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The latest release from Intrada is a greatly expanded, two-disc release of one of James Newton Howard's finest scores, his stirring orchestral score for the 1993 film ALIVE, starring Ethan Hawke and Josh Hamilton, adapted by John Patrick Shanley and directed by veteran producer Frank Marshall, about the famous 1972 plane crash in the Andes. The Intrada release features the 73-minute score on Disc One, with the second disc featuring 38 minutes of alternate cues plus the 30-minute cue selection from the original Hollywood Records CD.

Varese Sarabande is expected to announce two new limited edition CD Club releases today.

As reported earlier this week, the Academy of Motion Picture Arts and Sciences announced the nominations for the 92nd Academy Awards, including the following music categories:


JOKER - Hildur Guonadottir
LITTLE WOMEN - Alexandre Desplat
1917 - Thomas Newman


"I CAN'T LET YOU THROW YOURSELF AWAY" - Toy Story 4 - Music and Lyric by Randy Newman
"(I'M GONNA) LOVE ME AGAIN" - Rocketman - Music by Elton John, Lyric by Bernie Taupin
"I'M STANDING WITH YOU" - Breakthrough - Music and Lyric by Diane Warren
"INTO THE UNKNOWN" - Frozen II - Music and Lyric by Kristen Anderson-Lopez and Robert Lopez
"STAND UP" - Harriet - Music and Lyric by Joshuah Brian Campbell and Cynthia Erivo 


Alive - James Newton Howard - Intrada Special Collection
Bliss - Steve Moore - Relapse (import)
Finis Terrae
 - Christoph Zirngibl - Kronos  
Go Fish - George Streicher - Notefornote  


Bad Boys for Life - Lorne Balfe
Disturbing the Peace - Michael Thomas
Dolittle - Danny Elfman 
Intrigo: Death of an Author - Anders Niska, Klas Wahl
The Wave - Eldad Guetta


January 24
I Lost My Body
 - Dan Levy - Lakeshore
The Personal History of David Copperfield - Christopher Willis - MVKA
January 31
Anne with an E
 - Amin Bhatia, Ari Posner - Varese Sarabande 
- David Arnold, Michael Price - Silva
Samsam - Eric Neveux - 22d Music (import)
February 7
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
Better Watch Out 
- Brian Cachia - Howlin' Wolf


January 17 - Ryuichi Sakamoto born (1952)
January 17 - Charles Bernstein begins recording his score for Love at First Bite (1979)
January 17 - John Williams begins recording his score to Return of the Jedi (1983)
January 17 - Harry Robinson died (1996)
January 17 - Rolf Wilhelm died (2013)
January 18 - W. Franke Harling born (1887)
January 18 - Richard LaSalle born (1918)
January 18 - Jonathan Davis born (1971)
January 18 - Cyril J. Mockridge died (1979)
January 18 - Johnny Harris records his score for the Buck Rogers in the 25th Century episode “Ardala Returns” (1980)
January 18 - Basil Poledouris begins recording his score for Conan the Barbarian (1982)
January 18 - George Stoll died (1985)
January 18 - Joseph Gershenson died (1988)
January 19 - Gerard Schurmann born (1924)
January 19 - Stu Phillips born (1929)
January 19 - Michael Boddicker born (1953)
January 19 - Jerome Moross begins recording his score to The Adventures of Huckleberry Finn (1960)
January 19 - Recording sessions begin for Cyril Mockidge’s score to The Man Who Shot Liberty Valance (1962)
January 19 - John Williams records his score for The Ghostbreaker (1965)
January 19 - Jerry Goldsmith begins recording electronic cues for Logan's Run (1976)
January 19 - Don Costa died (1983)
January 19 - David Shire records his score for the Amazing Stories episode "Moving Day" (1987) 
January 19 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Life Support” (1995)
January 19 - Bjorn Isfalt died (1997)
January 20 - Emil Newman born (1911)
January 20 - Recording sessions begin for Miklos Rozsa's score for Double Indemnity (1944)
January 20 - John Beal born (1947)
January 20 - Franz Waxman begins recording his score to Untamed (1955)
January 20 - Bronislau Kaper begins recording his score to The Prodigal (1955)
January 20 - Pedro Bromfman born (1976)
January 20 - Christopher Young’s scores for the Twilight Zone episodes “A Matter of Minutes” and  “A Small Talent for War” are recorded (1986)
January 20 - Basil Poledouris records his score for the Twilight Zone episode “Monsters!” (1986)
January 20 - Gerry Mulligan died (1996)
January 20 - Recording sessions begin for John Powell’s score to Agent Cody Banks (2003)
January 20 - Edgar Froese died (2015)
January 21 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “An Unlocked Window” (1965)
January 21 - Peer Raben died (2007)
January 22 - Sid Ramin born (1919)
January 22 - J.J. Johnson born (1924)
January 22 - Al Kasha born (1937)
January 22 - Miklos Rozsa begins recording his score for The Strange Love of Martha Ivers (1946)
January 22 - Velton Ray Bunch born (1948)
January 22 - Keith Forsey born (1948)
January 22 - Ben Mink born (1951)
January 22 - Marc Blitzstein died (1964)
January 22 - Alexander Courage's score to the Star Trek pilot, "The Cage," is recorded (1965)
January 22 - Richard Markowitz begins recording his score for The Wild Wild West pilot episode “The Night of the Inferno” (1965)
January 22 - Fred Steiner records his score for The Wild Wild West episode “The Night of the Undead” (1968)
January 22 - Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “The Guardians” (1981)
January 22 - Christopher Palmer died (1995)
January 22 - Billy May died (2004)
January 23 - Walter Greene born (1910)
January 23 - Marty Paich born (1925)
January 23 - George Aliceson Tipton born (1932)
January 23 - Dick DeBenedictis born (1937)
January 23 - Casablanca released in theaters (1943)
January 23 - Alfred Newman begins recording his score to The President's Lady (1953)
January 23 - Recording sessions begin on Alex North’s score for The Bad Seed (1956)
January 23 - David Arnold born (1962)
January 23 - Riz Ortolani died (2014)



