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In “Maestro,” playing the legendary American conductor and composer Leonard Bernstein, Bradley Cooper has a light in his eye — a glow of merriment and mischief, of gleeful cosmopolitan desire.
The New York Times. —— (January 24, 2014). "When It Comes to Nymphs and Princes, Water and Earth Don't Mix". The New York Times. —— (November 7, 2017). "At the Met Opera, a Note So High, It's Never Been Sung Before". The New York Times. —— (February 14, 2020). "Review: A Tale of Two Women at the New York Philharmonic". The New York ...
“Maestro” is, for this roughly first black-and-white hour, wonderfully brisk and free of normal biopic constraints. It’s like a dream of 1950s New York modernism. Dialogue moves at an urbane ...
Green began at The New York Times as co-chief theater critic following the firing of the newspaper's second-string theatre critic, Charles Isherwood, in February 2017. [6] [7] At the time of his selections as co-chief critic, Green was noted to disagreed on his colleague Ben Brantley in multiple reviews, including of a revival of The Glass Menagerie. [8]
Wilkinson has written several biopics with frequent writing partner Stephen J. Rivele, starting with Nixon (1995) [5] and including Ali (2001) [2] and Copying Beethoven (2006). [3] [6] He was a writer and executive producer on Pawn Sacrifice (2014) and Miles Ahead (2015), and wrote and directed the PBS film Virtuosity (2014).
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[13] It was the fifth-most-emailed New York Times article of 2012. [3] His 2016 review of Per Se, downgrading the restaurant to 2 stars, also attracted wide attention. [3] His two predecessors as critics, Sifton and Frank Bruni, had each given the restaurant four stars. Wells identified issues with the quality of the food and the atmosphere ...
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