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Movie Review: "Silver Linings Playbook" Scores

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Thursday, 15 November 2012 12:36; Written by Lloyd Carroll

Silver Linings Playbook Poster

Silver Linings Playbook
Written and Directed by David O. Russell
Starring Bradley Cooper, Jennifer Lawrence, Robert De Niro, Jackie Weaver

Silver Linings Playbook is not the easiest film to watch. I can’t think of a single film where the two lead characters suffer from deep psychological issues and yet we like and root for them throughout.

The film opens with Pat Solatano, Jr. (Bradley Cooper) getting ready to leave a Baltimore psychiatric hospital where he spent eight months there due to a court order because of an “incident.”

Midway through the film we learn that Pat came home in the middle of the day from the school where he and his wife Nikki works, to catch her screwing another teacher not in the bedroom but making love in a shower as his wedding song, Stevie Wonder’s “My Cherie Amor,” is playing in the background. In a scene designed to draw comparisons to Psycho, Pat beats his rival and comes within a hair of murdering his wife’s paramour.

In spite of losing his wife, job, and home (he now lives with his parents played by Robert DeNiro and Jackie Weaver), Pat is surprisingly upbeat from his stint in Baltimore because he sincerely feels that he can win Nikki back (he’s still deeply in love with her), regain his job, and have exactly the same life that he had before “the incident.” He believes that he is a better person and looks for the positives (“silver linings’) in life. We quickly learn that Pat suffers from severe mood swings which are indicative of his being bi-polar, something that was not diagnosed for a good part of his life.

He also suffers from obsessive compulsiveness that displays itself through his maniacal exercise regiment and his voracious reading of great American novels. Nikki apparently wanted him to both lose weight and become more learned.

To help him get back to socializing, Pat’s friends, Ronnie (John Ortiz) and his wife Veronica (Julia Stiles), invite him to dinner where the other guest is Veronica’s unpredictable sister, Tiffany (Jennifer Lawrence), a young widow who has been battling depression her entire life.

Like members of rival cults, Pat and Tiffany think that the other is crazy while they themselves are certain that they are relatively sane. It’s not until they discussing their psychotropics, as well as commiserating about the fact that each has a wildly successful and “normal” sibling, that they develop some rapprochement. Neither have them have any filters that block them from uttering their thoughts so volatility is palpable throughout this film.

Writer/director David O. Russell, who was the mastermind behind The Fighter, nails nearly all of the little details so perfectly that you forget that you are watching a movie and feel that you are eavesdropping on very real people.

Russell also brilliantly captures two of our national obsessions, pro football and dance competitions.

The Philadelphia Eagles are practically a religion in the City of Brotherly Love, something I am too well acquainted with. Pat’s father, Pat Sr. (De Niro in one of his better recent roles) is a bookie who would never better against his beloved “Birds.” He is banned from attending games at the Eagles’ stadium, Lincoln Financial Field, because he was always getting into fights. Watching the games on TV with Pat Jr. is a was of bonding for them.

Tiffany loves to dance and her dream is to take part in a competition that is held during the holiday season at a swanky Center City hotel. Her late husband hated dancing and Pat feels the same way. He reluctantly agrees to be her partner only when she promises to deliver a letter from him to his wife who has a restraining order out on him.

A subtle plot point that Russell brilliantly explores is coming to grips with a relationship that is nothing more than a glorified crush and coming to grips with who is and isn’t right for you. Even though Pat is clearly an extreme individual, who among us hasn’t dreamt of winning back the affections of someone who dumped us by doing things that we believe will make us more desirable to them?

Bradley Cooper, who grew up in the Philly suburbs, shines in a very difficult role and shows that he is far more than that guy from The Hangover movies. Lawrence delivers an Oscar-worthy performance as well.

Silver Linings Playbook has plenty of silver linings for filmgoers.

NYC Theater Roundup: ‘Annie’ Returns to Broadway, ‘Sorry’ Off-Broadway

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Wednesday, 14 November 2012 20:00; Written by Kevin Filipski

Annie

Book by Thomas Meehan; music by Charles Strouse; lyrics by Martin Charnin

Directed by James Lapine; choreographed by Andy Blankenbuehler

Performances through March 31, 2013

Sorry

Written and directed by Richard Nelson

Performances through November 25, 2012

If one musical is the poster girl for old-fashioned Broadway, it’s Annie Joan Marcus Annie, a huge hit back in 1977 and now better known to people who’ve never seen the show for “Tomorrow” and “It’s a Hard Knock Life”: the latter sampled by Jay Z for his 1998 hit “Hard Knock Life (Ghetto Anthem).”