"And yet … Audiences by this point have so much feeling for these characters that the Russos get by with a lot of undistinguished work. People applaud at the first sight of Wakanda, as if cheering its very existence. And while Chadwick Boseman’s T’Challa and his marvelous women warriors have nothing particularly novel to do, merely seeing them again so soon (with Black Panther still in some multiplexes) is a treat. With Alan Silvestri’s score pulling out the stops and our heroes fighting for -- and, in some cases, losing -- their lives, the final bruising scenes on the planet Titan seem nearly Wagnerian in their grandeur."
David Edelstein, New York  
"'Avengers: Infinity War' careens through an astonishing number of locations, from New York City to space to Scotland to the distant cosmic marketplace known as Knowhere. The scale is almost as menacing as Thanos himself, but the Russos manage to streamline the plot by ensuring that individual scenes have their own internal arcs. Characters constantly ram into each other, firing lasers and guns and webbing and stone; sometimes, they philosophize about their stakes, share affectionate banter, or argue about plans. The movie often resembles a big screen variation on the binge-viewing experience, as it leap-frogs from one new set piece to the next. (Alan Silvestri’s horns are always there to sweeten the transition with a soothing 'bum bum BUM.')"
Eric Kohn, IndieWire
DISOBEDIENCE - Matthew Herbert

"If the writing finds the complicated dimensions at each perspective of this triangle, the gorgeous score by electronic musician Matthew Herbert emphasizes it, with orchestral work that is both sharp and warm. And that music surrounds a trio of terrific, empathetic, evolving performances. Weisz’s Ronit wears a brittle exterior, one that eventually melts, even if she keeps herself protected from being hurt by leaving Esti with the responsibility of where their future will land. McAdams’ Esti refuses to let Ronit off the hook, and the complications now present in her once structured life are something she endures with a stoicism that erodes as it becomes more difficult to deny her feelings. Lastly, Nivola’s Dovit tries to balance the humiliation he feels with the conflicted concern he feels his wife, a woman with whom he believed he was building a future with."
Kevin Jagernauth, The Playlist

"But many us can remember a time where it seemed as if every song on the radio was in conversation with the heartache of a bad breakup. Lelio is nothing if not a romantic, and it’s around the point that Ronit and Esti find themselves alone for the first time in however many years that the film’s style vibrantly keys itself to the characters’ passions. The magical realism that 'A Fantastic Woman' flirts with is 'Disobedience''s guiding principle. Lelio increasingly embraces symmetry, and he positions persons within the frame in totemic fashion, with the dollops of Matthew Herbert’s dazzling musique concrète-style score underlying the sense that the characters are entering a trance of their own making. It’s perhaps natural that Lelio films Ronit and Esti finally talking about their romantic past in a single long take, and it’s some kind of masterstroke how the tension of their reminiscences and flirtations is rhymed to our wonderment over when the shot will dare to cut away."

