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The trailer for THE SONG OF NAMES, the new film from director Francois Girard (Thirty Two Short Films About Glenn Gould, The Red Violin, Silk, Boychoir), has an extremely unusual title card. Near the end of the trailer, after we get the expected title "FROM THE ACCLAIMED DIRECTOR OF THE RED VIOLIN," we get another title card:

ORIGINAL MUSIC BY
THE ACADEMY AWARD WINNING COMPOSER OF
THE LORD OF THE RINGS TRILOGY

I presume that the fact that Song of Names is a music-oriented film is a big factor, but I can't remember seeing  a contemporary trailer in which a score composer (at least, one who wasn't an otherwise already famous popular music figure) was used as such a prominent selling point, so good for Howard Shore.


CDS AVAILABLE THIS WEEK

Abominable
 - Rupert Gregson-Williams - Backlot
Doctor Sleep - The Newton Brothers - WaterTower [CD-R]
Ganja & Hess
- Sam Waymon - Howlin' Wolf
Gemini Man 
- Lorne Balfe - La-La Land
Harriet
- Terence Blanchard - Backlot   


IN THEATERS TODAY

Adopt a Highway - Jason Isbell
The Apollo - Music Supervisors: Dondi Bastone, G. Marq Roswell
Arctic Dogs - David Buckley
Badland - Jared Forman
Blood & Flesh: The Reel Life & Ghastly Death of Al Adamson - Mark Raskin
Bloody Marie - Matthijs Kieboom
The Courier - James Edward Barker, Tim Despic
Crepitus - Gian Marco Castro
Cubby - Jon Natchez
Earthquake Bird - Atticus Ross, Leopold Ross
Eminence Hill - Jay Martin
The Etruscan Smile - Frank Ilfman - Score CD Rory's Way due on Kronos
Harriet - Terence Blanchard - Score CD on Backlot
Inside Game - Jeff Beal
The Irishman - Robbie Robertson - Song CD with 1 Robertson cue due Nov. 22 on Sony
Motherless Brooklyn - Daniel Pemberton - Song CD on WaterTower
Mrs. Lowry & Son - Craig Armstrong - Score CD on Verve (import)
The Portal - Francois Tetaz
Queen of Hearts - Jon Ekstrand
2nd Date Sex - Toydrum
Spell - Patrick Stump
Stuffed - Ben Lovett
Synonyms - no original score
Terminator: Dark Fate - Tom Holkenborg
Yeva - Vahan Artsruni


COMING SOON

November 8 
Encounter - Penka Kouneva - Notefornote
Go Fish - George Streicher - Notefornote
The Good Liar - Carter Burwell - WaterTower [CD-R]
J'Accuse - Alexandre Desplat - Warner Classics (import)
Windjammer - Morton Gould - Sepia
November 15
The Crown: Season Three
- Rupert Gregson-Williams, Hans Zimmer - 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
La Chiave
- Ennio Morricone - Beat
November 22 
Ad Astra
 - Max Richter, Lorne Balfe, Nils Frahm - Deutsche Grammophon
First Reformed - Lustmord - Vaultworks
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
Uncut Gems - Daniel Lopatin - Warp
Date Unknown
The Alan Howarth Collection vol. 1
- Alan Howarth - Dragon's Domain
Amore Mio
- Carlo Savina - Saimel
Damon and Pythias
 - Angelo Francesco Lavagnino - Alhambra
La Trinchera Infinita
- Pascal Gaigne - Quartet
Mientras Dure la Guerra
- Alejandro Amenabar - Quartet
Miriam Cutler Film Music
- Miriam Cutler - Quartet
Mutant
 - Richard Band - Dragon's Domain
Straight into Darkness
- Michael Convertino - Dragon's Domain
Zombie Night
 - Alan Howarth - Dragon's Domain


