GET SHORTYOriginal Television SoundtrackMusic by Grammy Award Winner Antonio Sánchez (Birdman)Epix' best series is a charming, addictive adaptation of the Elmore Leonard’s 1990 New York Times bestselling novel, and 1995 filmTRACKLIST1. Beginning​​​​​​​2. Owen Runs3. Sealed Fate4. Breezy5. Second Thoughts6. Just Hanging 17. Break In8. Pensive9. Watching Us10. Final Steps11. Loose to Fast12. Bad Omen13. Unsettling14. 7 Steps15. Pensive 216. Just Hanging 217. 6:8 Medium18. Hold On19. Desert Highway20. No Way21. Just Hanging 322. Intense23. They're Coming24. Move25. Remembering26. A to B27. Condo Love28. Bad Ways29. Unsettling 230. Be Careful31. Granular32. A to C33. Not So Easy34. Unsettling 335. Car Ride36. A to D37. A to E38. Big Deal

In February 1993, the eyes of the world converged on Mount Carmel, a small religious community located just outside of Waco, TX. The Bureau of Alcohol, Tobacco, and Firearms (ATF) conducted a raid on leader David Koresh and his devoted followers, known as the Branch Davidians. After what became the longest gun battle in U.S. law enforcement history, four ATF agents and six civilians were dead, and dozens more were wounded. A 51-day standoff ensued, and the conflict ended after an FBI siege led to a fire that engulfed the entire Mount Carmel compound, killing 76 men, women, and children Taylor Kitsch is starring as Koresh. The cast also includes Oscar� and Golden Globe� nominee Michael Shannon, Andrea Riseborough, John Leguizamo, Melissa Benoist, Paul Sparks, Shea Whigham, Rory Culkin, Julia Garner and Camryn Manheim.

1958 TV Cast

Classics at the Movies: War

This album also feartures arrangements of Gershwin songs played by the New York Philharmonic.

Bullets Over Broadway (Original Motion Picture Soundtrack)

The greatest hits of tango are now packaged as the soundtrack to a new film by award-winning director Sally Potter (Orlando). The Tango Lesson film features extraordinary Argentinean dancer Pablo Veron, and the soundtrack contains some of the greatest tango performances ever recorded (by Astor Piazzolla, the Klezmatics, Osvaldo Pugliese and others), plus a track from best-selling cellist Yo-Yo Ma. CD packaging is a deluxe digipak with info about the film, and about tango music and artists in general.

Produced by George Korngold

Recording Engineer: K.E. Wilkinson

Recorded in February 1973

"In his notes for this CD, Gerhardt states, "it is my conviction that so powerful an artist as Miss Davis, through the strength of her portrayals, inspired a variety of composers to produce some of their best work....her composers created a 'Bette Davis sound'." Here is a varied program of music written for some of her greatest roles, high points being the excerpts from Dark Victory and Now, Voyager." - Robert Benson, Classical CD Review

Produced by George Korngold

Recording Engineer: K.E. Wilkinson Recorded on September 6 & 7, 1973 Remastered in BMG Studio D on August 18, 1989

"One of the most popular recordings of the series, this opens with an extended suite -- with big orchestra treatment -- of Max Steiner's music from Casablanca including of course "As Time Goes By" Equally memorable are the excerpts from The Treasure of the Sierra Madre and The Two Mrs.Carrolls." - Robert Benson, Classical CD Review

"A magnificent compilation of music of one of the truly great cinema composers, Max Steiner, opening with the sublime Now Voyager love theme and continuing with a suite from King Kong. For many the highlight will be the suites from two of Steiner's finest scores, The Big Sleep and The Fountainhead." - Robert Benson, Classical CD Review

"Once again, as for this album's acclaimed predecessor, The Sea Hawk, producer George Korngold and conductor Charles Gerhardt have collaborated and approached the project with love and enthusiasm alsong with a thorough knowledge of Max Steiner's scores. The repertoire was carefully researched and selected to provide the listener with a proper cross selection and some of the highlights - within space limitations - of the composer's film career prior to 1950

The National Philharmonic Orchestra, consisting of 92 of the best musicians from London's five symphony orchestras, was again used, as was the acoustically superb Kinsway Hall. The augmented orchestra - necessary for the optimum re-creation of the Steiner sound - included two vibraphones, marimba, xylophone, gongs, chimes, organ, celesta, tom-toms, orchestra bells, two pianos, two harps and a further assortment of percussion instruments." -- Rudy Behlmer (from the liner notes)

He Got Game (Motion Picture Soundtrack)

Shangri-La, the utopia of James Hilton's novel Lost Horizon, had a powerful grip on the world's imagination in the dystopian 1930s. Frank Capra achieved his cinematic vision of this mystic land of peace and contentment (Columbia Pictures, 1937) in no small measure by engaging Ukrainian composer Dimitri Tiomkin (1894-1979) in the first of their many collaborations. Tiomkin was a master at using melody--whether his own sweet themes or familiar traditional tunes--to carry a film's emotions. A suite from his score is the main work on this 1989 CD remastering of a 1974 LP entry in the legendary RCA Classic Film Scores series, now restored to availability via Arkivmusic's "on-demand" re-publishing program.