Ed Gonzalez, Slant Magazine

"Ultimately, the two women give in to their desires for one stolen afternoon. While their tryst is filmed poetically, the stilted buildup to it makes the sexual union feel unearned. An ominous 'There Will Be Blood'-esque score by Matthew Herbert is out of place, especially when the Cure’s 'Lovesong' spells things out better. Yet in skillfully straddling the worlds of individualism and tradition, 'Disobedience' can almost be forgiven for its deep freeze."
Tomris Laffly, Time Out New York 
"Another distinctive score from British electronic composer Matthew Herbert, continuing his collaboration with Lelio after 'A Fantastic Woman,' provides delicate enhancement to the contemplative mood. And strategic use of sung Hebrew prayers adds immeasurably to the story's sorrow and gravitas."
David Rooney, The Hollywood Reporter 

GHOST STORIES - Frank Ilfman
"As a horror anthology, as a delivery device of different methods to utterly put the shits up you, the film is something of a triumph. The jump-scare is somewhat derided as a technique, but like a sort of ghost train ride, the movie makes a virtue of them, with at least a dozen well-executed moments that had us leaping in our seats. They wouldn’t be half as effective without the atmosphere that becomes before it, though, and Nyman and Dyson do a terrific job of setting an unsettling mood from the first frame (thanks in part to cinematographer Ole Bratt Birkeland and composer Haim Frank Ilfman, both doing strong work here)."
Oliver Lyttleton, The Playlist 
"It’s strange, given the richness of his premise, that Livolsi is so unduly preoccupied with such familiar beats, and stranger still that Fuller’s influence remains so unclear. His presence is manifest in everything from archival footage (in which he’s seen driving a speedboat with a young Burstyn hanging on his arm) to Rob Simonsen’s killer retro-futurist score, but all that we really learn about the guy is that his hope for a better future has inspired Josephine to hide inside the past and deny the potential of the present. Josephine herself is given similarly short shrift; the movie treats her like a well-meaning but overprotective grandma who comes to realize that Fuller was his own kind of punk, but -- through no fault of Burstyn’s -- she comes off as a perturbed old lady with a flair for Stockholm Syndrome."
David Ehrlich, IndieWire 

KINGS - Nick Cave, Warren Ellis

"Her teenage adoptees present a different set of problems. Jesse (Lamar Johnson) is the oldest of them all, and also the most responsible, but the private turbulence of puberty is almost as disruptive as the public anxieties of neighborhood violence. There’s a girl -- even at the end of the world, there’s always a girl. Her name is Nicole (the compulsively watchable Rachel Hilson), and she’s as loud as she is little. Watching her flip off her school principal from the other side of a chainlink fence, or embarrass the local gangbanger who whispers statutory rape fantasies into her ear, and it’s easy to appreciate Jesse’s affections. Ergüven eventually suffocates these characters with a series of tiresome incidents, but they’re fascinating to watch during the first hour of the film, when she shoots them with an expectant dreaminess that cleaves much closer to Charles Burnett than Kathryn Bigelow. Nick Cave and Warren Ellis pretty much repurpose their score from 'The Assassination of Jesse James by the Coward Robert Ford,' but the music certainly adds to the feeling of finding love in a hopeless place."
David Ehrlich, IndieWire 