THIS WEEK IN FILM MUSIC HISTORY

November 1 - John Scott born (1930)
November 1 - Roger Kellaway born (1939)
November 1 - Keith Emerson born (1944)
November 1 - David Foster born (1949)
November 1 - Jerry Fielding records his first Mission: Impossible score, for the episode “The Council” (1967)
November 1 - Leighton Lucas died (1982)
November 1 - Louis Barron died (1989)
November 2 - Gary Yershon born (1954)
November 2 - Bernard Herrmann begins recording his score for Journey to the Center of the Earth (1959)
November 2 - k.d. lang born (1961)
November 2 - Felice Lattuada died (1962)
November 2 - Joseph Mullendore's score for the Star Trek episode "The Conscience of the King" is recorded (1966)
November 2 - Alexander Courage records his score for the Lost in Space episode "A Day at the Zoo" (1967)
November 2 - Gary McFarland died (1971)
November 2 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Once More Into the Breach” (1998)
November 3 - John Barry born (1933)
November 3 - Hal Hartley born (1959)
November 3 - Richard Markowitz records his score for The Wild Wild West episode “The Night That Terror Stalked the Town” (1965)
November 3 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Price" (1989)
November 4 - Laurence Rosenthal born (1926)
November 4 - John Charles born (1940)
November 4 - Craig Safan records his score for the Twilight Zone episode “Teacher’s Aide” (1985)
November 4 - Velton Ray Bunch records his score for the Star Trek: Enterprise episode “The Augments” (2004)
November 5 - Elmer Bernstein begins recording his score for Fear Strikes Out (1956)
November 5 - Jonny Greenwood born (1971)
November 5 - Michel Legrand begins recording his score for The Mountain Men (1979)
November 5 - Les Baxter begins recording his score for The Beast Within (1981)
November 5 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Battle" (1987)
November 5 - James Newton Howard begins recording his score for Grand Canyon (1991)
November 5 - Dennis McCarthy records his score for the Enterprise episode “The Communicator” (2002)
November 5 - Jay Chattaway records his score for the Star Trek: Enterprise episode “North Star” (2003)
November 6 - Ernest Irving born (1878)
November 6 - Peter Matz born (1928)
November 6 - Arturo Sandoval born (1949)
November 6 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "Behind the Locked Door" (1963)
November 6 - John Barry begins recording his score for Hanover Street (1978)
November 6 - Jay Chattaway records his score for the Enterprise episode “Civilization” (2001)
November 6 - Francesco De Masi died (2005)
November 7 - Hans Erdmann born (1882)
November 7 - William Alwyn born (1905)
November 7 - Jimmie Haskell born (1936)
November 7 - Dimitri Tiomkin records the soundtrack LP for Wild Is the Wind (1957)
November 7 - James Horner begins recording his score for Uncommon Valor (1983)
November 7 - Leonard Rosenman records his score for the Amazing Stories episode "No Day at the Beach" (1985)
November 7 - Shorty Rogers died (1994)
November 7 - Dennis McCarthy records his score for the Star Trek: Voyager episode “The Q and the Gray” (1996)
November 7 - Richard Robbins died (2012)
November 7 - Paul Buckmaster died (2017)

DID THEY MENTION THE MUSIC?

THE CAVE - Matthew Herbert
 
"Fayyas elaborates on the hospital’s trepidatious circumstances by sketching out the daily routine, with comical attempts to cook enticing meals as resources dwindle to rice and margarine, and jokey moments between the staff. But 'The Cave' never ventures too far from jolting reminders of the perils at hand. An endearing birthday celebration ends with the sudden shockwave of another attack; the doctors even manage to stage a whole carnival underground before another wave of patients overtake them. Unlike 'Aleppo,' Fayyas doesn’t quite succeed at developing an immersive story so much as he lingers in this haunting setting, while Matthew Herbert’s touching (if occasionally overbearing) score weaves the action together. Nevertheless, Fayyas excels at finding small moments that take on poetic resonance, including one memorable scene that finds a doctor playing ballet music on his iPhone while enmeshed in a delicate surgery. In the throes of mayhem, they do what they can to maintain some semblance of normalcy."
 
Eric Kohn, IndieWire 
 
"Fayyad saves its most graphic depiction of the consequences of the siege for the latter part of the documentary, as a chemical weapon attack perpetrated by the regime and its Russian allies sends dozens of choking people -- many children -- rushing to 'The Cave' for help. Fayyad ratchets up the suspense with a booming score that crescendos as the staff gradually realizes they’re handling patients who are choking rather than bleeding, and recognizes the smell of chlorine beginning to permeate the halls. Despite the real human suffering on screen, the whiff of rhetorical construction supplied by the score and the accelerating pace of the editing makes the scene feel a bit too much like a Hollywood trope, crafting suspense out of pain."
 
