu - Robin Carolan - Sacred Bones
December 13
Anche gli angeli mangiani fagioli/Anche gli angeli tirano di destro - Guido & Maurizio De Angelis - Beat
For a Few Dollars More - Ennio Morricone - Beat
Outlander: Season 7 - Bear McCreary - Sony
RoboCop 3: The Deluxe Edition [reissue] - Basil Poledouris - Varese Sarabande
January 3
The Boy, the Mole, the Fox and the Horse - Isobel Waller-Bridge - Sony (import)
January 10
The Outrun - John Gurtler, Jan Miserre - Decca (import)
January 31
The World of Hans Zimmer Part II: A New Dimension - Hans Zimmer - Sony
Coming Soon
Beetlejuice Beetlejuice - Danny Elfman - Waxwork
The Desert of the Tartars - Ennio Morricone - Quartet
Escape - Victor Reyes - Quartet
The Golden Age of Horror Vol. 1 - Elisabeth Lutyens - Dragon's Domain
Goodbye Uncle Tom - Riz Ortolani - Quartet
I, Desire - Don Peake - Dragon's Domain
The Intruder Within/Starcrossed - Gil Melle - Dragon's Domain
Le Grand Meaulnes - Philippe Sarde - Music Box
Le ruffian - Ennio Morricone - Music Box
Lo Squartatore di New York (The New York Ripper) - Francesco De Masi - Beat
Metello - Ennio Morricone - Beat
Night of the Living Dead - Paul McCullough - Dragon's Domain
The Room Next Door - Alberto Iglesias - Quartet
Sisters - Bernard Herrmann - Music Box
THIS WEEK IN FILM MUSIC HISTORY
November 8 - Arnold Bax born (1883)
November 8 - Mark Suozzo born (1953)
November 8 - The Ten Commandments opens in New York (1956)
November 8 - Nicholas Carras records his score for She Demons (1957)
November 8 - Gerald Fried records his score for the Lost in Space episode "Castles in Space" (1967)
November 8 - Robert Drasnin records his score for the Mission: Impossible episode “Nerves” (1971)
November 8 - Patrick Williams records his score for The Streets of San Francisco episode “In the Midst of Strangers” (1972)
November 8 - Gino Marinuzzi Jr. died (1996)
November 9 - Roger Edens born (1905)
November 9 - Burrill Phillips born (1907)
November 9 - Gabriel Migliori born (1909)
November 9 - Jerry Goldsmith begins recording his score for Lonely Are the Brave (1961)
November 9 - Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “The X Factor” (1965)
November 9 - Lalo Schifrin begins recording his score for Sol Madrid (1967)
November 9 - Johnny Harris records his score for The New Adventures of Wonder Woman episode “Skateboard Wiz” (1978)
November 9 - Dave Grusin begins recording his score for Tootsie (1982)
November 9 - Alfred Ralston died (1988)
November 9 - Yves Baudrier died (1988)
November 9 - Stanley Myers died (1993)
November 9 - Paul Baillargeon records his score for the Star Trek: Deep Space Nine episode “The Siege of AR-558” (1998)
November 10 - Mischa Bakaleinikoff born (1890)
November 10 - Philip Sainton born (1891)
November 10 - Carl Stalling born (1891)
November 10 - Billy May born (1916)
November 10 - Ennio Morricone born (1928)
November 10 - Victor Young died (1956)
November 10 - Sylvain Chomet born (1963)
November 10 - Richard LaSalle records his score for the Land of the Giants episode “A Place Called Earth” (1969)
November 10 - Robert Gulya born (1973)
November 10 - Julian Wass born (1981)
November 10 - Michel Colombier begins recording his replacement score for The Golden Child (1986)
November 10 - Bruce Broughton records his score for the Amazing Stories episode "Thanksgiving" (1986)
November 10 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “The Child” (1988)
November 10 - Recording sessions begin for Christopher Young’s score for Hush (1997)
November 11 - Jerome Kern died (1945)
November 11 - Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “Blow Up” (1967)
November 11 - Dimitri Tiomkin died (1979)
November 11 - Bruce Broughton records his score for the Amazing Stories episode "Gather Ye Acorns" (1985)