"Just how bad is 'Kings'? Let’s put it this way -- even soundtrack legends Nick Cave and Warren Ellis phone it in with a forgettable score. When the music is obtrusive to be noticable, it sounds like secondhand Vangelis from the most treacly moments in 'Blade Runner' (lovable in that film, here, not so much). There is also egregious overuse of lap dissolves -- tacky in the title sequence, and only worse from there -- highlighting the crutch of archival footage. The technique only serves to draw attention to what must have been budgetary limitations, with financing predominantly coming from France and China. 'Kings' is going to be a tough sell for The Orchard when it unspools in theaters later this fall."
Bradley Warren, The Playlist
"Turkish writer/director Deniz Gamze Ergüven galloped out of the gate with her debut feature 'Mustang,' a film about five adolescent orphans whose girlhood is about to be snuffed out by forced matrimony. The sensitive yet rebellious story was an oft-mentioned contender for the best foreign film of 2015. Ergüven’s second feature, and her first in English, proves to be a disappointing successor. Although it shares many attributes with 'Mustang' -- attention to issues of social repression, strong image-making (cinematographer David Chizallet worked on both films), convincing performances by non-actors, music scores by Warren Ellis (joined for this second outing by his frequent collaborator Nick Cave) -- 'Kings' is a confusing and far-fetched story in which good intentions outweigh good storytelling."
Marjorie Baumgarten, The Austin Chronicle 
"Somehow, the entire hectic assembly clocks in at less than 90 minutes (and that leaves room for Millie to have an extended erotic dream, and for a protracted and nearly incoherent death scene involving one of her kids). Despite a relatively mellow score by Nick Cave (piano and vibes) and Warren Ellis (everything else), 'Kings' makes for a dizzying, Cuisinart-style collage, where everything is pitched at the same level, whether it’s a white cop waving a loaded weapon at the agitated locals or Millie overreacting to a cockroach in her kitchen. (It should be said that Berry has given some of the best and worst performances of the past quarter-century, but this is perhaps the only one that swings to both extremes in the same movie.)"
Peter Debruge, Variety 

"Like the cloistered sisters in 'Mustang,' Millie's brood is often captured in moments of physical abandon -- that aforementioned pool dip; bouncing off the walls with excitement on Christmas morning; or a scene in which Obie steps in as babysitter and they bust out dance moves to James Brown. But as the action detonates, accompanied by a plaintive score by Nick Cave and Warren Ellis, Millie is separated from the majority of her kids, sending her on a panicked search across town, with Obie offering his help."
David Rooney, The Hollywood Reporter 

"'The Murder Of Nicole Brown Simpson' is directed like a Lifetime thriller, relying heavily on stark lighting and ominous music to create suspense. (Neither is effective.) It does possess a marginally more convincing sense of time and place than 'The Haunting Of Sharon Tate,' Farrands better evoking the early ’90s with mom jeans and fax machines than he did the late ’60s with haphazardly draped paisley. But you can’t give him too much credit there, considering that many Southern California shopping centers -- locations that feature prominently in the film -- look about the same now as they did then. A more sensitive filmmaker might use this visual continuity to underline the fact that Nicole Brown Simpson and Ron Goldman’s deaths weren’t all that long ago, and that the sociopolitical wounds those murders tore open have not yet scarred over. But if the lingering hot-button sensitivity of that aspect had ever occurred to Farrands, he surely would have turned it into just another crass selling point."
Katie Rife, The Onion AV Club 

"Eventually, of course, 'The Murder of Nicole Brown Simpson' gets down to its raison d'etre, which is graphically depicting the brutal slayings of Nicole and Ron (blandly played by Drew Roy) at the hands of a masked killer. Foregoing anything resembling restraint, Farrands presents the killings in bloody, slasher movie fashion, working his Foley artist to death recreating the sound of a blade slicing through human flesh. Incongruously, the musical underscoring consists of plaintive solo piano tinkling that might have been composed by a severely depressed George Winston."
Frank Scheck, The Hollywood Reporter 

OVERBOARD - Lyle Workman
"Once again, the burden of carrying 'Overboard,' with its generic score and workmanlike cinematography, falls on the leads. Faris and Derbez aren’t a real-life couple like Hawn and Russell, so it’s hard for them to compete in the chemistry department. But they are both skilled comedic actors. Even here, though, they’re defanged: Breaking from Garry Marshall’s loose, improvisational style, director Rob Greenberg -- making the leap to feature films after a decade in sitcoms -- hews closely to the script’s mild humor and cornball exposition. ('I basically kidnapped the man!' Kate exclaims at one point. 'So what? Obviously you’re in love with him,' Theresa replies.) That leaves Faris and Derbez with little more than pratfalls and line delivery with which to express themselves, a task Derbez handles with graceful ease. Faris, stuck in dueling modes of 'frazzled' and 'astonished,' seems to be putting most of her effort into staring wide-eyed through her bangs in her best Goldie Hawn impression."
Katie Rife, The Onion AV Club 