Pat Brown, Slant Magazine
 
"Shot by a team of three Damascus-born cinematographers (Muhammed Khair Al Shami, Ammar Sulaiman and Mohammad Eyad) with remote direction from Fayyad when he himself couldn’t go to Al Ghouta due to the siege, 'The Cave' smartly avoids talking-head interviews, favoring a you-are-there approach in unveiling the emotions of the staff and observing the inner workings of their hospital. While the lack of state-of-the-art equipment shows, it also infuses 'The Cave' with an earned sense of realism: The rooms feel impersonal and dingy while the indoor light looks punishingly artificial. Though this truthfulness in visuals is supported by neither the metaphoric underwater image in the end, nor Matthew Herbert’s slightly heavy-handed score or other labored musical choices (including 'Lacrimosa' from Mozart’s 'Requiem'). The subjects and visuals prove tragic enough without any help from these prescriptive cues."
 
Tomris Laffly, Variety 

CYRANO, MY LOVE - Romain Touillet
 
"Production designer Franck Schwarz rarely fails to provide some morsel of period eye candy in every scene -- though thoroughly modern in sensibility, the film does quite well to craft an appealingly well-scrubbed approximation of turn-of-the-century Paris -- and Romain Trouillet’s almost terminally jaunty score helps remind the viewer exactly how seriously they should be taking all of this."
 
Andrew Barker, Variety 

THE ELEPHANT QUEEN - Alex Heffes
 
"There is also a little too much cartoon-style charm on display, especially when it comes to the tiny animals photographed at what the production notes describe as 'elephant toenail height.' We see dung-beetles vigorously fighting over, what else, elephant dung, and a fortunately pliable bullfrog emerge unscathed after being stomped on. We watch as the little creatures feed, play and engage in occasionally (PG-rated) amorous behavior, all of it accompanied by the sort of cutesy musical underscoring that lets us know we're supposed to be having a good time. Shot over four years in Kenya, 'The Elephant Queen' boasts an undeniable authenticity, thanks to its filmmakers' quarter-century of experience making wildlife films in Africa. And while elephants are naturally camera-friendly subjects, their behavior here is captured with a particularly impressive immediacy. In its more restrained passages, Alex Heffes' score adds significant emotionality to the proceedings, as does the mellifluous narration by Ejiofor that provides a soothing counterpoint to even the more upsetting moments."
 
Frank Scheck, The Hollywood Reporter
 
GREENER GRASS - Samuel Nobles

"It comes care of Jill (DeBoer), who appears to be the picture of weirdo perfection, all nutty outfits and vocal fry, when she shows off her new baby to neighborhood pal Lisa (Luebbe, a dead ringer for a younger Allison Janney). While engaging in some low-scale oneupmanship, the seeming bread and butter of their everyday lives, Lisa mentions how cute baby Madison is. Before she’s aware of what she’s doing, Jill has handed the baby over to her friend, eager to appease her, even as Lisa has given zero indication she wants the infant. Still, she takes her, and nothing is ever the same for Jill (or, presumably, the audience, who will either get on board with this twist or abandon the film wholesale because it’s so 'strange'; they should absolutely stick with it and the weirdness to come). Samuel Nobles’ high-strung score hints at horror-esque influences, but 'Greener Grass' has much more up its sleeve than trite genre riffs."
 
Kate Erbland, IndieWire 
 
"So, why unveil this at Midnight? Apart from the off-screen murder of a yoga instructor and a few genre-movie elements -- including its Samuel Nobles’ synthesizer score (which channels classic John Carpenter) and the presence of a peeper who can be heard heavy-breathing from the margins of some scenes -- the tone of 'Greener Grass' hews closer to the kind of squirrelly stoner offering you might find around 1 a.m. on Adult Swim than your typical late-night horror movie. Expanded from a 15-minute short film, it’s basically the best 'Saturday Night Live' movie that 'Saturday Night Live' never made, and if Lorne Michaels were half the talent scout we believe, he’d hire both DeBoer and Luebbe on the spot."
 