Although John Huston’s 1982 movie version was a financial and artistic disaster, Annie remains, in its unpretentious way, one of our most charming family-friendly musicals. In James Lapine’s new Broadway staging—which tries too hard at times to bring a contemporary edge to its essentially sweet story of the little orphaned red-head and the billionaire she guilelessly tames—the whole is greater than the sum of its parts, as sentiment trumps cynicism.

Lapine doesn’t hammer home parallels between the show’s Depression era that separates haves from have nots—with a hard-working Democratic president, FDR, trying to close the gap—and a similar situation obtaining today. Instead, he smartly concentrates on the relationship between Annie and Daddy Warbucks, brought to life in spot-on performances by newcomer Lilla Crawford, with her booming voice and refreshing uncutesy stage manner, and Australian Anthony Warlow, whose Warbucks is less a caricatured Koch brother than a lonely man who hopes that money can buy him love.

The supporting cast is led by an adorable mutt named Sunny as Annie’s beloved stray dog Sandy. A formidable troupe of young girls includes the criminally cute Emily Rosenfeld, who even outpaces her talented fellow orphans. Too bad that Katie Finneran provides another unimpressively blustery performance as Miss Hannigan, the hated head of the orphanage. In this usually foolproof comic role, Finneran gives it her all, which, as always, is both too much and not enough.

While Andy Blankenbuehler’s choreography is merely serviceable—and at its best when the orphans are front and center—David Korins’ silhouetted sets of New York buildings and bridges and storybook recreation of Warbucks’ gilded mansion are inspired. Charles Strouse’s music, one of the last Broadway scores crammed with miraculously tuneful melodies, contains songs that are not merely hummable gems but are at the service of the story: their greatness lies in their utter simplicity, just like Annie.

Sorry Joan Marcus Richard Nelson, in his plays about the Apple family—That Hopey Changey Thing, Sweet and Sad and now Sorry—has done the near-impossible for an American playwright. He writes about political matters without separating them from personal ones; in fact, he integrates them so well that we never feel we’re being preached or condescended to: in fact, these conversational plays make us feel we’re simply in the company of a family having uncommonly intelligent discussions at—in the case of Sorry—the breakfast table.

The Apples—sisters Barbara, Marian and Jane, and brother Richard—are together on Election Day 2012 to do two things: talk about what’s transpired in our country since Election Day 2010 (when Hopey Changey was set), notably how disappointing—if still hopeful—President Obama’s first term has been; and decide whether their beloved uncle Benjamin, suffering from the first stages of Alzheimer’s, should be taken to a nearby rest home, since it’s too difficult for Barbara and Marian to take care of him at home.

Nelson’s dialogue is pointed and poignant; after three of these plays, we have really gotten to know the Apples, and can shed tears or laugh along with their conversations about the state of our nation, the state of New York—Nelson’s script is up to date, mentioning the effects of Hurricane Sandy alongside our endless election cycle—and the state of their family.

Nelson’s smart, simple direction lets his five peerless performers—a sixth character, Jane’s boyfriend Tim, is off doing a play in Chicago (actor Shuler Hensley is actually starring in another off-Broadway play and was unavailable—he’s supposed to return for Nelson’s final Apple play)—shine in their compelling naturalness. Jay O. Sanders (Richard), Maryann Plunkett (Barbara), Laila Robins (Marian), J. Smith-Cameron (Jane) and Jon Devries (Benjamin) are so in tune with one another that it’s unfair to single out anyone: they combine for a remarkable ensemble performance as the Apple family.

If Richard Nelson wants to keep checking in on them indefinitely, I’ll go along for the ride.