November 11 - Alex North records his score for Good Morning, Vietnam (1987)
November 11 - Morton Stevens died (1991)
November 11 - Dennis McCarthy records his score for the Star Trek: Enterprise episode “Future Tense” (2003)
November 11 - John Frizzell records his score for the Star Trek: Enterprise episode “The Forge” (2004)
November 11 - Eddie Horst died (2010)
November 12 - Bob Crewe born (1930)
November 12 - Mort Shuman born (1938)
November 12 - Booker T. Jones born (1944)
November 12 - Neil Young born (1945)
November 12 - Kenyon Hopkins begins recording his score for The Fugitive Kind (1959)
November 12 - Richard Markowitz records his first Mission: Impossible score, for the episode “The Mind of Stefan Miklos” (1968)
November 12 - David Shire records his score for The Godchild (1974)
November 12 - Alan Silvestri begins recording his score for Clean Slate (1993)
November 12 - Velton Ray Bunch records his score for the Star Trek: Enterprise episode “Similitude” (2003)
November 12 - John Tavener died (2013)
November 12 - Karl-Ernst Sasse died (2006)
November 13 - Leonard Rosenman begins recording his score for Hell Is For Heroes (1961)
November 13 - Andre Previn begins recording his score to Dead Ringer (1963)
November 13 - Maurice Ohana died (1992)
November 13 - David Bell records his score for the Star Trek: Deep Space Nine episode “The Sword of Kahless” (1995)
November 13 - Carlo Rustichelli died (2004)
November 14 - Aaron Copland born (1900)
November 14 - Alden Shuman born (1924)
November 14 - Edmund Meisel died (1930)
November 14 - Wendy Carlos born (1939)
November 14 - Jean-Claude Petit born (1943)
November 14 - Yanni born (1954)
November 14 - Tom Judson born (1960)
November 14 - Stuart Staples born (1965)
November 14 - Alexander Courage records his score for the Voyage to the Bottom of the Sea episode “The Lost Bomb” (1966)
November 14 - Dave Grusin begins recording his score for The Scorpio Letters (1966)
November 14 - Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “A Time to Die” (1967)
November 14 - Basil Poledouris records his score for the Twilight Zone episode “Song of the Younger World” (1986)
November 14 - Dennis McCarthy records his score for the Twilight Zone episode “Voices in the Earth” (1986)
November 14 - Sol Kaplan died (1990)
November 14 - Michel Colombier died (2004)
November 14 - Irving Gertz died (2008)
DID THEY MENTION THE MUSIC?
CONCLAVE - Volker Bertelmann
"Adapted from Robert Harris’ novel by Peter Straughan ('Tinker Tailor Soldier Spy'), 'Conclave' begins on the day of the sitting pope’s unexpected passing. Before the title even appears, Berger and his DP Stéphane Fontaine lens the mournful proceedings with relentless precision -- a blend of immersive long takes and nervy cuts -- until the pope is finally in a body bag, reinforcing the defining quality of the movie that we’re about to see: an artful, well-choreographed, inch-by-inch exactness that also anchored Berger’s brilliant Oscar winner, 'All Quiet On The Western Front.' Don’t be fooled by how tedious the premise of finding a new pope might sound on paper. In Berger’s studious and elegant hands, every ceremoniously cast vote, every reaction shot, every severely worn regalia and every quietly eventful meal that the cardinals share is packed with breathless, skin-prickling suspense. That temperament is escalated by Oscar-winning composer Volker Bertelmann’s gorgeous and formidable strings, that slyly switch between staccato beats and restless seesaw-y cadences. And there is plenty of humor amid the bureaucratic machinations, too -- just picture a sternly garbed cardinal operating a loud, posh espresso maker in the holiest and most old-fashioned of settings."