Peter Debruge, Variety

HAPPY DEATH DAY - Bear McCreary

"The mask itself is indicative of some of the film’s worst genre trappings, which lean heavily on cheap tricks to telegraph terror. The mask is creepy, and so is the tendency of the killer to just lurk, standing around gently swaying, looking like a menace but not actually doing much beyond, well, wearing a weird mask and standing there. 'Happy Death Day' isn’t particularly bloody, and most kills are shallow because they arrive after the film’s score ratchets way up, as if to announce, “a jump scare is coming, get ready for it, here it is, oh look, time to jump!” (Insert jump scare here.)"

Kate Erbland, IndieWire 

LADY BIRD - Jon Brion
 
"The film’s arc is deceptively simple, following Lady Bird through her senior year (which is helped along by some excellent editing and a joyful, buoyant score from Jon Brion). She struggles with math and kisses Danny and fights with Marion. She loses her virginity. She and Julie lie on the floor at school and giggle about sex and eat unconsecrated communion wafers. They go to mass and celebrate holidays. They dream about the future."
 
Alissa Wilkinson, Vox 

"Though Gerwig technically co-directed the scrappy 2008 romantic drama 'Nights and Weekends,' that project registers as little more than a footnote to the mature production values on display here. Elevated by Sam Levy’s intricate cinematography and Jon Brion’s soulful score, the movie presents a complete vision of angst-riddled youth in cinematic terms while remaining wholly focused on the story at hand. While it occasionally bumps up against reminders of its formulaic beats -- the biggest family spats and friendship breakups arrive right on schedule -- they’re rarely this polished, and energized by the naturalism of such a compelling lead performance."
 
Eric Kohn, IndieWire
 
MUDBOUND - Tamar-kali
 
"'Mudbound' accumulates meaning through a kind of layering. The Brooklyn musician Tamar-kali contributes a striking, effective score, her first for a feature film, that is sparing but powerful, a 'Jaws'-esque 'dum-dum' that echoes the beating of a panicked heart. Voiceovers build on top of voiceovers, and we feel as if we’re simply getting to know these people a little better, even while Rees is gesturing toward things to come. The result is a deeply engrossing film -- its two-plus hours whiz by -- about stumbling one step forward and two steps back toward a more enlightened existence."
 
Lara Zarum, The Village Voice

"Rees allows each of these characters to voice their innermost thoughts (all but Pappy, that is, though his venomous racism comes through loud and clear all the same), but avoids the Terrence Malick technique of pairing that narration with footage that might give the film its texture -- which is not to say that such shots aren’t there. As Tamar-kali’s Dolby-mixed score swells all around, cinematographer Rachel Morrison supplies widescreen views of dramatic Mississippi sunsets, rain-drenched fields, and makeshift wooden houses that look ready to collapse in on themselves. But editor Mako Kamitsuna has so much material to wrestle in the film’s first hour that the priority must remain on the characters -- plus, Rees is right not to romanticize the story’s setting or circumstances."
 
Peter Debruge, Variety
 
"Rees modulates the sense of foreboding with great skill, aided by the expressive and distinctively varied score of Brooklyn-based multicultural composer Tamar-kali. And while the sorrowful weight of history dictates who will suffer most as racial frictions ignite, the climactic developments unfold with a startling gut-punch impact that elevates the movie through its moving conclusion."
 
David Rooney, The Hollywood Reporter
 
SINK OR SWIM - Jon Brion
 
"A chirpily commercial enterprise through and through, 'Sink or Swim' seemed out of its league even in the typically uneven noncompeting strand of the Cannes official selection. That badge may add some improbable arthouse cred to the international marketing materials of a film that will play more comfortably in French multiplexes -- where “The Players,” a bawdy portmanteau comedy bearing Lellouche’s last directorial credit, rustled up $20 million in 2012. As the actor-filmmaker’s first solo outing behind the camera, the film is assembled with enough colorful, market-savvy proficiency to invite further lightweight assignments: Laurent Tangy’s widescreen cinematography keeps matters bright and bobbing, though you’d never guess that indie favorite and former Paul Thomas Anderson collaborator Jon Brion is the man behind the perky, precious score."
 
Guy Lodge, Variety

THE SKY IS PINK - Mikey McCleary, Pritam
 
"A whimsical score from Bollywood composer Pritam (just one of many nods to the popular Indian film industry tucked inside the feature) makes it feel light, but it also obscures what’s to come: a diagnosis of a rare genetic disorder for adorable infant Aisha that will impact every inch of the family’s lives. It’s a hard enough pill to swallow, but the reveal that the Chaudharys have been through this before stings more, as Bose tries to make the case that such familial trauma doesn’t necessarily have to spawn the bleakness audiences are used to seeing in films about cute kids dying young."
 