THE SONATA - Alexis Maingaud
"Alexis Maingaud’s score, encompassing both background music and Marlowe’s composition, is also accomplished. It isn’t very scary, though, particularly for something that’s meant to say hey to Satan himself. And that is a charge you could level at 'The Sonata' as a whole."
Dennis Harvey, Variety
ZAMA - Los Indios Tabajaros
"Ms. Martel’s attention to period detail is impeccable without being show-offish about it. But 'Zama' is not the kind of period piece that aims for suspension of disbelief. Its signals its modernity in a variety of ways, particularly on the soundtrack. At moments of particular stress for its protagonist, electronic tones not unlike feedback intrude on the soundtrack. The music, jaunty guitar-led instrumentals that sometimes sound like proto-surf music, is vintage stuff by Los Indios Tabajaros, a Brazilian guitar duo that began recording in the 1940s."
Glenn Kenny, 

"How strange and apt that the year’s most sensorially and ideologically dense film is also a comedy of microaggressions, built on the minor workplace humiliations of a pencil-pusher in the 1790s. Zama requests a transfer recommendation, and his mercurial boss changes the subject; Zama is directed to censure his younger co-worker (Juan Minujin), who’s subsequently promoted and begins sleeping with the only woman (Lola Dueñas) who draws Zama’s interest. Our hero’s sense of dislocation is purgatorial, as Martel and cinematographer Rui Poças set Zama off to the side of ingenious, multiplanar compositions that render him a curiosity in a tableau of wonders. Martel’s typically detailed, immersive sound design heightens the confusion, as off-screen gunshots are ignored and the overwhelming titter of birds and insects carries over across cuts that may represent gaps of hours, weeks, or years. The noise only quiets for flares of anachronistic score: a few bars of 1950s guitar pop or, in moments when Zama can glimpse a happy future for himself, a weird reverberant whistle that hangs in suspended animation."
Christopher Gray, Slant Magazine 

"But 'Zama' deepens into a comeuppance story, as our antihero goes from taking out his petty embarrassments on the powerless to becoming a demoted desperado, riled by children and superiors alike. The material comes from a celebrated 1956 novel of the same name by Antonio di Benedetto, but Martel’s close-ups of her red-faced leading man -- scored to a plummeting synth straight out of 'Scarface' -- edge the film into comic territory. And we haven’t even mentioned the llama yet.
Joshua Rothkopf, Time Out New York
"In its own befuddling, bone-dry way, this is a comedy -- one that takes fiendish pleasure in puncturing the pomp and circumstance of a cog in the empire-building machine. When the magistrate is unceremoniously booted from his digs (his belongings laid out in the open like those of an evicted tenant), he ends up having to relocate to the worst inn in Asunción: a backwater dump that even the proprietors believe is haunted. In another priceless ladling of insult atop injury, a naysaying fellow administrator (Juan Minujín) is 'punished' with a transfer to the exact place where Zama hopes to go, and our hero’s quiet, simmering outrage ('The deported... gets to choose his destination?') is punctuated by a stray lama that wanders into the room, mocking his misery by its very presence. Even the stylistic choices seem like jokes at Zama’s expense: The cheerful plucks of Spanish guitar and Martel’s gorgeous, painterly images suggest, with a tinge of bitter irony, that he’s somehow wandered into a much more romantic movie about his own life. Circumstance begs to differ."
A.A. Dowd, The Onion AV Club 
"Martel makes inventive use of sometimes anachronistic sound and music effects -- from the blanketing noises of nature to bursts of distorted industrial din to a recurring luau-type tune that conjures tropical breezes. The aim clearly is to distance her film from fusty costume drama and plunge us into a violated world beyond time, its beauties obscured by the consuming ambition of a man whose destiny grows inexorably narrower. But for much of its running time, Zama is merely remote and enervating, too accurately reflecting its protagonist’s predicament."
David Rooney, The Hollywood Reporter 


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

January 17
BLACK NARCISSUS (Brian Easdale) [Fairfax Cinema]
CADDYSHACK (Johnny Mandel) [Vista]
CASABLANCA (Max Steiner) [Alamo Drafthouse]
FREAKED (Kevin Kiner - in person!) [Cinematheque: Egyptian]
PINK FLOYD: THE WALL (Roger Waters, Michael Kamen) [Nuart]
RUMBLE FISH (Stewart Copeland) [Fairfax Cinema]
SILVER BULLET (Jay Chattaway) [New Beverly]