Annie

Palace Theatre, 1564 Broadway, New York, NY

http://anniethemusical.com

Sorry

The Public Theater, 425 Lafayette Street, New York, NY

http://publictheater.org

November '12 Digital Week II

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Monday, 12 November 2012 10:00; Written by Kevin Filipski

Blu-rays of the Week

Arabella

(Electric Pictures)

Richard Strauss’ glorious opera doesn’t get the attention it deserves, even if luminaries Lisa Della Casa, Kiri te Kanawa and, more recently, Renee Fleming have made it an essential part of their repertoire. In this sturdy 2012 Vienna staging, Emily Magee—a fine if less than scintillating performer—tackles the vocally and dramatically daunting title role, and there are moments where the beauty of one of Strauss’ most feminine creations shines through.

Conductor Franz Welser-Most and the Vienna State Opera Orchestra and Chorus provide sterling support. The Blu-ray image and sound are top-notch.

Color of Night/Playing God

(Mill Creek)

This double-feature set includes Playing God, a forgettable thriller with David Duchovny, Tim Hutton and a young—and indisputably alluring—Angelina Jolie. Then there’s Color of Night, a bizarre murder mystery by The Stunt Man director Richard Rush, his first film in 14 years after he made that 1980 classic.

Although the story is wretched and the supporting characters cartoons, the relationship between psychiatrist Bruce Willis and gorgeous femme fatale Jane March is weird enough to make this overlong (140 minutes) thriller watchable. And March’s steamy nude scenes make a fine hi-def bonus.

Fire with Fire

(Lionsgate)

In this wildly implausible crime drama, a fireman—in witness protection after witnessing two murders—fights for his life after being tracked down.

Despite bravura moments (bullet POV shots, anyone?), director David Barrett is all style over substance, so his cast—comprising Josh Duhamel, Bruce Willis, Rosario Dawson and, in another creepy killer role, Vincent d’Onofrio—is secondary to explosions, gunplay and a conflagration finale. The Blu-ray image is first-rate; extras include commentaries and interviews.

The Muppet Christmas Carol

(Disney)

This entertaining adaptation of Dickens’ holiday perennial is fun for two reasons: Muppets play various roles, from Kermit (Cratchitt) and Miss Piggy (his wife) to grumpy old men Statler and Waldorf (Marleys); and Michael Caine is an immensely charming Scrooge.

Director Brian Henson balances Muppet comedy and Dickens’ moralizing perfectly, while the story’s bittersweet coda is paralleled by the death of Jim Henson before the film’s 1992 release. The Blu-ray image is appropriately grainy; extras include audio commentaries, blooper reel, and featurettes.

The Night of the Devils

(Raro)

Giorgio Ferroni’s creepy 1972 thriller has its share of howlers—thanks to the less than capable cast and a script that glides over glaring flaws—but its single-minded attempt to turn a slow-moving story of sex and violence into blood-curdling horror is worth watching.

The makeup effects are cheesy but effective, the movie looks decent on Blu-ray, and extras comprise a couple of interviews.

Rescue 3 D

(Image)

Real-life first responders in this hard-hitting documentary deal with the world’s danger zones—notably Haiti following its devastating earthquake. Men and women of our armed forces become the front lines in response to disasters both natural and man-made.

In addition to training footage, there are incredible—and heart-wrenching—shots of what they are up against in Haiti. One shot from the air of a centuries-old cathedral crumbling before our very eyes will linger for a long time. The Blu-ray images in 3D and 2D are stupendous; the extras are interviews with the responders.

Ruby Sparks

(Fox)

This is yet another cutesy, self-delusional look at 20-somethings in the internet era, whose problems of romance and finding themselves are of the “who cares” variety. Directors Jonathan Dayton and Valerie Faris simply enable star Zoë Kazan’s annoying script, in which not one word, situation or character is believable.

Kazan’s also not much of an actress, real-life boyfriend Paul Dano is weak as well, and amazingly, they have zero onscreen chemistry. The hi-def image looks good; extras are several featurettes.

War Requiem

(Arthaus Musik)

Benjamin Britten’s powerful pacifist musical statement had its premiere in 1962 at Coventry Cathedral in the English midlands, and this May 30 Coventry performance—exactly 50 years later—is strongly paced by conductor Andris Nelsons, who leads the Birmingham Symphony Orchestra, Chorus, Youth Chorus and a trio of stellar soloists: Erin Wall, Mark Padmore and Hanno Muller-Brachmann.

The music remains soul-stirring, and—with his operas Peter Grimes and Death in Venice—is the peak of Britten’s theatrical work. The Blu-ray image looks fine; the sound is extraordinarily detailed.

