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Dragon's Domain has announced two new releases -- CRAIG SAFAN: HORROR MACABRE VOL. 2, featuring the composer's scores for the anthology movie Nightmares and the true crime TV movie Seduced by Madness: The Diane Borchardt Story; CHUCK CIRINO: EROTIC THRILLERS, a two-disc set featuring Cirino's scores for the direct-to-video movies Sins of Desire and Haunting Fear. Buysoundtrax will be releasing W. Michael Lewis and Mark Lindsay's score for SHOGUN ASSASSIN, the 1980 English-dubbed feature that combined footage from two of the Japanese Lone Wolf & Cub samurai adventure films.


The Offering
 - Christopher Young - Notefornote 


The Amazing Maurice - Tom Howe
Baby Ruby - Erik Friedlander
80 for Brady - John Debney
Freedom's Path - Ryan Taubert
Knock at the Cabin - Herdis Stefansdottir
Let It Be Morning - Habib Shadah
The Locksmith - Marlana Sheetz
A Lot of Nothing - David Sardy
Ocean Boy - Brian Cachia
Remember This - Roc Lee
Who Invited Charlie? - Daniel Rojas 


February 10
Chuck Cirino: Erotic Thrillers
- Chuck Cirino - Dragon's Domain
Craig Safan: Horror Macabre Vol. 2
- Craig Safan - Dragon's Domain
February 24
Le foto proibite di una signora per bene
- Ennio Morricone - Beat 
The Retaliators - Kyle Dixon, Michael Stein - Better Noise 
Space: 1999
- Ennio Morricone - Beat
Squadra Antigangsters
- Goblin - Beat
March 3
Interview with the Vampire - Daniel Hart - Milan
March 17
Blonde - Nick Cave, Warren Ellis - Invada
April 14
Babylon - Justin Hurwitz - Interscope
Date Unknown
El ultimo viaje
 - Stelvio Cipriani - CSC
Peccato Senza Malizia
 - Stelvio Cipriani - CSC 
Shogun Assassin
- W. Michael Lewis, Mark Lindsay - Buysoundtrax