Tomris Laffly, AV Club
"Much of the movie is confined to the red and gray marble corridors where the cardinals sleep at night, the nuclear bunker-like design of which helps deepen the impression that the fate of the outside world is at stake. The rest takes place in less oppressive spaces, where the various rounds of voting are interrupted by bombshell accusations worthy of US Weekly. Pushing against the unavoidable talkiness of Peter Straughan’s (piously faithful) script, Berger keeps the blood pumping with a forcefully gliding camera, a handful of static compositions so painterly they could be hung on the walls of the Vatican, and a Volker Bertelmann violin score so loud and oppressive that it sounds like it’s lobbying for a vote. When that doesn’t work, Isabella Rossellini is on hand to appear as the glowering Sister Agnes, who puts the fear of God back in any cardinals who might be worshiping at the altars of their own ambition."
David Ehrlich, IndieWire
"The cloistered politicking devolves into lunchroom antics and social warfare akin to a high school movie, but this swirling whirlpool of interpersonal drama is grounded by the pomp and circumstance of centuries-old ritual: garments and ballots and hierarchy. However, director Berger ('All Quiet on the Western Front') takes a modern approach to the film’s style. Production designer Suzy Davies delivers a set of dramatic reds, whites and blacks -- harsh, shiny surfaces with a certain coldness. Cinematographer Stéphane Fontaine utilizes the unique scale and scope of the Vatican to deliver breathtaking compositions and slowly-creeping zooms that add to the pressure of the claustrophobic atmosphere. The slashing strings of composer Volker Bertelmann’s score ably convey the stakes of the situation."
Katie Walsh, Los Angeles Times
"Reuniting with his 'All Quiet on the Western Front' team, Berger sculpts a slow burn of a thriller that climaxes with marvelous effect. Considering that most of the film occurs inside, at one expanded location, Berger’s eye and cinematographer Stéphane Fontaine’s camerawork make sure that a story that could have seemed claustrophobic feels more cinematic than anyone would expect. Nick Emerson‘s editing is absolutely killer, while Volker Bertelmann‘s original score soars when it needs to and never overwhelms the narrative fireworks onscreen."
Gregory Ellwood, The Playlist
"Though 'Conclave' plays like a thriller, with disorienting jump cuts and a tense string score to match, what makes it so compelling are its insights into the embattled institution, whose past leaders have included a former member of the Hitler Youth (Pope Benedict XVI) and those who covered up sex abuse cases (Pope John Paul II). Straughan’s script acknowledges as much, and while it’s not as philosophically satisfying as the imagined conversation of 'The Two Popes' a few years back, it does articulate -- in no fewer than four languages, including Latin -- how the church must evolve in order to remain relevant to a fast-evolving world, allowing Benitez (Carlos Diehz), a soft-spoken cardinal from Kabul, of all places, to enlighten the others."
Peter Debruge, Variety
"Berger does a fine job controlling all of these performances, and he also creates a rich atmosphere for the production. The Sistine Chapel and other parts of the Vatican were reconstructed at Cinecitta Studios, brought to life by cinematographer Stephane Fontaine and production designer Suzie Davies. Although the elegant, cloistered world of the Vatican is invitingly captured, a more violent world intrudes when a terrorist bombing in Rome comes much too close for comfort. Editor Nick Emerson keeps the action hurtling forward. Composer Volker Bertelmann, who won an Oscar for his score for 'All Quiet on the Western Front,' demonstrates his expertise as well as his versatility with his work here."
Stephen Farber, The Hollywood Reporter
GOODRICH - Christopher Willis
"There isn’t a ton of narrative firepower behind that premise, and 'Goodrich' doesn’t lock into a clear plot so much as it pleasantly shambles from one semi-related incident to another (the 'Philip Glass on Lexapro' shimmer of Christopher Willis’ score has an upbeat way of spackling over the gaps). Meyers-Shyer makes it clear that Andy’s gallery will go under if he doesn’t land another major artist soon, but the stakes are purely emotional in nature, and the movie -- to its credit -- doesn’t pretend that any of its characters would be out on the street if they lost their jobs. Meyers-Shyer is so committed to a frictionless film world that she takes pains to include a scene where Andy’s youngest employee assures him that he’s got another gig lined up in the Portland arts scene (a milieu that I would pay good money to see get the Meyers-Shyer treatment)."