Your Sister’s Sister

(IFC)

In the sad tradition of “mature” American movies, writer-director Lynn Shelton’s exploration of the tense dynamic among sisters and the guy one screws but the other loves is a shallow rather than deep drama: unfunny asides and farcical elements blunt an insightful look at characters interestingly etched by Emily Blunt and Rosemary DeWitt.

Too bad that Mark Duplass is a huge black hole that drags down the plausibility of this family/relationship dynamic. The Blu-ray image is excellent; extras comprise a pair of commentaries.

DVDs of the Week

Love and Valor

(PBS)

Director Charles Larimer presents the moving story of his great-great-grandparents, a Union soldier in the Civil War and his wife in Iowa with their children. Despite clichéd use of reenactments, the couple’s letters to each other retain a genuine immediacy.

Brian Dennehy, who is credited with the narration, is barely heard; Larimer himself does most of the voiceovers. Extras include brief featurettes.

The Miners’ Hymns

(Icarus)

Bill Morrison’s provocative, dream-like reminiscence comprises restored British Film Institute footage of coal miners working deep below the earth and their families celebrating what was an unassailable way of life.

The evocative imagery shows what remains of the mine locations today and glimpses a hard-working generation that gave its lives in a dangerous, and thankless, occupation. Extras include three Morrison shorts: Release, Outerborough and The Film of Her.

Rec 3

(Sony)

When a lethal virus races through a wedding reception and guests turn into murderous zombies, it’s up to a chain-saw toting bride to help fend them off. That it’s a “found-footage” movie is ridiculous, but since it’s lunatic from the start—blood and guts are smeared across the screen—hackneyed filmmaking doesn’t matter.

Leticia Dolera makes a rivetingly crazy heroine, and the risible “tragic” ending is a hoot. Extras include 23 minutes of deleted scenes and the usual outtakes.

Sesame Street—Old School, 1979-1984, Volume 3

(Warners)

The beloved PBS show has been on over 40 years—and will continue thanks to Mitt (anti-Big Bird) Romney’s crushing electoral defeat. This volume of the Old School series, which covers 1979-1984, includes classic characters as Telly Monster and Snuffleupagus and skits like “Monsterpiece Theater.”

The three discs include five full episodes and two hours of extra features: behind-the-scenes footage, commentary, interview and the emotional Goodbye to Mr. Hooper, after the death of beloved actor Will Lee.

Wolf Lake—The Complete Series

(e one/CBS)

In 2001, this werewolf-cop mystery series flopped after its post-September 11 premiere. I guess it was ahead of its time, for its mix of romance, mystery and monsters anticipated Harry Potter and Twilight: though it’s not very good, it had the scent of novelty which has since worn off.

A decent cast includes the wasted but always delectable Mia Kirshner. Extras include a making-of featurette and unaired pilot episode with commentary.

CDs of the Week

Elina Garanca: Romantique

(Deutsche Grammophon)

The romantic-era arias on this recording show off Latvian mezzo Elina Garanca’s lovely voice, whether it’s Marguerite's yearning in Berlioz’s Damnation of Faust or the heroine's emotional roller coaster in Saint-Saens' Samson and Dahlia.

Garanca moves easily among these characters to create full-bodied portraits, most ably accompanied by Bologna Philharmonic under the baton of Yves Abel.

Henze: In Lieblicher blaue

(Wergo)

German composer Hans Werner Henze—who died recently at age 86—mastered many orchestral genres, from symphonies, ballets and operas to, as this superlative new disc makes clear, chamber music. The works here are highlighted by settings of Friedrich Holderlin's poems, Kammermusik 1958, which alternates aching instrumental interludes for string ensemble or guitar with vocal passages of unrivaled beauty sung by tenor Clemens C. Loschmann with tact and precision.

The shorter works—1948’s Apollo et Hyazinthus and 1982’s Canzona—also demonstrate Henze’s unique musical idiom that combines gorgeous Romanticism with unapologetic modernism.

November '12 Digital Week I

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Monday, 05 November 2012 05:00; Written by Kevin Filipski

Blu-rays of the Week

Americano

(MPI)

Talent must skip a generation: son of French director Jacques Demy and his more talented wife Agnes Varda, Mathieu Demy, wrote, directed and stars in this routine drama about a Frenchman returning to California, where he grew up, after his mother dies; Demy doesn’t give it the urgency which might make it more than merely meandering.