February 3 - Paul Sawtell born (1906)
February 3 - Derek Hilton born (1927)
February 3 - Daniele Amfitheatrof begins recording his score for Lassie Come Home (1943)
February 3 - Dave Davies born (1947)
February 3 - Toshiyuki Watanabe born (1955)
February 3 - Ray Heindorf died (1980)
February 3 - Lionel Newman died (1989)
February 3 - Basil Poledouris begins recording his score for RoboCop 3 (1992)
February 3 - Paul Baillargeon records his score for the Star Trek: Enterprise episode ‘The Forgotten” (2004)
February 4 - Hal Mooney born (1911)
February 4 - David Raksin begins recording his score for The Girl in White (1952)
February 4 - Kitaro born (1953)
February 4 - Don Davis born (1957)
February 4 - Bronislau Kaper begins recording his and Heitor Villa-Lobos' score to Green Mansions (1959)
February 4 - Patton opens in New York City (1970)
February 4 - Joe Raposo died (1989)
February 4 - Von Dexter died (1996)
February 4 - J.J. Johnson died (2001)
February 4 - Jimmie Haskell died (2016)
February 5 - Felice Lattuada born (1882)
February 5 - Bronislau Kaper born (1902)
February 5 - Clifton Parker born (1905)
February 5 - Elizabeth Swados born (1951)
February 5 - Cliff Martinez born (1954)
February 5 - Nick Laird-Clowes born (1957)
February 5 - Elmer Bernstein begins recording his score for The Rat Race (1960)
February 5 - Jacques Ibert died (1962)
February 5 - Guy Farley born (1963)
February 5 - Kristopher Carter born (1972)
February 5 - Michael Small begins recording his score for The Parallax View (1974)
February 5 - Ron Jones records his score for the Star Trek: The Next Generation episode "When the Bough Breaks" (1988)
February 5 - Douglas Gamley died (1998)
February 5 - David Bell records his score for the Star Trek: Voyager episode “The Killing Game, Part 1” (1998)
February 5 - Dennis McCarthy records his score for the Enterprise episode “Stigma” (2003)
February 5 - Al De Lory died (2012)
February 5 - Ray Colcord died (2016)
February 6 - Akira Yamaoka born (1968)
February 6 - Hugo Montenegro died (1981)
February 6 - Alan Silvestri begins recording his score for Romancing the Stone (1984)
February 6 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Power Play” (1992)
February 6 - John Dankworth died (2010)
February 6 - Sam Spence died (2016)
February 7 - George Bassman born (1914)
February 7 - Marius Constant born (1925)
February 7 - Laurie Johnson born (1927)
February 7 - Alejandro Jodorowsky born (1929)
February 7 - Gottfried Huppertz died (1937)
February 7 - Frans Bak born (1958)
February 7 - David Bryan born (1962)
February 7 - Jerry Fielding begins recording orchestral cues for Demon Seed (1977)
February 7 - Ira Newborn begins recording his score for Naked Gun 33 1/3: The Final Insult (1994)
February 7 - Shirley Walker begins recording her score for Willard (2003)
February 8 - John Williams born (1932)
February 8 - Joe Raposo born (1937)
February 8 - Johnny Mandel records his score for Drums of Africa (1963) 
February 8 - Alan Elliott born (1964)
February 8 - Richard Markowitz records his score for The Invaders episode “Quantity: Unknown” (1967)
February 8 - Planet of the Apes opens in New York (1968)
February 8 - Lalo Schifrin begins recording his score for Earth II (1971)
February 8 - David Bell records his score for the Star Trek: Voyager episode “Dark Frontier, Part II” (1999)
February 8 - Akira Ifukube died (2006)
February 9 - Jean Constantin born (1923)
February 9 - Barry Mann born (1939)
February 9 - Alfred Newman begins recording his score for The Counterfeit Traitor (1962)
February 9 - Gregory Tripi born (1975)
February 9 - Elvis Perkins born (1976)
February 9 - Percy Faith died (1976)
February 9 - James Horner begins recording his score for Project X (1987)
February 9 - Jean-Claude Petit begins recording his score for The Return of the Musketeers (1989)
February 9 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “One Little Ship” (1998)
February 9 - Dennis McCarthy and Kevin Kiner record their score for the Star Trek: Enterprise episode “Doctor’s Orders” (2004)
February 9 - Johann Johannsson died (2018)
February 9 - Hildur Gudnadottir wins her first Oscar, for Joker (2020)


"Poitras, whose gift for suspenseful contemplation is on full display here, layers her subject’s frank memories and insights over a rolling bounty of her photographs -- the style evokes Goldin’s legendary slideshows, the most famous of which is 'The Ballad of Sexual Dependency' (which is excerpted). We even hear a shutter click occasionally too, a sonic touch that gently reinforces the intimacy of our watching and listening, while the sparsely deployed Soundwalk Collective score and other music cues feel like an ethereal bridge between Goldin’s past epiphanies and present crusade."
Robert Abele, Los Angeles Times 

"'You grow up,' Goldin says at one point in the documentary, 'being told, "That didn’t happen." ' When, after the shivers and shimmers of the score by Soundwalk Collective, Lucinda Williams’ voice comes over the closing credits, a voice infused with hard knocks and openheartedness, it’s the perfect cap to the film, emphasizing that this did happen, and there’s no point in looking away. The story of Goldin’s activism would make a worthy film. The story of her birth and blossoming as an artist would too. The story of her sister pulls all this into another dimension, and the way Poitras and Goldin have brought the threads together, into the light, is a distillation likely to shake you to the core. It’s art.
Sheri Linden, The Hollywood Reporter 
BABYLON - Justin Hurwitz