January 18
BLACK NARCISSUS (Brian Easdale) [Fairfax Cinema]
FRANCES HA, MISTRESS AMERICA (Britta Phillips, Dean Wareham) [Cinematheque: Aero]
GHOST IN THE SHELL (Kenji Kawai) [Vista]
KIKI'S DELIVERY SERVICE (Joe Hisaishi) [New Beverly]
ONE-EYED JACKS (Hugo Friedhofer), THE HIRED HAND (Bruce Langhorne) [Cinematheque: Egyptian]
RAGING BULL [New Beverly]
RUMBLE FISH (Stewart Copeland) [Fairfax Cinema]
STAND BY ME (Jack Nitzsche) [Vista]
TROOP BEVERLY HILLS (Randy Edelman) [Alamo Drafthouse]
20,000 LEAGUES UNDER THE SEA (Paul Smith) [Cinematheque: Egyptian]

January 19
BLACK NARCISSUS (Brian Easdale) [Fairfax Cinema]
DR. NO (Monty Norman) [Cinematheque: Egyptian]
HANGOVER SQUARE (Bernard Herrmann) [Cinematheque: Egyptian]
KIKI'S DELIVERY SERVICE (Joe Hisaishi) [New Beverly]
KILLER OF SHEEP, BLESS THEIR LITTLE HEARTS (Little Esther Phillips, Archie Shepp) [UCLA]
LEGEND (Tangerine Dream) [Alamo Drafthouse]
REAR WINDOW (Franz Waxman) [Cinematheque: Egyptian]
RUMBLE FISH (Stewart Copeland) [Fairfax Cinema]
THE SQUID AND THE WHALE (Britta Phillips, Dean Wareham), KICKING AND SCREAMING (Phil Marshall) [Cinematheque: Aero]    

January 20
CASABLANCA (Max Steiner) [Alamo Drafthouse]
THE SILENCE OF THE LAMBS (Howard Shore) [New Beverly]
UNCONQUERED (Victor Young), REAP THE WILD WIND (Victor Young) [New Beverly]

January 21
BOOK OF SHADOWS: BLAIR WITCH 2 (Carter Burwell) [Alamo Drafthouse]
CASABLANCA (Max Steiner) [Alamo Drafthouse]
THE KING OF COMEDY (Robbie Robertson) [Cinematheque: Aero]
UNCONQUERED (Victor Young), REAP THE WILD WIND (Victor Young) [New Beverly] 

January 22
BOB & CAROL & TED & ALICE (Quincy Jones), MODEL SHOP [New Beverly]
CASABLANCA (Max Steiner) [Alamo Drafthouse]
EXISTENZ (Howard Shore) [Alamo Drafthouse]
FELLINI SATYRICON (Nino Rota) [Laemmle Royal]
MARTY (Roy Webb) [New Beverly]

January 23
BOB & CAROL & TED & ALICE (Quincy Jones), MODEL SHOP [New Beverly]
GOODFELLAS [Cinematheque: Aero]
THE QUIET MAN (Victor Young), STRAW DOGS (Jerry Fielding) [Cinematheque: Aero]
TREMORS (Ernest Troost) [Alamo Drafthouse]

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]

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]
THE ROAD WARRIOR (Brian May) [Fairfax Cinema]
SWEET SMELL OF SUCCESS (Elmer Bernstein) [Fairfax Cinema]


Heard: Battle of the Sexes (Britell), The Rains of Ranchipur/Seven Cities of Gold/The Blue Angel (Friedhofer), Wonderstruck (Burwell), The Flash: Season Two (Neely), Silence (Kluge/Kluge), L'Attentato (Morricone), Happy Death Day (McCreary), The Sentinel (Melle), Thank You for Your Service (Newman), Dawn of the Planet of the Apes (Giacchino), Star Trek: The Enterprise Incident/Plato's Stepchildren (Courage)

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

Seen: Secret Ceremony: Boom!; One Child Nation; Les Miserables [2019]; Underwater [2020]; American Factory; Like a Boss

Watched: The Avengers ("All Done with Mirrors"), Veronica Mars ("You Think You Know Somebody"), The Palm Beach Story, Battlestar Galactica ("Tigh Me Up, Tigh Me Down")

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