Salma Hayek makes a savvily sexy hooker, but another bad-seed celebrity offspring, Chiara Mastroianni, rivals Demy’s onscreen dreariness. The Blu-ray image looks fine; lone extra is a Demy interview.

The Campaign

(Warners)

Will Ferrell and Zach Galifianakis play opposing senatorial candidates in this sporadically funny comedy that shows how absurd and infantile American politics is—but do we need a lame Ferrell flick to tell us (and one with 11 minutes of raunchier material on Blu-ray)?

Ferrell basically gives a foul-mouthed Dubya impression, Galifianakis is an unwatchably campy rival, and running gags of punching infants and dogs wear out before they begin. The Blu-ray image is good; extras include deleted scenes and a gag reel.

Chained

(Anchor Bay)

I’m no fan of David Lynch, but he’s infinitely preferable to his director-writer daughter Jennifer Lynch, who made the abominations Boxing Helena and Surveillance. Her sordid latest follows a cab driver who murders a mother and keeps her young son in chains until they gradually evolve into a sadistic sort of father/child relationship.

The many gory killings are reprehensible and pointless; I don’t get moralistic about movies, but in this case, I’d make an exception. Why Julia Ormond bothers to make films with Lynch—she was also in Surveillance—is head-scratching. The Blu-ray image is excellent; extras are an alternate murder scene and Lynch’s commentary with actor Vincent D’Onofrio.

Excision

(Anchor Bay)

In this perverse sexual fantasy about a homely teenage girl whose hormones cause self-destructive behavior—written and directed by a man, of course: Richard Bates, Jr.—Annalynne McCord gives a fearless performance as Pauline, a typical loner who ends up acting on increasingly grotesque dreams of gore-filled glory.

Even if Bates directs the fantasy sequences as titillation, McCord grounds Pauline’s behavior in an uncomfortable reality. The Blu-ray image is top-notch; lone extra is a Bates/McCord commentary.

House of Dark Shadows and

Night of Dark Shadows

(Warners)

On the heels his television show Dark Shadows’ success, Dan Curtis quickly made two features in 1970-1 that captured the series’ flavor. Unlike Tim Burton’s 2012 reboot, Curtis avoids camp but the horror isn’t horrific enough to overcome the oppressive gothic atmosphere.

Overall, the movies nicely do what they set out to, and there’s a beguiling debut by future Charlie’s Angel Kate Jackson—her perfect face, in close-up, is what hi-def is for.

Pat Metheny—The Orchestrion Project

(Eagle Vision)

Grammy-winning jazz guitarist Pat Metheny displays his amazing six-string versatility in this special musical project where he plays along a series of newly-made “instruments” built by imaginative inventors.

Although some of the music on this nearly three-hour disc has a certain sameness to it, the tone and precision of Metheny’s guitar playing remains a wonder to hear after so many decades. The Blu-ray image looks solid; extras include additional performances and a Metheny interview.

The Reichorchester

(Arthaus Musik)

Enrique Sánchez Lansch’s probing 2007 documentary tackles the moral quandary of members of the Berlin Philharmonic from 1933 to 1945, when the ensemble became an official cultural attaché for Hitler and Goebbels.

Lansch interviews the last surviving members from that time—93-year-old Hans Bastiaan and 84-year-old Erich Hartmann—and their often painful reminiscences vividly inform the narrative of a cultured nation which turned a blind eye to inhumanity to preserve itself at a horrible human cost. The hi-def image is decent; lone extra is a 10-minute film of renowned conductor Wilhelm Furtlanger leading the orchestra in a Wagner prelude in 1942.

Santa Claus Conquers the Martians

(Kino)

If you’re in the mood for a badly written, directed, acted and photographed 1964 Z-movie that does nothing in 70 minutes except conjure memories of bad Ed Wood anti-spectaculars, then there’s nothing I can say except: enjoy.

Otherwise, Santa—rightly on “Worst Movies Ever” lists—won’t satisfy anyone except unpicky kids who want to watch anything Christmassy. You’ve been warned. The visuals, which look abominable, aren’t much better on Blu-ray; though there are 45 minutes of archival footage, it would have been fun to have a commentary by the MST3000 guys.