"'Babylon' looks sensational from the start, bangs along to the year’s most brilliant score, and bubbles over with riotous setpieces that frequently capture the headrush of making movies for the big screen by restoring the thrill of watching them on one. But this is a burial, not a resurrection -- a funeral shot from inside an empty casket while Chazelle frantically tries to wipe dirt (or elephant shit) off the lens -- and the film is ultimately more entombed in cinema’s past than any of its characters. Like them, 'Babylon' can’t figure out where to go once the party’s over, and all of the creative energy it builds up at the height of its hedonism ends up collapsing in on itself like an overbaked soufflé. Shot with a screwball energy that starts on the way there and set to the fever of a Justin Hurwitz score that’s almost as horny as the movie that inspired it, this bonfire of the vanities is basically what any Oscar-winning young director might stage if they felt like it was their last chance to burn a small fortune of a studio’s money. It’s the height of excess laced with the fall of Rome, as the end of the silent era looms over the festivities like an elephant that Jack can smell even before it bursts into the room."
David Ehrlich, IndieWire 
"Manny is our white rabbit as he leads the way (and the poor elephant) to perhaps one of the craziest and most kaleidoscopic parties ever put on the screen, one that immediately summons countless references from near-term cinema alone: from mazy 'Boogie Nights' bashes (with far more indulgence), to Gaspar Noé’s 'Climax,' to, chiefly, Martin Scorsese’s coke-fueled sequences. With an electric score by Justin Hurwitz (that occasionally resembles the chords in Chazelle’s 'La La Land' too audibly), it’s all pure, eye-gouging debauchery for 30 or so minutes. Before the suggestive title Babylon appears, there will be plenty of orgies, mountains of drugs, sexual fetishes, naughty performance bits, projectile vomiting, and more sweaty bare bodies than one can count."
Tomris Laffly, The Onion AV Club  
"And, once again, it feels like the filmmaker's commitment elevated his team of craftspeople. Linus Sandgren's fluid cinematography gives the film a lot of its momentum -- his shots are rarely flashy but always propulsive. Justin Hurwitz's score might be the best of the year, finding recurring themes for its characters that gives the entire piece more of a sense of opera -- a connection that fits this story's dark tone and tragic endings. The production design straddles that line between feeling genuine and also larger than life at the same time. The intercutting of the stories sometimes feels like it gets away from the excellent editor Tom Cross, but that's more a product of Chazelle's occasionally unfocused script than anything in the editing room. About that script. 'Babylon' is a test of whether or not a film can be the sum of its gorgeous pieces. A great score, a talented ensemble, and expert cinematography -- all are undeniable here. And yet there are narrative elements of 'Babylon' that feel hollow from the very beginning and only get more so as Chazelle tries to inject some manipulative lessons into the final scenes. A film like 'Babylon' can be aggressively bitter and contemptuous, but I found it hypocritical when it tries to play the 'isn't it all worth it' card that everyone knows is coming in the final scenes. Fans of this film seem to be adoring this finale, but it struck me as the falsest material in Chazelle's career."
Brian Tallerico,
"Like all of Chazelle’s films, 'Babylon' is gorgeously presented, with stunning cinematography from his frequent collaborator Linus Sandgren. Even though 'Babylon' shows just how uncaring Hollywood at this time can be, it’s the soft moments of beauty scattered throughout that show why these people stayed put and didn’t give up their dreams. After the party that begins the film, Nellie and Manny leave as the sun rises, and the purple hue of the sky brings comfort that was lacking indoors. And when the magic hour hits, it’s almost as if a hush falls over the cast and crew, even when they're not recording for sound. In 'Babylon,' Hollywood can be a dark, callous place, but the beauty that punctuates the coldness almost makes it all worthwhile. Throw in Justin Hurtwitz’s stupendous and thumping score and it’s hard to not get lost in the magic of the movies too."
Ross Bonaime, Collider 
"The party itself is a throng of half-naked people writhing on the dancefloor, a buffet table with piles of cocaine and pills, Nellie dancing on a table, and the elephant running amok. A jazz-infused score runs beautifully through the movie, composed by Justin Hurwitz, whose plunking melody for Chazelle's 'La La Land' vaguely echoes here. The camera takes us into the midst of the action, capturing all the energy and glee."
Caryn James, 