Kate Erbland, IndieWire 
 
"Jonas and Akhtar make a very glossy couple who do not age at all credibly over what is meant to be a three-decade span. The score by Mikey McCleary (Pirtam and Gulzar contribute separate songs) leans heavily on such instruments of twee as accordions, whistling and pseudo-1920s Western dance music. Even the narrator admits, 'Cuteness has its limits,' but this movie -- which duly features a puppy -- does not heed that wisdom."
 
Dennis Harvey, Variety
 
THOR: RAGNAROK - Mark Mothersbaugh

"However, Waititi’s strengths just aren’t in crafting one gag after another. Surprisingly, 'Thor: Ragnarok' might also be the best looking Marvel to date. Every frame not only pops with color (at one point, there are literal fireworks), courtesy of lensing by cinematographer Javier Aguirresarobe ('Vicky Cristina Barcelona,' 'The Others') but is insanely detailed, with lots of odds and ends to catch in the background and on the edges of the frame. As much as Waititi may not care so much about the Marvel template, there is a lot of thought into how almost every moment of 'Thor: Ragnaork' is staged. Both in tone and aesthetically, the film stands apart from the rest of Marvel’s offerings. Even the score by Mark Mothersbaugh burbles with compelling, electronic vibrancy, largely eschewing the faceless, bombastic soundtrack most of these movies get."
 
Kevin Jagernauth, The Playlist
 
"A kind of low-level trickster god of indie cinema himself, Waititi lets his film go a little crazy: He’s outfitted it with garish colors and costumes and set designs, some not-entirely-perfect special effects, and a synthesized Mark Mothersbaugh score that sounds like it was lifted from an early period Jean-Claude Van Damme flick. There’s a constant sense of play and dress-up, with characters constantly changing in and out of fresh outfits -- sometimes to get out of different scrapes, sometimes to hide, and sometimes for no real reason at all."
 
Bilge Ebiri, The Village Voice
 
"'Thor: Ragnarok' is like 'Deadpool,' only charming and light, rather than R-rated and nihilistic. Yes, these characters can get a little silly at times, Waititi seems to be saying, but that doesn’t have to stop us from having a good time. That sentiment fuels every facet of Ragnarok. Sakaar’s design is aggressively retro-futuristic, calling to mind 'Heavy Metal' magazine covers (with the Led Zeppelin music cues to match), and the score from Devo frontman Mark Mothersbaugh drenches everything in lush, prog-rock synthesizers. And while a lot happens in the movie, characters like Jeff Goldblum’s Grandmaster -- the entity that oversees the Sakaar gaming matches -- are given the space to hang out and just be weird. Given how many small details and setups any given expanded universe film has to cram in these days, it’s a testament to Waititi’s resolve that 'Thor: Ragnarok' is able to spend so much of its running time on small character beats and funny asides. From Korg, a soft-spoken creature made of rocks (played by Waititi himself) to the Odd Couple dynamic that eventually develops between Thor and Bruce Banner (Mark Ruffalo), the movie constantly feels more like an improv-heavy indie film than the tentpole behemoth it actually is."
 
Bryan Bishop, The Verge 
 
"Like 'Doctor Strange' and the recent 'Guardians Of The Galaxy' sequel, 'Thor: Ragnarok' continues to inch the MCU away from its traditional library of stock locations -- nondescript hangars and bunkers, abandoned tarmacs, high-tech compounds -- and into a weirder, more colorful universe of Jack Kirby-inspired alien landscapes. Waititi, in his first blockbuster gig, draws from ’70s and ’80s sci-fi fantasy, sprinkling in cosmetic hints of 'Krull,' and 'Dune,' and 'Time Bandits.' His action scenes recall not just comic-book splash panels, but also heavy-metal album covers: beefy viking-like warriors leaping into slow-motion battle, dragons tearing across skies, a towering fire demon laying siege to a city. Composer (and one-time Devo crooner) Mark Mothersbaugh augments the rainbow spectacle with grandiose fanfare, throwing a layer of Atari arena-rock synth over a typically sweeping Marvel score. There’s also not one, but two airings of 'Immigrant Song' (a classic-rock needle drop as inevitable, and obvious, as 'Iron Man''s use of 'Iron Man,' thanks to that line about the hammer of the gods), and somehow they both work like gangbusters, as though the iconic anthem was written with these good-versus-evil brawls in mind."
 
