For 90 of the total 120 minutes two story threads remain frustratingly unconnected.

Audrey Tautou plays young widow Natalie, an office worker whose insensitive, married boss continually pesters her for a date.

Richard Tognetti is the cover star with a no-holds-barred interview. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Is composer Eric Whitacre the Messiah of new music? Plus, the truth behind Mozart's Requiem.

Set between 1904 and 1934, this film is a beautifully detailed and impressive period piece.

The private disintegration of a marriage becomes a very public affair in Asghar Farhadi’s flawless domestic portrait.

Why the Italian icon of film music hears the term Spaghetti Western as an “insult”. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Silent film finds its voice in the modern age. Plus, see the complete list of Academy Award winners. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Ludovic Bource's acclaimed score for The Artist draws as much from Brahms as from Hitchcock.

Michelle Williams is beguiling as screen siren Marilyn Monroe in this true story of an on-set dalliance.

Fiennes transposes an obscure Shakespearean tragedy from Roman times to present-day Europe.

Following his stellar live album of Billie Holiday and Edith Piaf tunes, French-born master accordionist Richard Galliano turns to his Italian roots in a tribute to Nino Rota, marking the great film composer’s centenary in 2011. Captivated by these sumptuous scores ever since he saw La Strada at his local cinema in Nice as a child, Galliano brings the timeless creations of Fellini and Francis Ford Coppola vividly to life in his own jazz-tinged arrangements for quintet. With idiomatic playing from the band, especially Dave Douglas on trumpet, Rota’s melancholic themes lose none of their original romance and mystique, from The Godfather waltz (played on trombone, surprisingly, by Galliano) to the seductive opening of Amarcord. There are more upbeat and varied offerings: the soloist and his La Strada Quartet glide effortlessly from circus music to lounge, dirge to Latin dance – sometimes, dizzyingly, all in the one track – with a selection of themes and medleys cleverly interwoven to revisit motifs as a composer might do in a single film score.  Aside from the crisp ensemble work, Galliano’s instrument and its rich sound palette are most engaging when his stylish, virtuosic improvisations are allowed to soar… Continue reading Get unlimited…