David Ehrlich, IndieWire
"There are other nicks and bruises in this relaxed comedy. The lighting is sometimes overblown. Some characters, like Pete, exist only as self-serving devices to prove Andy’s affability. There’s an odd IDF joke. And the score borders on being suffocatingly trite. But those wounds slide under the film’s strengths: heartwarming scenes of family bonding, a deft ensemble, and an engaging sense of humor (Keaton and Kunis have an effortless rapport). Even in the film’s final minutes, which features one too many big-hearted speeches, it’s a difficult task not to reach for the tissues. 'Goodrich' is the type of rewatchable adult-minded comedy that feels like a welcome sight."
Robert Daniels, RogerEbert.com
"The flaw of 'Goodrich' is that it falls into the trap of nearly every family dramedy trope. Out of nowhere, Goodrich forms a friendship with Pete (Michael Urie), a gay single father whose son goes to the same school as Andy's. While their relationship is heartwarming and the source of a lot of laughs, it often serves as a source of exposition for Goodrich to talk about what he's feeling. The score is filled with soft piano and guitar notes, telling us what to feel as the plot moves along with familiar beats. We know there's going to be a scene of reunion between Goodrich and Naomi. We know that Grace is going to let out her hurt at her father treating his second family better than he did his first. And we know that baby's going to come out at a pivotal point. If that's not all, the last act of Goodrich even takes place during Christmastime, complete with some Christmas songs there to manipulate our emotions as we zoom in on Goodrich's face. It's sentimental and goes for the heartstrings, and yeah, it often works. A few scenes got to me and made me shed a tear."
Shawn Van Horn, Collider
"'Goodrich' needs its protagonist to charm, and Keaton can definitely do charming. One of his best moments, early on, finds him driving to his wife’s treatment center despite her express wishes that he stay away, his face blissfully and amusingly unconcerned as piano music plinks in the background. But Andy just isn’t that compelling of a character -- not in a way that would explain why so many of the people in his life feel the need to accommodate his foibles and continually accept him as he is rather than wanting him to change. He’s less an endearing relic than someone who seems to have existed in a bubble for decades, one that extends far beyond his own self-centeredness."
Alison Willmore, New York
"An over-reliance on montages, shot by cinematographer Jamie Ramsay and tidily constructed against bits of Christopher Willis’s evocative score, disrupts the pace of the film. Some, like one in which Andy attends a feminist art showcase in hopes of wooing a new client, are funny. But others, like when Andy runs into his ex-wife, fit oddly within the narrative frame. These moments betray a mistrust in the viewers, as if without the cues we might not understand the emotional weight of certain scenes."
Lovia Gyarkye, The Hollywood Reporter
MAGPIE - Isobel Waller-Bridge
"This leaves only Annette to navigate 'Magpie''s deeper psychological waters, with mixed results. On one hand, Ridley is adept at flipping between the almost saintly patience Annette shows Ben and Tilly and the mounting pressure she experiences in private. Meanwhile, Isobel Waller-Bridge’s noirish score and Dan Morgan’s purposefully discordant sound design hint at darker impulses. In one evocative sequence, Annette hears her baby’s wails echoed in the baby monitor she holds in her hand. Rather than go to him, she impulsively runs from the family’s immaculate countryside home until the monitor has fallen silent and out of range. Then, after catching her breath, she walks slowly back. There’s nothing for her to do but to go back once more and try to bear the unbearable."
