From Dying Movies, the Birth of a Score
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Inspired by a cache of decaying nitrate film, this collaboration of a composer and a filmmaker plays at St. Ann's Warehouse through Sunday.
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Saawariya starts off superbly, showcasing the ethereal texture of its strain. Sadly, somewhere towards the end it loses some of its steam. In entirety, however, the soundtrack is a superior product.
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There aren't many  composers whose music is immediately identifiable after just a  couple of whistled notes. Such is the influence of Ennio  Morricone that all it takes is a bit of whistling to evoke the  Italian composer's masterful, genre-defying work on the  spaghetti westerns he scored for Sergio Leone -- films such as  1967's "A Fistful of Dollars," "For a Few Dollars More" and  "The Good, the Bad, and the Ugly."
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If you don't mind buying into a format that has no future, you can finally get your high-def movie groove on for under $100.
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Technology that acquires films instantaneously gives theater operators unprecedented flexibility in selecting what they screen. Now, a box-office bomb can be ditched for an old favorite. By the Associated Press.
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A quiz on movie titles inspired from old songs.
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Among hardcore film  fans, movie directors have become the equivalent of rock stars.
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The old music industry is dead. It just doesn't know it yet.
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An exciting soundtrack by Ravi Dattatreya for what should be a unique film.
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In the beginning, the iPod let you listen to every CD you owned, even when you were stuck on the Red Line. Then Steve Jobs said, "Let there be video," and lo and behold, you could watch "Lost" die a slow, overwritten death on a two-inch screen. But while people seem content to load their little...
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Hollywood lost one of its music legends last night with the death of Elmer Bernstein, 82, an Oscar-winning composer who wrote the scores for more than 200 films over five decades, including such classics as The Magnificent ...
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Seeing motion pictures exhibited in film projection theatres is a dying tradition which we will one day tell our grandchildren about in order to bore them.    The causes of this death are obvious to many consumers, but mystify movie studios and exhibitors alike.    What follows is an open letter to the proprietors of Cineplex Entertainment LP, carbon copied here to you, the K5 community, in order that you may share in my vitriol.
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Two new DVD sets are a must-have for the serious movie collector.
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When everything gets an API then everything you can imagine will be possible if you can write a script.  And sometimes, to give you an idea, all that has to happen is that a wall come down. The latest, most intriguing such wall was the paywall at the NY Times. Now all of a sudden we find the wealth of information published by the NY Times over many decades is available without tariff. More important, we can point into the archive. We've gotten so accustomed to the wall, that you actually have to think when it may be possible to go in there, as if it left behind a wall in our minds, even after the wall on the web is gone. For example, the first episode of Ken Burns's The War, an epic series about World War II from the American perspective, cited several NY Times articles. If you looked carefully you could see the dates, and the actual headlines, and then if you have a browser handy, as I do (I have an iPhone) you can actually read the article while the narrative continues. Today this is mostly a gimick, but I suspect as we get used to having history so available (like having a library microfilm machine, which I used to spend whole days playing with when I was a kid) it will change our sense of information, perhaps as much as anything else that's ever been on the web. Take movie reviews for example. What a thrill to be able to read a review of a movie that I love that came out in 1932! The reviewers back then were more forgiving, less sarcasting, more enthusiastic. Consider their review of the Hollywood Revue of 1929, a favorite of mine that I've only seen once (I'd pay for a DVD, if it were available). They loved audible movies (that's what they called them) as if the term "talkie" was as elusive as "podcast" was in the summer of 2004. Again, we've just scratched the surface. Wouldn't you like to have NY Times movie reviews integrated with Netflix? Or have Yahoo's movie rating service available on the NY Times site. And I have to wonder whether they really have gone all the way. You can't see the reviews unless you're logged in. Can Google's robots, therefore, see the movie reviews? Unless the've made some special arrangements, it seems not.  It would be helpful to get a technical guide to the newly hatched NY Times on the Web, or (as in the old days of software) a reviewer's guide, so we get some ideas of what to look at. Clearly a lot of work went into opening up the Times archive. I'm going to be in NY the week of October 8 and will have some time toward the end of the week. If anyone at the Times would be willing to spend some time with me reviewing what's now open, that would be helpful. In any case, at least the Times today is somewhat more available to be integrated into the fabric of the web. That's some progress. How much, remains to be seen. Postscript: Kottke did a great job of skimming the surface of the newly opened Times when it first came online, just one week ago today.
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Movie musicals haven't caught on with mass audiences since Grease. But a crop of new releases like Hairspray and Once hope to hit the right notes
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A funny thing has happened on the  way to movie theaters this fall: Hollywood, it seems, has been  listening to fans looking for original features after years of  boring sequels, prequels and remakes.
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A first look at the much-delayed film's poster.