A.A. Dowd, The Onion AV Club
 
"Only the comic chemistry of the main quadrangle -- Hemsworth, Hiddleston, Thompson and Ruffalo -- prevents 'Thor: Ragnarok' from devolving into another standard-issue superhero crash-and-bash fest. Still, there’s plenty to like here. Waititi, his cinematographer Javier Aguirresarobe ('Blue Jasmine'), and his production designer Dan Hennah take their cues from pop art-influenced comic book adaptations of the ‘60s and ‘70s, like TV’s 'Batman,' 'Logan’s Run,' 'Flash Gordon' and 'The Black Hole,' filling the screen with kitschy costumes, furniture, artifacts and machinery envisioned in the tiled, knobby style of the late, great illustrator Jack Kirby, and presenting it all in oversaturated color. The disco-drug-trip gaudiness is a welcome change of pace from superhero cinema’s default bled-by-leeches look. At one point, Thor gripes about the red-and-white patterning of the capital city's interiors, as well he should: they’re hideous. Mark Mothersbaugh, the onetime Devo co-founder and composer who scored four Wes Anderson films, creates a retro-synth soundtrack suited to the era of science fiction cinema in which characters wore jumpsuits. This is a close-but-no-cigar movie, but so enjoyable for the most part, and so modest in its aims, that its disappointments aren’t devastating. I’d watch the first 90 minutes again anytime."
 
Matt Zoller Seitz, RogerEbert.com

THE NEXT TEN DAYS IN L.A.

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 1
CANE RIVER (Roy Glover) [AMPAS]
GOODFELLAS [Arena CineLounge]
IN THE MOUTH OF MADNESS (John Carpenter, Jim Lang) [Vista]
PULP FICTION [New Beverly]
RABID [New Beverly]
THE ROOM (Mladen Milicevic) [Nuart]
SNOWPIERCER (Marco Beltrami), BARKING DOGS NEVER BITE (Sung-woo Jo) [Cinematheque: Aero]

November 2
THE FOOL KILLER (Gustavo Carreon) [Cinematheque: Egyptian]
GOODFELLAS [Arena CineLounge]
JOE VS. THE VOLCANO (Georges Delerue) [Alamo Drafthouse]
OKJA (Jaeil Jung), MEMORIES OF MURDER (Taro Iwashiro) [Cinematheque: Aero] 
SEEING RED: STORIES OF AMERICAN COMMUNISTS [UCLA]
THE SKIN I LIVE IN (Alberto Iglesias) [Vista]
UNCLE SAM (Mark Governor) [New Beverly]

November 3
GOODFELLAS [Arena CineLounge]
MR. SMITH GOES TO WASHINGTON (Dimitri Tiomkin) [Vista]
PLATOON (Georges Delerue), THE LAST TEMPTATION OF CHRIST (Peter Gabriel), SHADOW OF THE VAMPIRE (Dan Jones) [Cinematheque: Aero]
REMINISCENCES OF A JOURNEY TO LITHUANIA [UCLA]
20 MILLION MILES TO EARTH [New Beverly]

November 4
ALLIGATOR (Craig Hundley), JACKIE BROWN [New Beverly]
DOLEMITE (Arthur Wright) [Alamo Drafthouse]
GOODFELLAS [Arena CineLounge]
HARD EIGHT (Jon Brion, Michael Penn) [New Beverly]

November 5
ALLIGATOR (Craig Hundley), JACKIE BROWN [New Beverly] 
BADLANDS (George Tipton) [Cinematheque: Aero]
DOLEMITE (Arthur Wright) [Alamo Drafthouse]
GOODFELLAS [Arena CineLounge]
MUR MURS [Cinematheque: Aero]
RETURN OF THE LIVING DEAD 3 (Barry Goldberg) [Alamo Drafthouse]