Angie Han, The Hollywood Reporter
SMILE 2 - Cristobal Tapia de Veer
"The injection of nervous laughter into the film’s nervous breakdown is a welcome relief, but it’s always short-lived; there’s another freakout around every corner. Finn never entirely justifies the film’s over two-hour running time but he keeps his story moving frenetically from one Lovecraftian mind-scramble to another, introducing a few new elements to the mythology, and culminating in a memorably disturbing finale. And it’s not done yet: The closing credits score by Cristobal Tapia de Veer is some of the best outro music in years, losing its sanity right along with the rest of us."
William Bibbiani, The Wrap
"With the throngs of screaming fans and backstage areas teeming with photographers and producers, the movie imprisons Skye before the Smile even comes into the picture. 'Smile 2' isn’t simply about trauma, it’s about hiding it -- 'Smile' finds more to play with than M. Night Shyamalan’s 'Trap,' particularly in the music. Cristobal Tapia de Veer’s discordant score drapes over Skye’s Tate McCrae-penned jam, 'Grieve You,' adding an unsettling overtone to Skye’s radio-friendly pop. The backstage-musical-meets-supernatural-terror elements make for an 'All That Jazz'-inspired romp, giving Scott a more complicated character to play and, as the lines between performer and performance blur, a scarier 'Black Swan' song to sing."
Matt Schimkowitz, AV Club
VENOM: THE LAST DANCE - Dan Deacon
"Oh, and one final warning: The film includes both a mid-credit and post-credit scene, the latter after a scroll of names so long that the movie runs out of greatest hits from the score and resorts to elevator music backing tracks."
Chris Knight, Original Cin
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
November 8
THE BINGO LONG TRAVELING ALL-STARS & MOTOR KINGS (William Goldstein) [Los Feliz 3]
BLADE RUNNER (Vangelis) [Aero]
DARK CITY (Trevor Jones) [New Beverly]
DEMONOID (Richard Gillis) [Vista]
HOUSE (Asei Kobayashi, Mikki Yoshino) [Vidiots]
INGLOURIOUS BASTERDS [New Beverly]
THE LIFE AHEAD (Gabriel Yared) [Academy Museum]
MAKING MR. RIGHT (Chaz Jankel) [Vidiots]
THE MAN I LOVE [Nuart]
PHASE IV (Brian Gascgoine) [Alamo Drafthouse]
STRANGERS ON A TRAIN (Dimitri Tiomkin), THE CLOCK (George Bassman) [New Beverly]
TEKKONINTREEK (Plaid) [UCLA/Hammer]
TRUE ROMANCE (Hans Zimmer) [Vidiots]
November 9
BLACK RAIN (Hans Zimmer) [Los Feliz 3]
BLAZING SADDLES (John Morris) [Alamo Drafthouse]
CALIFORNIA SPLIT [Alamo Drafthouse]
DEMONOID (Richard Gillis) [Vista]
FLESH FOR FRANKENSTEIN (Claudio Gizzi) [Vidiots]
GODZILLA MINUS ONE (Naoki Sato) [Alamo Drafthouse]
THE GOLD OF NAPLES (Alessandro Cicognini) [Academy Museum]
THE HUNT FOR RED OCTOBER (Basil Poledouris) [Los Feliz 3]
THE LADY EVE [Vista]
MAN FACING SOUTHEAST (Pedro Aznar), THE BROTHER FROM ANOTHER PLANET (Mason Daring) [UCLA/Hammer]
