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The latest release from Intrada is Mark McKenzie's score for PRANCER: A CHRISTMAS TALE, the brand-new sequel to the 1989 family film.

The latest batch of end-of-the-year, Black Friday releases from La-La Land, announced last week and available to order now are: a one-disc expansion of Jerry Goldsmith's score for Joe Dante's 1989 dark comedy THE 'BURBS; a two-disc edition of Nino Rota's music for the original THE GODFATHER, the first-ever expansion of this classic score; a two-disc expansion of John Williams' Oscar-nominated score for Steven Spielberg's 1997 historical drama AMISTAD; a two-disc expansion of David Arnold's first score for the 007 franchise, 1997's TOMORROW NEVER DIES; and a three-disc edition of Danny Elfman's score for the original 2002 SPIDER-MAN, featuring the full film score, the original soundtrack sequencing, plus many alternate cues.


Amistad - John Williams - La-La Land
Bandes originales des films de Philippe Miller
 - Philippe Miller - Music Box  
The 'Burbs - Jerry Goldsmith - La-La Land
- Andrew Scott Bell, others - Howlin' Wolf
Doctor Who Series 13: Flux/Revolution of the Daleks
 - Segun Akinola - Silva 
The Godfather - Nino Rota - La-La Land
La Revolucion Francaise
 - Georges Delerue - Music Box
Michel Magne et son grand orchestre jouent les musiques de films de Michel Magne
 - Michel Magne - Music Box    
Prancer: A Christmas Tale - Mark McKenzie - Intrada
Spider-Man - Danny Elfman - La-La Land
Tomorrow Never Dies - David Arnold - La-La Land 


Bruiser - Robert Ouyang Rusli 
Christmas with the Campbells - Tommy Fields
Emancipation - Marcelo Zarvos
Leonor Will Never Die - Alyana Cabral
Return to Seoul - Jeremie Arcache, Christophe Musset
Spoiler Alert - Brian H. Kim
Tantura - Ophir Leibovitch
Violent Night - Dominic Lewis


December 9
Bruno Nicolai in Giallo
 - Bruno Nicolai - Digitmovies
Disenchanted - Alan Menken - Disney
December 16
Banana Joe
- Guido & Maurizio De Angelis - Beat
Commisariato di notturna/La supplete
- Rentao Rascel - Beat 
...Continuavano a chiamarlo Trinita'
- Guido & Maurizio De Angelis - Beat 
The Fabelmans
 - John Williams - Sony 
Guillermo del Toro's Pinocchio - Alexandre Desplat - Columbia
Tiffany Memorandum
- Riz Ortolani - Beat
January 6
Women Talking - Hildur Guonadottir - Mercury 
January 13
Till - Abel Korzeniowski - Decca
January 20
Halloween Ends - John Carpenter, Cody Carpenter, Daniel E. Davies
Coming Soon
Don't Worry Darling - John Powell - Mondo/WaterTower