"A message like this -- pursuing fame is an act of hubris, and artists are transcendent in their foolish vainglory -- is highly dependent on its messenger, and 'Babylon' dances on a razor’s edge from its first frame. Yet Chazelle, alongside his longtime editor Tom Cross and composer Justin Hurwitz, are among the most accomplished dance partners making movies right now. There’s a musicality to Chazelle’s films as he, Hurwitz, and Cross use the visual medium of film with the improvisational vigor of jazz musicians, and 'Babylon' is their showstopper. The cuts are syncopated to get the audience moving. The color palette is bold and brassy, blurring the line between the images on screen and the horns that fuel them. The camera lingers on performers and performances: a showstopping, manic dance from Nellie LaRoy in the film’s opening bash/orgy, a drunken climb up a hill by Jack Conrad, utterly wasted, right before he miraculously pulls himself together to deliver a perfect take. The tightening of Manny’s brow and lips as he assumes the role of an executive, and does whatever it takes to convince the movers and shakers that he belongs in the room with them."
Joshua Rivera, Polygon 

"As a Black jazz outfit, led by trumpet player Sidney Palmer (Jovan Adepo), blares Justin Hurwitz’s bombastic score into existence, we are thrust into pure delectation. 'Babylon' can be transfixing, before a feeling that the film is too polished, too neat, takes hold. The cinematography balances warmth and cloying darkness, communicating the delights and horrors in which characters are mired. The music carries itself with hard-won panache. The actors are game. The costuming, makeup, and hair design playfully experiment with the visual traits of the eras they traipse through to mixed but eye-catching results. The editing is elegant as it weaves together a cornucopia of needs, and is often a source of the film’s greatest humorous moments, cutting against expectation to place the audience further into the barely organized chaos of this ragged industry. Where it ultimately stumbles and falls is in its characterization -- those particulars of humanity that the classic films Chazelle so loves excelled at portraying."
Angelica Jade Bastien, New York 
"For all of the lathered-up fervor on display -- from Linus Sandgren’s restless camerawork to Tom Cross’ frenetic editing to Justin Hurwitz’s insistent jazz score -- 'Babylon' works only in the rare moments when it slows down enough to capture a human moment like Elinor giving a falling star the bad news (his career is over) and the good news (thanks to the magic of the movies, he will live forever), or when Sidney contemplates the humiliating demand that he wear burnt-cork makeup to darken his skin on film. These fleeting moments of powerful emotion serve only to underscore the overblown tedium of the rest of the movie."
Alonso Duralde, The Wrap 
"With brash and bawdy 'Babylon,' director Damien Chazelle blows something between a poisoned kiss and a big fat raspberry at the same town he so swoonily depicted in 'La La Land.' Separated by nine decades and nearly an ocean of cynicism, the two Tinseltown-set films seem unlikely to have sprung from the same head; we might never suspect they had, were it not for musical collaborator Justin Hurwitz’s busy, hyper-jazzinated score. Here, Chazelle rewinds the clock to Hollywood’s raucous early days -- specifically, the transition from silent filmmaking to talkies, when the industry was still fresh and figuring out what it could be. The middle hour of the film, which finds Jack and Nellie adapting to the advent of sound, owes a huge debt to 'Singin’ in the Rain.' Chazelle stacks one big set piece after another -- a string-of-pearls structure, with bawdy comedy more than music being the focus of each — then smash-cuts to the next scene, often to a blaring burst of jazz, or else the melancholy plunk of Hurwitz’s broken-player-piano score. You could argue that Black trumpet player Sidney Palmer (Jovan Adepo) is also one of the film’s main characters, although he gets a far more anemic share of the plot and could have been cut out completely without much changing the film’s chemistry. Whereas all the other principals get overwritten introductions, Sidney makes his entrance onstage, playing his trumpet. Chazelle is obsessed with jazz, so maybe that solo takes the place of a monologue. Or maybe editor Tom Cross is confronted with too many threads."
Peter Debruge, Variety