MEMORIES OF MURDER (Taro Iwashiro) [Egyptian]
MY COUSIN VINNY (Randy Edelman) [Vidiots]
MYSTERIOUS SKIN (Robin Guthrie, Harold Budd) [BrainDead Studios]
PARIS IS BURNING [BrainDead Studios]
PREDATOR (Alan Silvestri) [New Beverly]
PURPLE RAIN (Prince, Michel Colombier) [Landmark Westwood]
THE RESCUERS (Artie Butler) [Vidiots]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SHREK (Harry Gregson-Williams, John Powell) [New Beverly]
SINAI FIELD MISSION [Los Feliz 3]
SMOG (Piero Umiliani) [Vidiots]
STRANGERS ON A TRAIN (Dimitri Tiomkin), THE CLOCK (George Bassman) [New Beverly]
STUART LITTLE (Alan Silvestri) [Academy Museum]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Academy Museum]
YOUNG FRANKENSTEIN (John Morris) [Aero]
November 10
BADLANDS (George Aliceson Tipton) [BrainDead Studios]
THE CRYING GAME (Anne Dudley) [BrainDead Studios]
THE DEVIL'S RAIN (Al De Lory) [Los Feliz 3]
DODSWORTH (Alfred Newman) [Los Feliz 3]
ELF (John Debney) [Alamo Drafthouse]
IL GRIDO (Giovanni Fusco) [Aero]
IN A WORLD... (Ryan Miller) [Vidiots]
KISS ME DEADLY (Frank De Vol) [Vidiots]
THE LADY EVE [Vista]
THE LIFE AND TIMES OF JUDGE ROY BEAN (Maurice Jarre) [Academy Museum]
LIFEFORCE (Henry Mancini) [Fine Arts]
MOONLIGHT (Nicholas Britell) [Egyptian]
SHREK (Harry Gregson-Williams, John Powell) [New Beverly]
STRANGERS ON A TRAIN (Dimitri Tiomkin), THE CLOCK (George Bassman) [New Beverly]
November 11
BLAZING SADDLES (John Morris) [Alamo Drafthouse]
CUCKOO (Simon Waskow), CREEPERS (Goblin) [New Beverly]
GRAVE OF THE FIREFLIES (Michio Mamiya) [Alamo Drafthouse]
THE HAUNTING (Humphrey Searle) [Los Feliz 3]
THE SIGN OF VENUS (Renzo Rossellini) [Academy Museum]
WARGAMES (Arthur B. Rubinstein) [Culver]
November 12
BLUE (Zbigniew Preisner) [Vidiots]
CUCKOO (Simon Waskow), CREEPERS (Goblin) [New Beverly]
ELF (John Debney) [Alamo Drafthouse]
GODZILLA MINUS ONE (Naoki Sato) [Alamo Drafthouse]
GRAVE OF THE FIREFLIES (Michio Mamiya) [Alamo Drafthouse]
INSIDE OUT 2 (Andrea Datzman) [Aero]
November 13
AMY (Antonio Pinto) [Academy Museum]
BLAZING SADDLES (John Morris) [Alamo Drafthouse]
PHASE IV (Brian Gascgoine) [Alamo Drafthouse]
PLATINUM BLONDE [Academy Museum]
SEVEN SAMURAI (Fumio Hayasaka) [Los Feliz 3]
SOCIETY (Mark Ryder, Phil Davies) [BrainDead Studios]
WALKING AND TALKING (Billy Bragg), LOVELY & AMAZING (Craig Richey) [New Beverly]
November 14
LOVE IS THE DEVIL (Ryuichi Sakamoto) [Aero]
PLATINUM BLONDE [Academy Museum]
WALKING AND TALKING (Billy Bragg), LOVELY & AMAZING (Craig Richey) [New Beverly]
YESTERDAY, TODAY AND TOMORROW (Armando Trovajoli) [Academy Museum]
November 15
BLIND RAGE (Tito Sotto) [Vista]
INGLOURIOUS BASTERDS [New Beverly]
LAYER CAKE (Ilan Eshkeri, Lisa Gerrard) [Los Feliz 3]
MILLER'S CROSSING (Carter Burwell) [New Beverly]
PAT GARRETT & BILLY THE KID (Bob Dylan), CISCO PIKE [New Beverly]
SAVE THE GREEN PLANET! (Lee Dong-jun) [UCLA/Hammer]
STOP MAKING SENSE [Vidiots]