December 2 - Harry Sukman born (1912)
December 2 - Eddie Sauter born (1914)
December 2 - Milton Delugg born (1918)
December 2 - Cyril Ornadel born (1924)
December 2 - Artie Butler born (1942)
December 2 - Michael Whalen born (1965)
December 2 - Lennie Hayton records his score for the Voyage to the Bottom of the Sea episode “The Monster from Outer Space” (1965)
December 2 - Gerald Fried's score to the Star Trek episode "Shore Leave" is recorded (1966)
December 2 - Richard Markowitz begins recording his music for the three-part Mission: Impossible episode “The Falcon,” his final scores for the series (1969)
December 2 - Francois-Eudes Chanfrault born (1974)
December 2 - John Williams begins recording his score for Midway (1975)
December 2 - Aaron Copland died (1990)
December 3 - Nino Rota born (1911) 
December 3 - Karl de Groof born (1923)
December 3 - Franz Waxman begins recording his score for Woman of the Year (1941)
December 3 - Christopher Slaski born (1974)
December 3 - Elmer Bernstein begins recording his score to McQ (1973)
December 3 - Adam Wingard born (1982)
December 3 - Hoyt Curtin died (2000)
December 3 - Dee Barton died (2001)
December 3 - Derek Wadsworth died (2008)
December 4 - Alex North born (1910)
December 4 - Richard Robbins born (1940)
December 4 - Rob Walsh born (1947)
December 4 - Leonard Rosenman records his score for the Alfred Hitchcock Hour episode “One of the Family” (1964)
December 4 - Jason Staczek born (1965)
December 4 - Benjamin Britten died (1976)
December 4 - On Golden Pond opens in New York and Los Angeles (1981)
December 4 - Harry Sukman died (1984)
December 4 - Jay Chattaway begins recording his score for the two-part Star Trek: The Next Generation episode “Chain of Command” (1992)
December 4 - Frank Zappa died (1993)
December 4 - Tito Arevalo died (2000)
December 5 - Karl-Ernst Sasse born (1923)
December 5 - Johnny Pate born (1923)
December 5 - John Altman born (1949)
December 5 - Richard Gibbs born (1955)
December 5 - Osvaldo Golijov born (1960)
December 5 - Cliff Eidelman born (1964)
December 5 - Jerry Goldsmith records his score for the Room 222 pilot (1968)
December 5 - Jerry Goldsmith begins recording his score to Coma (1977)
December 5 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Outrageous Okona" (1988)
December 5 - Masaru Sato died (1999)
December 5 - Dave Brubeck died (2012)
December 5 - Manuel De Sica died (2014)
December 6 - Mort Glickman born (1898)
December 6 - Lyn Murray born (1909)
December 6 - Dave Brubeck born (1920)
December 6 - Piero Piccioni born (1921)
December 6 - Maury Laws born (1923)
December 6 - Roberto Pregadio born (1928)
December 6 - Willie Hutch born (1944)
December 6 - Joe Hisaishi born (1950)
December 6 - Recording sessions begin for Sol Kaplan’s score for Destination Gobi (1952)
December 6 - Morgan Lewis died (1968)
December 6 - Lalo Schifrin begins recording the original soundtrack LP to Bullitt (1968)
December 6 - Patrick Williams records his score for The Streets of San Francisco episode “Bitter Wine” (1972)
December 6 - Hans Zimmer begins recording his score for Broken Arrow (1995)
December 6 - Richard Markowitz died (1994)
December 7 - Ernst Toch born (1887)
December 7 - Tom Waits born (1949)
December 7 - Victor Young begins recording his score for Appointment with Danger (1949)
December 7 - On Her Majesty's Secret Service opens in Los Angeles (1969)
December 7 - Jerry Goldsmith records his score for The Homecoming: A Christmas Story (1971)
December 7 - Georges Delerue begins recording his score for Les Visiteurs (1979)
December 7 - Star Trek -- The Motion Picture is released in theaters (1979)
December 7 - Basil Poledouris begins recording his score for White Fang (1990)
December 7 - John Addison died (1998)
December 7 - Paul Baillargeon records his score for the Star Trek: Voyager episode “Latent Image” (1998)
December 8 - Leo Shuken born (1906)
December 8 - Moisey Vainberg born (1919)
December 8 - John Rubinstein born (1946)
December 8 - Bruce Kimmel born (1947)
December 8 - Miklos Rozsa begins recording his score to The World, the Flesh and the Devil (1958)
December 8 - Russell Garcia begins recording his score for The Time Machine (1959)
December 8 - Dominic Frontiere records his score for The Invaders episode “The Mutation” (1966)
December 8 - Junkie XL born as Tom Holkenberg (1967)
December 8 - Leonard Rosenman begins recording his score for Beneath the Planet of the Apes (1969)
December 8 - Antonio Carlos Jobim died (1994)
December 8 - Richard Thompson begins recording his score for Grizzly Man (2004)
December 8 - Edward Williams died (2013)