DVDs of the Week

Coma

(Sony)

Novelist Robin Cook’s medical thriller was turned into an effective if silly movie by Michael Crichton in 1978, with beautiful Genevieve Bujold as its star. Now, 34 years later, we get this overlong, bloated, occasionally interesting TV movie starring Lauren Ambrose and Stephen Pasquale as doctors who discover devious doings going on at their hospital.

The plot twists and turns are as ludicrous as they were in the original, but the earlier movie’s faster pace has been ruined by a pokey 160-minute mini-series designed for a four-hour TV time slot.

Elena

(Zeitgeist)

A masterly dissection of the “new” Russia—in which oligarchs outpace the working classes at a rate even greater than the good ol’ USA—Andrey Zvyagintsev’s drama is best when silent: when all else falls away and we are left with the naked pain and desperation of the title character, a former nurse married to a gazillionaire whose own family is ignored by her rich husband.

Too bad Philip Glass’s risible and self-parodic music downgrades every scene it’s heard in; happily, Zvyagintsev sensibly builds the most powerful moments—beginning with the evocative opening shot—with silence that speaks volumes more than broken Glass. The lone extra is a 30-minute Zvyagintsev interview.

Free Men

(Film Movement)

The French resistance is seen through a new lens in Ismael Ferroukhi’s drama set at the Paris Mosque, where the Muslim community assisted Jews to escape the Nazis. Despite melodramatic touches, Ferroukhi builds tension without sacrificing credible psychology as his young protagonist Younes becomes politically—and morally—engaged. Tahar Rahim, memorable in Jacques Audiard’s prison yarn A Prophet, plays Younes as an innocent naïf, a blank slate with which the director fills in Younes’ interior complexity.

This tense chronicle shows a multi-faceted Vichy atmosphere through the eyes of people rarely encountered onscreen: Muslims putting their lives on the line to defeat Hitler.

Rosemary’s Baby

(Criterion)

Roman Polanski’s 1968 shocker, from Ira Levin’s novel, is one of the most frightening horror movies ever made. Polanski’s matter-of-fact direction makes the reality of Rosemary (Mia Farrow), her husband (John Cassavetes) and baby—spawn of Satan?—even more horrifying, and when the movie spills over into the supernatural, there’s no turning back, despite being couched in a plausible New York milieu.

Extras include new interviews with Polanski, Farrow and producer Robert Evans and Komeda Komeda, a portrait of composer Krzysztof Komeda, who wrote the eerie score.

The Streets of San Francisco—Complete Season 5

(CBS)

Karl Malden and Michael Douglas, a hit duo, broke up at the beginning of the 1976-7 season—Douglas, who won an Oscar producing One Flew Over the Cuckoo’s Nest, was carving out a big-screen career—and handsome Richard Hatch came on board. The new partners did well, but audiences dwindled, and this became the series’ last season.

A smattering of decent episodes (out of 24) includes the opening two-parter, The Thrill Killers, which sees Douglas’s exit and Hatch’s entrance; there’s amusement in nice girls Patty Duke and Susan Dey as cold-blooded murderers.

Turn Me On, Dammit

(New Yorker)

Jannicke Systad Jacobsen’s caricatured comedy about a teenage girl whose hormones rage uncontrollably might have made a fun, insightful short, but stretched to 72 minutes—though fairly compact for a feature—it has little to say about Jacobsen’s protagonist, who spends her time fantasizing about sex or trying to rub herself raw.

Helene Bergsholm’s nuanced portrayal completely outclasses her writer-director’s film. Extras include deleted scenes and a director interview.

CD of the Week

Joyce DiDonato: Drama Queens

(Virgin Classics)

American mezzo Joyce DiDonato, who puts on various guises in this entertaining collection of baroque arias sung by Queens and other royalty, is equally at home singing these extravagantly ornamented vocal works and contemporary music.

Alternating works by composers both familiar (Handel, Gluck, Monteverdi) and obscure (Cesti, Ormandini, Giacomelli), DiDonato has an uncanny ability to inhabit these women in a vivid musical journey, inestimably helped by conductor Alan Curtis and ensemble Il Complesso Barocco.

Reviews

Movie Review: "Silver Linings Playbook" Scores

NYC Theater Roundup: ‘Annie’ Returns to Broadway, ‘Sorry’ Off-Broadway

November '12 Digital Week II

November '12 Digital Week I

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