Toward the end of Paolo Sorrentino’s Youth, a tough-as-nails Hollywood diva played by Jane Fonda informs Harvey Keitel’s creatively spent director that television has supplanted cinema as the home of screen drama. True or not, this has been the industry consensus for about five years, but Sorrentino demonstrates there’s life in cinema yet by orchestrating a flow of effortless-seeming sequences that combine widescreen grandeur with whimsicality.A one-time lothario has a disturbing dream about an erotic nocturnal encounter with a voluptuous modern Venus on a causeway crossing the glittering Read more ...

Communities function in different ways depending on their constituencies, to note just one of the many salient points made by the deeply compelling and equally disturbing Spotlight. The Catholic church in Boston for years closed ranks and shut its eyes so as to enable the systemic culture of child abuse that a cadre of Boston Globe journalists in time uncovered, winning a 2003 Pulitzer Prize for their work: one societal sector pitted against the other only for the scribes' sleuthing to emerge triumphant alongside a legacy of damage that time will never fully put right. The Globe's Read more ...

Debussy: Starry Night – Préludes Book 1 and Other Works Michael Lewin (piano) (Sono Luminus)Michael Lewin's earlier Debussy anthology was excellent, and this second volume also hits the spot. In the first set of Préludes, Lewin gets just about everything right, each piece flawlessly characterised. Take “Des pas sur la neige”, its halting footsteps just desolate enough, followed by a truly furious “Ce qu'a vu le vent d'ouest”. “La fille aux cheveux de lin” is coolly understated, and all the more beautiful for it. “La danse de Puck” and “Minstrels” glitter. Colin Matthews' clever orchestral Read more ...

Caryl Churchill is a phenomenon. Now 77 years old, she remains not only prolific but also immensely inventive, having notched up more than 35 original plays, many of which have been innovative in form and imaginative in content. Added to this, she has penned dramas for radio and television, as well as adaptations of the classics. She also retains the power to annoy: the National Theatre staging of her Here We Go last autumn provoked walkouts and howls of critical derision. So what’s her latest like?In common with some of her other most intensely vivid plays – I’m thinking of Far Away, Drunk Read more ...

The French composer Henri Dutilleux would have been 100 last Friday if he had lived that long, which in fact he very nearly did; he was 97 when he died in 2013. Five years before that he had been awarded an honorary doctorate at Cardiff University, amid pomp and ceremony and performances of several of his works. So it made sense that Cardiff, including the university, should have been at the forefront of his centenary celebrations this past week, including a pair of concerts by the BBC National Orchestra of Wales, and a symposium on Dutilleux put on by the university’s enterprising School of Read more ...

If you thought circus acrobats and Shostakovich were a daring combination, try circus acrobats and Monteverdi. While the spiky harmonies and vivd dynamics of 20th-century Russian string quartets sit pretty nicely with circus show-offery, surely Baroque music, with its steady continuo basses, its measured rise and fall, is a world away from tumbling tricks and strongman stunts?Virtuosic Australian troupe Circa certainly can't be accused of staleness in their pairing of circus arts and classical music. Their new show The Return, which opened last night at the Barbican Theatre, differs from Read more ...

Seventh series (★★★★) of the superior legal drama (still perversely tucked away on the obscurantist More4), and Alicia Florrick is having to get back to legal basics. Having been blown up by a political landmine in series six, as she made an ill-fated attempt to become State's Attorney, she's now trying to start her own law firm from home and scuffling for work.Thus she found herself on the cab-rank of hard-bitten bar attorneys down at the bond court, waiting to be lobbed a sheaf of the day's drink-and-drugs cases by the abrasive Judge Schakowsky (Christopher McDonald). Some comic value was Read more ...

Risk-taking is what gives so many of Vladimir Jurowski's concerts with the London Philharmonic Orchestra their special savour. But did two risks for last night's programme pay off? I was as excited as many Russians and hardcore Russophiles at the rare visit of legendary 73-year-old cellist Natalia Gutman, and it could only be interesting to hear the little-heard, hour-long first version of Bruckner's Third Symphony. But interesting, with a few flashes of inspiration, was as far as it went in both cases.Gutman's recording of the two Shostakovich Cello Concertos is up there with the Read more ...

Good interactive stories have to walk a game design tightrope. Too little hands-on action and you’re just watching an animated movie. Too much "gaming" and there’s not enough room for the narrative to reach out and grab you. That job is made all the harder when the story is drip-fed over the course of a year. Will the fan base stay loyal? Will newcomers be put off by joining the party late? Gamers can be a fickle bunch. Both The Walking Dead and Game of Thrones pulled it off, but the heavyweight Hollywood duo had massively popular licenses to bolster the offering.Life is Strange relies on no Read more ...

Dave Gorman was probably the first comic to have embraced technology in his stand-up. Albeit, in the early days, it was using 35mm slides, hand-drawn graphs and an overhead projector, but then latterly a computer and the ever-more influential Internet and social media. And so, as is a feature at all his shows, there's a large screen on stage when I see him at the Royal Festival Hall and when he says: “I've put it on a graph” there's a loud cheer of recognition from the audience. But this isn't a show for geeks; rather a conversation piece using the Internet and technology to flesh out or Read more ...

Anne longs for her 23-year-old son Nicholas to return home. One night, he appears. Or does he? Welcome back to the queasily elliptical world of Florian Zeller, where certainty fractures as familiar elements are repeated, dissected, made strange and menacing. Zeller used this immersive dislocation to powerfully communicate the experience of dementia in The Father, which last year travelled from Theatre Royal Bath to the Tricycle and on into the West End. This earlier 90-minute piece, on the same path, lacks The Father’s shattering focus and lyrical subtlety, but, thanks to Christopher Read more ...

One novel and two movies, but the BBC cheekily claims that this three-part series was inspired by Deborah Moggach’s 2004 novel These Foolish Things, and the pair of films The Best Exotic Marigold Hotel – but not related. How did the programme-makers come up with this, and keep a straight face?We have here a contrived documentary, taking eight sexagenerians and septuagenerians, from the delightful and diminutive character ballet dancer Wayne Sleep and the horizontally challenged, formidably intelligent actress Miriam Margolyes, to the singer Patti Boulaye and newscaster Jan Leeming to Jaipur, Read more ...