BLACK ADAM - Lorne Balfe
"Film history buffs might note the studio that originated the project: the Warner Bros. subdivision New Line. It rose to prominence with horror films, grew by releasing auteur-driven, down-and-dirty genre pieces and dramas (including 'Menace II Society' and 'Deep Cover') and got into blockbusters with the original 'Lord of the Rings' trilogy. You can see that lineage reflected in many scenes and sequences of this film, which is PG-13 in fact but R in spirit. 'Black Adam' immediately announces what sort of film it is by weaving in quotes from the Rolling Stones’ 'Paint it Black' (the melody of which is referenced in Lorne Balfe’s score) and musical as well as visual snippets from 'The Good, The Bad and the Ugly' -- key works from artists whose best work invites you to root for people who move through their worlds like threshers."
Matt Zoller Seitz, 

"This provocative, breathtaking and highly detailed landscape only makes it that much more nerve-wracking when Oppy encounters danger. Sandstorms look like they’re straight out of Denis Villeneuve’s Dune, and when our robot’s wheels get stuck in the ground, we can almost feel the turning of the cranks against Mars’ erratic turf. The feeling of childlike wonder when we land on Mars is only bolstered by Blake Neely’s sweeping, romantic, gallant score, which sounds like it was seized directly out of a Steven Spielberg film."
Aurora Amidon, Paste Magazine 
"To get across the magnitude of what his subjects saw and did, White pours on the commercial filmmaking devices from start to finish, in the manner of fun-for-all-ages summer blockbusters that used to dominate the box office in the 1980s and '90s, and that were often produced (and occasionally directed) by Steven Spielberg or George Lucas. Sure enough, Spielberg's company Amblin is one of the producers here; the effects are by the company Lucas founded, Industrial Light and Magic; and the score by Blake Neely ('The Pacific,' also an Amblin production) has that John Williams magic-and-wonder vibe."
Matt Zoller Seitz, 

"Any documentary with a score as lush and uplifting as the one that Blake Neely composed for 'Good Night Oppy' has gotta be a glorified commercial for something, but at least Ryan White’s nice and glossy film about NASA’s two most famous Mars rovers is upfront about what it’s selling: The magic of science."
David Ehrlich, IndieWire
"Normally this kind of adventure narrative demands a plucky protagonist to use their wits and ingenuity to survive the harsh conditions of space or another planet. Since 'Good Night Oppy' is about an unmanned mission, the drama is more earthbound. Some of the film’s emotional texture comes from the anxiety and excitement of the people at the Jet Propulsion Laboratory, which is located in Pasadena, California, watching the blurry images beaming back from Mars and maneuvering their robots around various challenges. Blake Neely’s heroic score and epic computer-generated scenery (horizon-spanning dust storms, vast seas of reddish dunes) from Industrial Light & Magic strain to boost 'The Martian'-esque levels of drama."
Chris Barsanti, Slant Magazine 

"White, who has a talent for making unusual subjects relatable in docs such as 'Assassins' and 'The Case Against 8,' anthropomorphizes Spirit and Oppy by quoting members of NASA’s Jet Propulsion Laboratory, who use gendered pronouns to describe the rovers, talking about them like members of their own families. 'Once the rover’s on Mars, it has its own life … and it needs to be given love,' says one. 'Sometimes, she has a mind of her own,' observes another. Add to that Angela Bassett’s empathetic voiceover (Oppy communicates only by on-screen text commands) and Blake Neely’s feelsy score, and audiences will find themselves actually caring about these gizmos -- 5’2″ space pioneers, with wide eyes and minimally 'expressive' heads, heroically going where no man has gone before."
Peter Debruge, Variety

"The plan is to give 'Good Night Oppy' a theatrical run before it settles into its long-term home on Prime Video, and there’s no doubt that some of the computer-assisted visuals will be enhanced on the big screen. ILM has, presumably using or inspired by the imagery and data collected by Spirit and Opportunity, crafted billowing red clouds, swirling dust devils and endless Martian expanses. Boosted by Blake Neely’s wonder-evoking score and Mark Mangini’s otherworldly sound design, it’s unquestionably beautiful, but I wouldn’t call it a dramatic leap forward from the way Mars has been depicted in features like 'The Martian' or the most recent season of 'For All Mankind.' Spirit and Opportunity gave us a new visual language for understanding Mars. 'Good Night Oppy' just gives us a little high-tech pizzazz and helps the audience build, in 100-minute micro, our own version of the epic connection felt by the professionals."
Daniel Fienberg, The Hollywood Reporter 
RAYMOND & RAY - Jeff Beal