SUNSET BLVD. (Franz Waxman) [Nuart]
THREE BEWILDERED PEOPLE IN THE NIGHT [BrainDead Studios]
Y TU MAMA TAMBIEN [Vidiots]
November 16
BEE MOVIE (Rupert Gregson-Williams) [New Beverly]
BLIND RAGE (Tito Sotto) [Vista]
CENTRAL STATION (Antonio Pinto, Jacques Morelenbaum) [Aero]
CHALLENGERS (Trent Reznor, Atticus Ross) [Aero]
CONFESSIONS OF A TEENAGE DRAMA QUEEN (Mark Mothersbaugh) [New Beverly]
FANTASIA/2000 [Academy Museum]
GAMERA: GUARDIAN OF THE UNIVERSE (Ko Ohtani) [UCLA/Hammer]
THE GIRL WITH THE DRAGON TATTOO (Trent Reznor, Atticus Ross) [Egyptian]
THE GODFATHER PART II (Nino Rota, Carmine Coppola) [Alamo Drafthouse]
THE LONE WOLF SPY HUNT [Vista]
THE MISFITS (Alex North) [Vidiots]
MUTT (James William Blades, Taul Katz) [Landmark Westwood]
PAT GARRETT & BILLY THE KID (Bob Dylan), CISCO PIKE [New Beverly]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE STRAIGHT STORY (Angelo Badalamenti) [Egyptian]
STUART LITTLE (Alan Silvestri) [Vidiots]
TOO BAD SHE'S BAD (Alessandro Cicognini), POVERTY AND NOBILITY (Pippo Barzizza) [Academy Museum]
THE TREASURE OF THE SIERRA MADRE (Max Steiner) [Egyptian]
WELCOME TO THE DOLLHOUSE (Jill Wisoff) [BrainDead Studios]
November 17
ALICE DOESN'T LIVE HERE ANYMORE [Vidiots]
BEE MOVIE (Rupert Gregson-Williams) [New Beverly]
CHARLOTTE'S WEB (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [Vidiots]
CHASING CORAL (Saul Simon MacWillliams, Dan Romer) [UCLA/Hammer]
CLAUDINE (Curtis Mayfield) [Los Feliz 3]
THE GOOD, THE BAD AND THE UGLY (Ennio Morricone) [Egyptian]
GREED [Egyptian]
IN A LONELY PLACE (George Antheil) [Alamo Drafthouse]
JAWBREAKER (Stephen Endleman) [BrainDead Studios]
THE LONE WOLF SPY HUNT [Vista]
THE MANCHURIAN CANDIDATE (David Amram) [Vidiots]
MODEL [Los Feliz 3]
ONE NIGHT IN MONGKOK(Peter Kam) [UCLA/Hammer]
PAT GARRETT & BILLY THE KID (Bob Dylan), CISCO PIKE [New Beverly]
RASHOMON (Fumio Hayasaki) [Los Feliz 3]
THE SHAWSHANK REDEMPTION (Thomas Newman) [Aero]
THERE WILL BE BLOOD (Jonny Greenwood) [Academy Museum]
THE TIME MASTERS [BrainDead Studios]
A WOMAN UNDER THE INFLUENCE (Bo Harwood) [Alamo Drafthouse]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Venom (Kamen); Abominable (Gregson-Williams); Iron Man (Djawadi); World Soundtrack Awards: Tribute to the Film Composer (various); Escape from New York (Carpenter/Howarth); Blood for Dracula/Flesh for Frankenstein (Gizzi); Dreamgirls (Krieger)
Read: Me and Hitch, by Evan Hunter, aka Salvatore Lombino; The Burglar in the Library, by Lawrence Block
Seen: Anora; Narrow Margin; The "Human" Factor; The Luckiest Girl in the World; Batman [1966]; Blonde Venus; Gojira; Destroy All Monsters; Godzilla vs. the Smog Monster; Shin Godzilla; Godzilla Minus One; ABBA: The Movie; Sgt. Pepper's Lonely Hearts Club Band; Venom: The Last Dance; Here; Juror #2; Emilia Perez; Pather Panchali
Watched: Godzilla: Final Wars; Columbo ("Death Lends a Hand," "Dead Weight")
| 