"Propelled by Justin Hurwitz’s unrelenting wall-of-sound score, it’s often electrifying, to be sure, and certainly impressive in terms of sheer scale. How often do we get to see hundreds of non-digital extras in anything these days? But even when Chazelle takes a breather from the debauchery and gets his principals on a studio backlot or tries accessing them in more intimate moments, it all seems like one big, noisy, grotesque nostalgia cartoon. The show-offy flashiness behind one elaborately conceived and choreographed sequence after another becomes an impediment to finding a single character worth caring about."
David Rooney, The Hollywood Reporter 

BROKER - Jung Jae-il
"There’s no criminality with these characters, only pure intentions. Kore-eda deals in his trademark sentimentality to explore how families can come in any configuration in a life lived on the outskirts. Trips to a theme park and a car wash cement how such bonds are made through shared experience and a willingness to open yourself up. Accompanied by Jung Jae-il’s wistful score of soft piano and guitar melodies, 'Broker' is washed in a comforting warmth that never ceases, even in its most tear-inducing notes. Even the more shocking plot twists, including a murder, are softened by Kore-eda’s gentle touch."
Iana Murray, The Playlist 
"The hackneyed thieves-with-a-heart-of-gold trope is reinvigorated by the sharpness of the writing and Song’s Basset Hound charms. While Broker occasionally gets close to cloying, especially in its neat ending and jaunty score, Koreeda keeps it the right side of cutesy. It’s best enjoyed as a modern-day fairy tale -- only, one where the abandoned baby sparks nothing but enchantment."
Phil de Semlyen, Time Out 
"At this point, the film may sound a lot like an earlier Palme d’Or winner, 2005’s 'The Child,' in which a deadbeat boyfriend sells his girlfriend’s baby, then spends the rest of the film hustling to undo this bad decision. That film is a mini social realist masterpiece -- the Dardenne brothers’ best -- and unspools like a thriller, with the highest stakes imaginable: What audience doesn’t worry about the fate of a child, passed around like a hot potato between irresponsible parties? 'Broker' is more of a melodrama, all but devoid of suspense. The film’s not at all shy about its own sentimentality (though subtle enough to get away with it), which is reinforced by composer Jung Jae Il’s rolling piano score."
Peter Debruge, Variety 
"Lovingly crafted in every department, the film benefits from the fluid rhythms of Kore-eda’s editing, echoed in a melodic score by Jung Jae-il that spans from acoustic to orchestral. And the unfussy visuals of gifted cinematographer Hong Kyung-pyo -- whose impressive credits include 'Parasite,' 'Snowpiercer' and 'Burning' -- range from the ineffable despair of the rain-drenched opening to the possibility of hope and deliverance as a train cuts through magnificent countryside. Even second-tier Kore-eda reconfirms the filmmaker as an essential voice."
David Rooney, The Hollywood Reporter 

CLOSE - Valentin Hadjadj
"Beautifully shot by cinematographer Frank van den Eeden and featuring an exquisite score by composer Valentin Hadjadj, the film truly triumphs thanks to the performances from newcomers Dambrine and De Waele. The former, in particular, has to carry much of the film on his shoulders but is almost effortless in doing so. While significant credit goes to Dhont’s direction in this regard, Dambrine has a natural expressiveness and grounded demeanor that is often striking."
Gregory Ellwood, The Playlist 