"Hawke is unquestionably the more appealing presence here, organically easing into Ray’s scruffy persona, aware of his allure to a parade of women who won’t stop making eyes at him. While Raymond’s contrasting discomfort is obviously by design -- he is the uptight one after all -- the actor seems too timid and hesitant throughout, feeling as out-of-place as the film’s generically jazzy score by Jeff Beal."
Tomris Laffly, Variety 
"There’s a prevailing naturalism in the production’s Richmond, Virginia, locations, richly captured by cinematographer Igor Jadue-Lillo, while composer Jeff Beal accentuates the melancholy with a spare, moody jazz trumpet score."
Michael Rechtshaffen, The Hollywood Reporter 

SPIRITED - Songs: Benj Pasek, Justin Paul; Score: Dominic Lewis
"A lot of different charismatic pieces could help make 'Spirited' a new Christmas movie mainstay, but the biggest could be its soundtrack. The film’s musical sequences boast numerous catchy songs from Benj Pasek and Justin Paul ('La La Land') and epic choreography by Chloe Arnold. Take the grandiose opening sequence, 'That Christmas Morning Feeling,' which has a melody primed for a re-listen as soon as the song is done and is emboldened with a multi-stage gathering of twirling and tapping dancers to match Kramer Morgenthau’s acrobatic camera moves. Later on, Octavia Spencer gets her own standout number, as her character Kimberly wonders if working for the emotionally craven Clint is worth the elevation of her career. The camera spins around her, and the dancers come alive before returning to work."
Nick Allen, The Playlist 

"Sean Anders directs the script he co-wrote with John Morris, the brains behind such illustrious comedies as 'Hot Tub Time Machine' and 'Daddy’s Home.' The duo’s more sophomoric tendencies are tempered by the earnestness of the original songs, written by 'Dear Evan Hansen' duo Benj Pasek and Justin Paul."
Jude Dry, IndieWire 

"So many twists, turns, reveals and inversions to the action follow -- some of which are hugely entertaining, others head-scratching -- that too many specifics might edge into spoiler territory. Suffice to say, the road to redeemability is no cakewalk for Clint or Present as they eventually form an unlikely bromance of sorts, replete with a few rather Broadway-worthy musical numbers penned by dynamic duo Benj Pasek and Justin Paul ('Dear Evan Hansen,' 'La La Land') and choreographed by Chloe Arnold. The Victorian London-set 'Good Afternoon' is a total showstopper, while 'Do a Little Good,' 'That Christmas Morning Feelin'' and the (literally) splashy 'Ripple' stand out as well."
Gary Goldstein, Los Angeles Times

