Have your say and tell us who you think delivered the most memorable performances of 2011. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
There’s a case to be made that Woody Allen’s career has been grievously underrated in its autumnal stage.
The difficulty of producing a documentary about Glenn Gould’s life and his eccentricities must have been daunting.
The Hunter boasts some striking cinematography; it’s just the internal landscape that feels a little lacking.
Rachel Weisz makes for an intractable UN Peacekeeper in this earnestly well-meaning drama about human trafficking.
Music filmmaker Christopher Nupen was "haunted" by Paganini as he delved into the life of classical music's first rock god.
In this brisk and handsomely mounted tragi-comedy Charlotte Rampling plays an eccentric and controlling matriarch.
Lifelong female friendship is the subject of this lush weepie, in which a pair of interlinked tales unfold in two timeframes.
Unabashedly autobiographical, Beginners bumbles through the life of lovelorn graphic designer.
Australia’s two most loveable film critics look back on 25 years of At The Movies in a new exhibition. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
Yes, classical music can be funny. Ten thigh-slappingly good piss-takes of the noblest artform.
It is easily forgotten that silent movies were never silent. In classier cinemas one usually found an orchestra of indeterminate size scrabbling furiously in pursuit of the villain, or sympathetically setting the mood for a love scene. Even in smaller establishments there would be at least a pianist banging away. For the most significant films, a full score would be commissioned, and a few of these rarities were so good that they have survived to the present day. Gottfried Huppertz’s score for Metropolis, written in 1927 to accompany the dazzling film by Fritz Lang, is one such example. The useful notes that accompany the CD give us a story of the scrupulous way in which Huppertz approached his job, including visits to the set during filming. Only with the discovery of the missing 20 minutes of footage in 2008 has the fully restored film and its score been rehabilitated. Interest in the film was rekindled in 1983 when Giorgio Moroder released a partial restoration with a rock score he himself had composed with a little help from his friends, including Freddie Mercury of Queen. Whatever the merits and curiosities of that version, the original 1927 score… Continue reading Get unlimited…
British violinist Jack Liebeck brings a whole new level of brooding romanticism to the moors.