"It’s all the more unfortunate because the first section of this story is told with such entrancing precision. The childhood idyll that Leo and Remi share together is perhaps a bit much -- cue these happy boys running through Monet-worthy flower beds together as Valentin Hadjadj’s lush woodwind score blows through their hair like a late summer breeze -- but there’s no denying how well Dhont conveys the euphoric nowness of two 13-year-old best friends spending a free day together, or that the impeccable naturalism of Dambrine and De Waele’s performances allow their director to gild the lily without making it seem like plastic."
David Ehrlich, IndieWire 
"Dhont and his team know just how to turn up the emotional dials with stunning magic-hour lensing that gives golden-haired Dambrine a halo of backlit suffering as he stands in fields of nodding dahlias, that most gloriously domestic and benevolent flower. On top of that, an achingly plangent background score from Valentin Hadjadj, all strings and oboe (the instrument Remi had been learning), sighs in a minor key."
Leslie Felperin, The Hollywood Reporter
M3GAN  - Anthony Willis
"New Zealander Johnstone, who already showed a droll sense of humor in his 2014 debut feature 'Housebound,' strikes an entertaining balance between comedy and carnage in the kills, and knows how to ratchet up suspense while feeding the laughs. Pacing in the early stages could be tighter, but the story builds satisfyingly as M3GAN starts realizing her full potential and Anthony Willis’ score shifts from foreboding mode into full-scale alarm."
David Rooney, The Hollywood Reporter 

YOU RESEMBLE ME - Danny Bensi, Saunder Jurriaans
"Amer effectively stylizes 'You Resemble Me' to immerse viewers in the constant state of identity crisis that is Hasna’s day-to-day. Omar Mullick’s handheld camera is near-sentient, as aware of Hasna’s surroundings as she must be, always noticing Muslim women in a world that doesn’t welcome them. The moments aren’t colored with commentary but left to linger, like they do in real time. The camera shakes as violently and casually as one in a Lars von Trier film, channeling Hasna’s perennial anxiety. The soundscape is atmospheric, a gripping score with surprise needle drops, dissonant winds, deep drums and sharp sounds that keep you on edge."
Luke Hicks, Paste Magazine 


Screenings of older films in Los Angeles-area theaters.

February 3
ASSAULT ON PRECINCT 13 (John Carpenter) [Alamo Drafthouse]
BARBARELLA (Charles Fox, Bob Crewe) [BrainDead Studios]
BROKEBACK MOUNTAIN (Gustavo Santaolalla) [New Beverly]
ICE STATION ZEBRA (Michel Legrand) [Los Feliz 3]
MILLENNIUM MAMBO (Giong Lim) [Los Feliz 3] 
THE SHINING (Wendy Carlos, Rachel Elkind) [Nuart]
SHOWGIRLS (David A. Stewart) [BrainDead Studios]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
THE WICKER MAN (Angelo Badalamenti) [Los Feliz 3]
WOODSTOCK [New Beverly]

February 4
ASSAULT ON PRECINCT 13 (John Carpenter) [Alamo Drafthouse]
BAD EDUCATION (Alberto Iglesias) [BrainDead Studios]
THE CANTERBURY TALES (Ennio Morricone) [BrainDead Studios]
CHUNGKING EXPRESS (Frankie Chan, Michael Galasso, Roel A. Garcia) [Alamo Drafthouse] 
FULL METAL JACKET (Abigail Mead) [Nuart]
I AM NOT YOUR NEGRO (Alexei Aigui) [Los Feliz 3]
THE LEOPARD (Nino Rota) [Aero]
MILLENNIUM MAMBO (Lim Giong) [Los Feliz 3]  
MOONSTRUCK (Dick Hyman) [Alamo Drafthouse]
RAIDERS OF THE LOST ARK (John Williams) [New Beverly]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE ROOM (Mladen Milicevic) [Landmark Westwood]
THE TARNISHED ANGELS (Frank Skinner) [Los Feliz 3]
TIM BURTON'S CORPSE BRIDE (Danny Elfman) [Alamo Drafthouse]
WOODSTOCK [New Beverly]