"Also odd is the choice to make this adaptation a musical. The songs by Benj Pasek and Justin Paul ('La La Land,' 'The Greatest Showman,' 'Dear Evan Hansen') aren’t the duo's best, as they often exist only to pause the movie to a standstill and heighten the emotions that we’re already feeling. The entire cast holds their own, even though they aren’t professional singers, and Octavia Spencer, who plays Kimberly -- Clint’s employee and Present’s potential love interest -- absolutely kills it in her own songs. But the songs in 'Spirited' sort of ruin the flow of the story for the most part. They’re not terrible additions, but they wouldn’t necessarily be missed either."
Ross Bonaime, Collider
"A lot of the film’s connection, though, quite obviously also lies in its music, which is built around tunes from songwriters Benj Pasek, Justin Paul (both Oscar-winners from La La Land), Khiyon Hursey, Sukari Jones, and Mark Sonnenblick. 'Bringin’ Back Christmas,' a solo tune for Reynolds, gives off strong 'The Music Man' vibes. 'View From Here,' with Spencer and Ferrell, effectively targets the heart. The male duet 'Good Afternoon,' amusingly rooted in the most devastating insult of the 1800s, folds in perhaps the most unexpected cameo of the year. 'Ripple,' a clipped number that makes a fuller appearance in the end credits, exalts the movie’s main message of civility. Meanwhile, choreographer Chloe Arnold makes great use of a talented chorus line, crafting dance numbers with flair and energy."
Brent Simon, The Onion AV Club 
"Director Sean Anders (the 'Daddy’s Home' movies), co-writing with John Morris, clearly knows his 'Christmas Carol' antecedents: Page’s Marley carries more than a whiff of Michael Hordern’s spectral visitor from the 1951 version; Joe Tippett ('Mare of Easttown'), as Clint’s younger brother, is definitely channeling Bobcat Goldthwait in 'Scrooged'; and the Victorian London–set number 'Good Afternoon' takes a page from the post-'Oliver!' choreography of 1970’s 'Scrooge,' even if the song itself sounds more Seth MacFarlane than Leslie Bricusse. All the songs, incidentally, are the product of in-demand composers Pasek & Paul, who are admittedly divisive among fans of musical theater, with credits that span 'Smash,' 'La La Land,' 'Dear Evan Hansen,' 'The Greatest Showman' and the musical version of 'A Christmas Story.' There’s a bit of sameness to their work here, and overall, their compositions land better in a 'this is a musical number' context than as 'I am one character pouring out their heart.' Many of the songs here are diverting if not immediately catchy, in a score so overstuffed that one of the best songs (''Ripple') got cut from the movie and now runs alongside the closing credits."
Alonso Duralde, The Wrap 

"As 'Spirited' progresses, Present realizes Clint might help him as much as he might help Clint. But who really cares about the somewhat convoluted plot? Let’s talk about the singing and dancing: There is so much singing and dancing in this movie. I’m talking huge production numbers (sometimes charmingly and sometimes frenetically choreographed by Chloe Arnold) with hundreds of dancers and complex sequences. The songs, written by Benj Pasek and Justin Paul (the team behind 'La La Land,' 'Dear Evan Hansen' and 'The Greatest Showman') along with Khiyon Hursey, Sukari Jones and Mark Sonnenblick, are are pretty terrific. There might not be a song as powerful as 'This is Me' or 'Waving Through a Window,' but the songs are instantly catchy. 'Good Afternoon,' which features a positively delightful cameo (that I won’t spoil here) and both Reynolds and Farrell tap dancing, is a highlight. 'Tap is new for me. It’s a very expressive medium,' Clint says as the number ends. I’m all for 2010’s Sexiest Man Alive tapping like there’s no tomorrow."
Amy Amantangelo, Paste Magazine

"Unlike Marley, I love a movie musical. But this is a movie musical made by filmmakers -- director Sean Anders and co-writer John Morris, reteaming with Ferrell after the 'Daddy’s Home' comedies -- who seem to have no idea how a movie musical works. The songs seldom sprout organically from the narrative, more often feeling shoehorned in to dial up the excitement. What makes them even sloppier is choreography by Chloe Arnold -- her regular gig is 'The Late Late Show with James Corden' -- that’s all about frenetic movement, never about dance as a storytelling tool.
Benj Pasek and Justin Paul, the music collaborators behind 'Dear Evan Hansen,' 'La La Land' and 'The Greatest Showman,' are capable tunesmiths, so the songs themselves are not bad even if the composers’ love of big emphatic anthems gets tiring. Aside from Page, who has ample musical theater experience, none of the principals can really sing, though they get by, more or less."
David Rooney, The Hollywood Reporter 
"For audiences cliché-savvy enough to appreciate the movie’s self-skewering sense of humor, this all plays out pretty much as they’d expect. But that doesn’t mean 'Spirited' can’t still surprise. Without spoiling the joke, let’s acknowledge that the film contains the year’s funniest musical number in 'Good Afternoon,' a Dickensian duet between Reynolds and Ferrell that ranks right up there with Monty Python’s most irreverent songs -- and which ought to appeal to everyone’s inner Scrooge, this grinchy critic’s included."
Peter Debruge, Variety 
VOODOO MACBETH - Jongnic Bontemps
"A few hiccups aside -- and some historical inaccuracies that are likely to annoy only the most passionate theater fans -- the vast majority of 'Voodoo Macbeth' is an entirely handsome, professional production. Bash Achkar’s cinematography is bright and welcoming, telling the story without distraction. The production design, art direction and set decoration evoke some of the more attractive (albeit tightly budgeted) period pieces of the turn of the 21st century. And the music by Jongnic Bontemps ('Wedding Season') effectively amplifies the drama, except for a single, giggly moment when a climactic line of heavy-handed foreshadowing for Welles’ film career cues up an intense orchestral theme, à la the sequel tease from the end of 'Batman Begins.'"
William Bibbiani, The Wrap 


Screenings of older films in Los Angeles-area theaters.