November 6
ALLIGATOR (Craig Hundley), JACKIE BROWN [New Beverly] 
BABE: PIG IN THE CITY (Nigel Westlake) [Alamo Drafthouse]
DOLEMITE (Arthur Wright) [Alamo Drafthouse] 
GOODFELLAS [Arena CineLounge]
MURDER BY CONTRACT (Perry Botkin) [New Beverly]
RETURN OF THE LIVING DEAD 3 (Barry Goldberg) [Alamo Drafthouse]

November 7
ALLIGATOR (Craig Hundley), JACKIE BROWN [New Beverly]  
GALAXY QUEST (David Newman) [Alamo Drafthouse]
GOODFELLAS [Arena CineLounge]

November 8
AKIRA (Yamashiro Shoji) [Nuart]
THE BROOD (Howard Shore) [New Beverly]
PULP FICTION [New Beverly]
RAIDERS OF THE LOST ARK (John Williams), THE WANDERERS [Cinematheque: Aero]
THE SEVEN-PER-CENT SOLUTION (John Addison) [UCLA]
VIDEODROME (Howard Shore) [Alamo Drafthouse]

November 9
THE GAME (Howard Shore) [Vista]
HAIL, MAFIA (Hubert Rostaing) [Cinematheque: Egyptian]
INVASION OF THE BODY SNATCHERS (Denny Zeitlin), THE GREAT NORTHFIELD MINNESOTA RAID (Dave Grusin) [Cinematheque: Aero]
IT'S ALIVE (Bernard Herrmann) [Alamo Drafthouse]
MANIAC COP 3: BADGE OF SILENCE (Joel Goldsmith) [New Beverly]
MEN IN BLACK (Danny Elfman) [Alamo Drafthouse]
THE 7TH VOYAGE OF SINBAD (Bernard Herrmann) [New Beverly]

November 10
THE INCREDIBLE MELTING MAN (Arlon Ober) [Alamo Drafthouse]
GREMLINS 2: THE NEW BATCH (Jerry Goldsmith) [Alamo Drafthouse]
LOOPER (Nathan Johnson) [Alamo Drafthouse]
THE 7TH VOYAGE OF SINBAD (Bernard Herrmann) [New Beverly]
THE UNBEARABLE LIGHTNESS OF BEING [Cinematheque: Aero]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Vista]


THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY

Heard: Early Works (Korzeniowski), Something Wicked This Way Comes (Delerue), Three the Hard Way/First Impressions (The Impressions), Saturday Night (Sondheim), The Judge and the Assassin (Sarde), Gypsy (Styne/Perkins), Casino Royale (Arnold)

Read: A Wonderful Stroke of Luck, by Ann Beattie

Seen: The Trial of Billy Jack; Abbott and Costello Meet Frankenstein; Frankie; The Haunted Palace; The Abominable Dr. Phibes; Black and Blue; Countdown [2019]; By the Grace of God; The Current War; The Moneychanger

Watched: Horse Feathers, Duck Soup, Maniac ("Having a Day"), Star Trek: Discovery ("Context Is for Kings")

Here are my early, premature predictions for this year's Original Score Oscar nomination shortlist:

AVENGERS: ENDGAME - Alan Silvestri
DOWNTON ABBEY - John Lunn
FORD V FERRARI - Marco Beltrami
HARRIET - Terence Blanchard
A HIDDEN LIFE - James Newton Howard
JOKER - Hildur Guonadottir
THE KING - Nicholas Britell 
LITTLE WOMEN - Alexandre Desplat
MARRIAGE STORY - Randy Newman
1917 - Thomas Newman
PAIN AND GLORY - Alberto Iglesias
THE SONG OF NAMES - Howard Shore*
STAR WARS: THE RISE OF SKYWALKER - John Williams
TOY STORY 4 - Randy Newman
WAVES - Trent Reznor, Atticus Ross

*When this column was first posted, I had listed Michael Giacchino's Jojo Rabbit instead of The Song of Names.

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Re: Howard Shore title card, if I remember correctly, this occurred with trailers from either "The Mask of Zorro" or "Mighty Joe Young", on television, following the success of "Titanic". I remember this being discussed at the then World Wide James Horner Shrine.

I don't remember the TV spots for those Horner films, but given the colossal success of Titanic's song and score that makes sense.

I think for Nightbreed, Danny Elfman's credit was isolated in a large "box" in either trailers or TV spots, presumably to capitalize on the success of Batman.

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