February 5
A.I. ARTIFICIAL INTELLIGENCE (John Williams) [Los Feliz 3]
ASSAULT ON PRECINCT 13 (John Carpenter) [Alamo Drafthouse] 
BARRY LYNDON (Leonard Rosenman) [Nuart]
BLONDIE OF THE FOLLIES (William Axt), PEG O' MY HEART (Herbert Stothart) [UCLA/Hammer]
BOYZ N THE HOOD (Stanley Clarke) [Alamo Drafthouse]
CHUNGKING EXPRESS (Frankie Chan, Michael Galasso, Roel A. Garcia) [Alamo Drafthouse]
GROUNDHOG DAY (George Fenton) [Fine Arts] 
LEE DANIELS' THE BUTLER (Rodrigo Leao) [Fine Arts]
MO' BETTER BLUES (Bill Lee) [BrainDead Studios]
MOONSTRUCK (Dick Hyman) [Alamo Drafthouse] 
RAIDERS OF THE LOST ARK (John Williams) [New Beverly]
THE SILENCE OF THE LAMBS (Howard Shore) [Aero]
SWEET CHARITY (Cy Coleman) [BrainDead Studios]
THE WICKER MAN (Angelo Badalamenti) [Los Feliz 3] 
WOODSTOCK [New Beverly] 

February 6
ASSAULT ON PRECINCT 13 (John Carpenter) [Alamo Drafthouse]  
BLOOD SIMPLE (Carter Burwell) [BrainDead Studios]
THE FOOL KILLER (Gustavo C. Carreon), THE YOUNG NURSES (Greg Prestopino) [New Beverly]
MILLENNIUM MAMBO (Lim Giong) [Los Feliz 3]   
THE PHANTOM OF THE OPERA (Andrew Lloyd Webber) [Alamo Drafthouse]
STRIPPED TO KILL (John O'Kennedy) [Los Feliz 3]

February 7
ASSAULT ON PRECINCT 13 (John Carpenter) [Alamo Drafthouse] 
BALL OF FIRE (Alfred Newman) [Academy Museum]
QUICKSILVER (Tony Banks) [BrainDead Studios]

February 8
ASSAULT ON PRECINCT 13 (John Carpenter) [Alamo Drafthouse]  
FARGO (Carter Burwell), THE MAN WHO WASN'T THERE (Carter Burwell) [Aero]
FUNERAL PARADE OF ROSES (Joji Yuasa) [Alamo Drafthouse]
SYNECDOCHE, NEW YORK (Jon Brion) [Los Feliz 3]
THAT MOST IMPORTANT THING: LOVE (Georges Delerue) [BrainDead Studios]

February 9
A LEAGUE OF THEIR OWN (Hans Zimmer) [Los Feliz 3]
THE WEDDING SINGER (Teddy Castellucci), MUSIC AND LYRICS (Adam Schlesinger) [New Beverly]

February 10
BADLANDS (George Aliceson Tipton) [New Beverly]
THE GREAT McGINTY (Frederick Hollander), THE LADY EVE [Academy Museum]
PARIS BLUES (Duke Ellington), A MAN CALLED ADAM (Benny Carter) [Academy Museum]
9 TO FIVE (Charles Fox) [Los Feliz 3]
TRUE ROMANCE (Hans Zimmer) [New Beverly]
THE WEDDING SINGER (Teddy Castellucci), MUSIC AND LYRICS (Adam Schlesinger) [New Beverly] 
WILD AT HEART (Angelo Badalamenti) [Alamo Drafthouse]
WILD THINGS (George S. Clinton) [BrainDead Studios]