December 2
BLACK CHRISTMAS (Carl Zittrer) [Nuart]
COBRA (Sylvester Levay) [New Beverly]

HARDCORE (Jack Nitzsche), TRACKDOWN (Charles Bernstein) [New Beverly]
THE SQUARE [BrainDead Studios]

December 3
BABE: PIG IN THE CITY (Nigel Westlake) [BrainDead Studios]
BAD SANTA (David Kitay) [Landmark Westwood]
THE BIRDS (Remi Gassman, Oskar Sala, Bernard Herrmann) [BrainDead Studios]
THE COMPANY OF WOLVES (George Fenton) [BrainDead Studios]
THE MASQUE OF THE RED DEATH (David Lee) [Academy Museum]

THE MERMAID (Fuhua Huang, Wendy Zheng) [UCLA/Hammer]
THE MISFITS (Alex North), CALL IT MURDER [Academy Museum]
THE MUPPET CHRISTMAS CAROL (Paul Williams, Miles Goodman) [New Beverly]
NATIONAL LAMPOON'S CHRISTMAS VACATION (Angelo Badalamenti) [Alamo Drafthouse] 
PEGGY [Academy Museum]
ROBINSON'S GARDEN (Hamza Al Din, Jagatara, Yoichiro Yoshikawa) [Los Feliz 3]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE SHINING (Wendy Carlos, Rachel Elkind) [New Beverly]
SISTERS (Bernard Herrmann), THE BIRD WITH THE CRYSTAL PLUMAGE (Ennio Morricone) [New Beverly]
SUPERMAN (John Williams) [Academy Museum]
THE WIND RISES (Joe Hisaishi) [Alamo Drafthouse]

December 4
ALTERED STATES (John Corigliano) [BrainDead Studios]
THE DARK CRYSTAL (Trevor Jones) [Fine Arts]

ELF (John Debney) [Alamo Drafthouse]
GASLIGHT (Bronislau Kaper) [Fine Arts]
THE GREAT DICTATOR (Charles Chaplin) [Los Feliz 3]
THE HOLIDAY (Hans Zimmer) [Alamo Drafthouse]
THE MUPPET CHRISTMAS CAROL (Paul Williams, Miles Goodman) [New Beverly] 
PORCO ROSSO (Joe Hisaishi) [BrainDead Studios]
SISTERS (Bernard Herrmann), THE BIRD WITH THE CRYSTAL PLUMAGE (Ennio Morricone) [New Beverly] 
SOLARIS (Edward Artemyev) [Aero]
WHO KILLED VINCENT CHIN? (Lucia Hwong) [Academy Museum]
THE WIND RISES (Joe Hisaishi) [Alamo Drafthouse] 

December 5
COME ON, COWBOY [Academy Museum]
THE HOLIDAY (Hans Zimmer) [Alamo Drafthouse]
LADY SNOWBLOOD (Masaaki Hirao) [Alamo Drafthouse]
NOPE (Michael Abels) [Aero]
PATTON (Jerry Goldsmith) [New Beverly]
THE SILENT PARTNER (Oscar Petersen, Ken Wannberg) [Los Feliz 3]

December 6
CLUNY BROWN (Cyril J. Mockridge) [New Beverly]
NATIONAL LAMPOON'S CHRISTMAS VACATION (Angelo Badalamenti) [Alamo Drafthouse]
ROMA [Academy Museum]

December 7
AU HASARD BALTHAZAR (Jean Wiener) [BrainDead Studios]
PANDORA AND THE FLYING DUTCHMAN (Alan Rawsthorne) [New Beverly]

December 8
THE GODFATHER (Nino Rota) [New Beverly]
GREMLINS (Jerry Goldsmith) [Alamo Drafthouse]
THE IMMIGRANT (Christopher Spelman) [Aero]
JINGLE ALL THE WAY (David Newman) [Los Feliz 3]
NATIONAL LAMPOON'S CHRISTMAS VACATION (Angelo Badalamenti) [Alamo Drafthouse]
NOT A PRETTY PICTURE (Tom Griffith) [Academy Museum]
O SANGUE (Antonio Pinho Vargas) [Academy Museum]
RARE EXPORTS (Juri Seppa, Miska Seppa) [Alamo Drafthouse]

December 9
BATMAN RETURNS (Danny Elfman) [Alamo Drafthouse]
CHILD'S PLAY (Joe Renzetti) [Alamo Drafthouse]
THE GODFATHER (Nino Rota) [New Beverly]
IN THE HEAT OF THE NIGHT (Quincy Jones) [Aero]
KING KONG (James Newton Howard) [BrainDead Studios]
THE LONG KISS GOODNIGHT (Alan Silvestri) [New Beverly]
THE LOST CITY OF Z (Christopher Spelman) [Los Feliz 3]
NEAR DARK (Tangerine Dream) [Nuart]
REGROUPING [Academy Museum]
TAKE THIS WALTZ (Jonathan Goldsmith) [Los Feliz 3]

December 10
AMERICAN MOVIE (Mike Schank) [Los Feliz 3]
AN AMERICAN WEREWOLF IN LONDON (Elmer Bernstein) [BrainDead Studios]
BATMAN RETURNS (Danny Elfman) [Landmark Westwood]
THE GODFATHER (Nino Rota) [New Beverly]
GREMLINS (Jerry Goldsmith) [Alamo Drafthouse]
HARRY POTTER AND THE SORCERER'S STONE (John Williams) [Academy Museum]
HITO HATA: RAISE THE BANNER (Dan Kuramoto) [Academy Museum]
THE HOWLING (Pino Donaggio) [BrainDead Studios]
LITTLE WOMEN (Alexandre Desplat) [Alamo Drafthouse]
MEET ME IN ST. LOUIS (Hugh Martin, Ralph Blane, Roger Edens) [New Beverly]
THE POLAR EXPRESS (Alan Silvestri) [Alamo Drafthouse]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart] 
THE SHINING (Wendy Carlos, Rachel Elkind) [New Beverly]
THE WORLD'S GREATEST SINNER (Frank Zappa) [Academy Museum]

December 11
ALL DOGS GO TO HEAVEN (Charles Strouse, Ralph Burns) [BrainDead Studios]
BATMAN RETURNS (Danny Elfman) [Alamo Drafthouse]
THE CARDINAL (Jerome Moross) [Academy Museum]
DONKEY SKIN (Michel Legrand) [BrainDead Studios]
ED WOOD (Hward Shore) [Los Feliz 3]
ELF (John Debney) [Alamo Drafthouse]
GREMLINS (Jerry Goldsmith) [Alamo Drafthouse]
MEET ME IN ST. LOUIS (Hugh Martin, Ralph Blane, Roger Edens) [New Beverly] 
ONIBABA (Hikaru Hayashi) [Los Feliz 3]
THE PICTURE OF DORIAN GRAY (Herbert Stothart) [Fine Arts]
THE POLAR EXPRESS (Alan Silvestri) [Alamo Drafthouse]
Q: THE WINGED SERPENT (Robert O. Ragland), TRICK OR TREATS [New Beverly]
WHAT'S UP CONNECTION (Toshinori Kondo) [Los Feliz 3]


Heard: Hurry Sundown (Montenegro)

Read: The Hours Before Dawn, by Celia Fremlin

Seen: Glass Onion: A Knives Out Mystery; Nightmare Alley [1947]; Roustabout

Watched: Kolchak: The Night Stalker ("Bad Medicine")

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November 28
Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “Where the Woodbine Twineth” (1964)
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Gato Barbieri born (1932)
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