February 11
BLADE (Mark Isham), BLADE II (Marco Beltrami), BLADE: TRINITY (Ramin Djawadi) [New Beverly]
D.E.B.S. (Steven Stern) [Los Feliz 3]
FLOWERS OF SHANGHAI (Yoshihiro Hanno, Duu-Chih Tu) [Los Feliz 3] 
FOR LOVE OF IVY (Quincy Jones), ANNA LUCASTA (Elmer Bernstein) [Academy Museum]
IF BEALE STREET COULD TALK (Nicholas Britell) [Los Feliz 3]
LA BELLE NOISEUSE [BrainDead Studios]
LOVE & BASKETBALL (Terence Blanchard) [Alamo Drafthouse]
MUR MURS [Academy Museum]
OLIVER & COMPANY (JAC Redford) [Academy Museum]
PITCH PERFECT (Christophe Beck, Mark Kilian) [Los Feliz 3]
YOU'VE GOT MAIL (George Fenton) [Alamo Drafthouse]

February 12
BLADE (Mark Isham), BLADE II (Marco Beltrami), BLADE: TRINITY (Ramin Djawadi) [New Beverly]
BLUE VALENTINE (Grizzly Bear) [Los Feliz 3]
FLOWERS OF SHANGHAI (Yoshihiro Hanno, Duu-Chih Tu) [Los Feliz 3] 
GIRLS TRIP (David Newman) [Los Feliz 3]
HIDDEN FIGURES (Hans Zimmer, Pharrell Williams, Benjamin Wallfisch) [Fine Arts]
LADY AND THE TRAMP (Oliver Wallace) [BrainDead Studios]
THE NAKED KISS (Paul Dunlap) [BrainDead Studios]
THE PALM BEACH STORY (Victor Young), THE MIRACLE OF MORGAN'S CREEK (Leo Shuken, Charles W. Bradshaw) [Academy Museum]
RITA, SUE & BOB TOO (Michael Kamen) [BrainDead Studios]
SOME LIKE IT HOT (Adolph Deutsch) [Los Feliz 3]


Hotel Paradiso/The Comedians (Rosenthal); Indiana Jones and the Temple of Doom (Williams); Saint Joan (Spoliansky); The River (Williams); John Scott Conducts His Favorite Film Scores (Scott); The Witches of Eastwick (Williams); The Accidental Tourist (Williams); Monsignor Quixote (Abril); Indiana Jones and the Last Crusade (Wiliams)

Read: Suspect, by Scott Turow

Seen: Ice Station Zebra; Close; The Son [2022]; The Prestige; Wonder Boys; Born on the Fourth of July; The Kingdom: Exodus; Infinity Pool

Watched: Penny Dreadful ("Ebb Tide); 30 Rock ("Jackie Jormp-Jomp"); Person of Interest ("Cura Te Ipsum"); Unbreakable Kimmy Schmidt ("Kimmy Goes on a Playdate!"); True Detective ("Hunters in the Dark"); The Venture Bros. ("It Happening One Night"); Westworld ("Annees Folles"); You're the Worst ("The Last Sunday Funday")

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Today in Film Score History:
September 22
Artie Kane records his score for The New Adventures of Wonder Woman episode “The Bermuda Triangle Crisis” (1977)
Charles Previn died (1973)
Chuck Wild born (1946)
Dimitri Tiomkin begins recording his score for Last Train from Gun Hill (1958)
Harry Geller’s score for The Wild Wild West episode “The Night of the Bottomless Pit” is recorded (1966)
J.A.C. Redford records his score for the Twilight Zone episode “What Are Friends For?” (1986)
Jack Shaindlin died (1978)
John Addison wins his only Emmy, for the Murder, She Wrote episode “The Murder of Sherlock Holmes;” Allyn Ferguson wins his only Emmy, for Camille (1985)
John Williams begins recording his score for Home Alone (1990)
Kenyon Hopkins begins recording his score for Downhill Racer (1969)
Konrad Elfers died (1996)
Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “The Left-Handed Man” (1965)
Lenny Stack died (2019)
Nick Cave born (1957)
Pat Metheny records his score for the Amazing Stories episode "Grandpa's Ghost" (1985)
Robert Mellin born (1902)
Samuel Matlovsky's score for the Star Trek episode "I, Mudd" is recorded (1967)
Tuomas Kantelinen born (1969)
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