Like everything in that series (conducted by Charles Gerhardt, produced by George Korngold, and recorded by Kenneth Wilkinson), this re-release is mandatory for film music devotees and cannot be too strongly recommended to the general fan of classical orchestral music. Tiomkin's score features entrancing bell-sounds and a lovely processional theme to evoke Shangri-La, and contrasts these with the hurly-burly of the real world and the various emotions of the Westerners who find themselves shanghai-ed to paradise. Also included on the disc are shorter selections from five films of widely varying genres: war, western (the type of film that dominates Tiomkin's output), romantic comedy, a family drama, and a Cinerama travelogue.

The performances are masterful, made at a time when the National Philharmonic Orchestra and the John Alldis Choir comprised some of London's best classical session musicians and singers. The sound of the original LP was stunning, and gorgeous as it still is on this CD, listeners who remember the original will notice just a bit less presence, less "shimmer" in the effect of the 22-member bell ensemble. Meanwhile, Sony/BMG should seriously consider making SACD versions of this and other "Classic Film Score" masters that were recorded in Quadraphonic sound.

--Joseph Stevenson, ClassicsToday.com

Bach's Fight for Freedom (Music From the Film)

Track Listing
1. House of Henry Jekyll, The - (opening credits, with London Symphony Orchestra)
2. Birth of Hyde, The - (with London Symphony Orchestra)
3. Announcement, The - (with London Symphony Orchestra)
4. Story of the Scars, The - (with London Symphony Orchestra)
5. Mary's Errand - (with London Symphony Orchestra)
6. Mrs. Farraday's - (with London Symphony Orchestra)
7. It Comes in Like the Tide - (with London Symphony Orchestra)
8. Mary Meets Hyde - (with London Symphony Orchestra)
9. Shopping Trip, The - (with London Symphony Orchestra)
10. Butler's Night Off - (with London Symphony Orchestra)
11. Haffinger's - (with London Symphony Orchestra)
12. Transformation, The - (with London Symphony Orchestra)
13. Mary Reilly - (end credits, with London Symphony Orchestra)

The London Symphony Orchestra includes: George Fenton (conductor); Lucia Lin, Janice Graham (leader, solo violin).

Recorded at CTS Studios and Abbey Road Studios, London, England.

Personnel: Lucia Lin, Janice Graham (violin).

Recording information: CTS Studios, London, England; EMI Abbey Road Studios, London, England.

George Fenton's score for the artsy horror film Mary Reilly is appropriately gothic and haunting, capturing the essence of the movie. ~ Stephen Thomas Erlewine

A while ago, when commenting on Michael Nyman's "The Piano," I spoke (or pontificated, rather) to some colleagues regarding my dismay over Nyman's 'art.' I mention guilty pleasures on occasion, but a greater potential irrationality of criticism is the personal determination of whether one should praise certain scores or composers for daring to be abstract, or lambaste them for not getting their points across. I have done both, with disliked emphasis on the latter, when listening to Nyman's compositions. It is with "The End of the Affair," performed by the Michael Nyman Orchestra, that I realize I ought to place my views firmly, diplomatically in the middle.

The music really depends on how the listener feels, as opposed to being the sort of film score that alters how he feels. Reliant on the mood and the focus of attention, the score delights as confidently as it bores. It stands precariously on the divide between art and self-importance. Its incessant, top heavy strings play ad nauseam -- will they never end? -- but the themes they play indulge in the attention. It is exceedingly predictable, just as a fair deal of minimalist music is. And compared to the film scores of minimalist Philip Glass it is neither technically brilliant nor dramatically solid. It is challenging primarily to the amplitude of one's attempt to fall in love with its tedium. Cinematic evolution gets thrown out of the window for a beginning, middle, and end that are practically unidentifiable from one another. As I am not a huge supporter of the minimalist music movement I may be missing some key thought, others may see this score far differently, but to my ears it reaches a point of despotic annoyance. Call me unfashionable. Yet I cannot help praising "The End of the Affair" for its abstract grandeur. The scope, though minimal, gets the most out of the repeating elements, and the cues, taken individually as small concert works rather than part of a theatrical whole, become fascinating essays in contemporary classical music. Nyman has an unconventional way with counterpoint (and lack thereof) that is lush and thoroughly amazing, and the themes are memorable and inhabit the soundscape aggressively well. When these ideas stick out from the common backdrop, it is mesmerizing.

What fascinates me most personally is that this is one of the few soundtracks I know of featuring such a strong dichotomy... I am not sure I appreciate it...

-- Jeffrey Wheeler, MusicWeb International

GRAMMY-nominated, BAFTA-winning composer Austin Wintory created this orchestral score for this single player role-playing tactical game, currently available on PC and Mac. The soundtrack score features the Dallas Winds, recorded by GRAMMY-winning engineer Keith O. Johnson and the Reference Recordings team at the Meyerson Center in Dallas, TX. The Banner Saga is the first-ever video game soundtrack recording from independent audiophile label Reference Recordings, on it's FRESH! From RR series.

Also featuring the BBC National Chorus of Wales is several selections.

Brian Easdale was a prolific composer whose extensive output covered most genres, from orchestral pieces, concertos, and choral works, including a mass for the new Coventry Cathedral, to chamber compositions. However Easdale is today most well-known for his film scores, particularly The Red Shoes and Black Narcissus

Part of Chandos’ film music series with Rumon Gamba, the works on this release showcase Easdale’s career in film with music from, among others, The Red Shoes, Black Narcissus, and The Battle of the River Plate.

In his youth, Easdale attended the Royal College of Music, where he studied composition with such prominent figures as Cecil Armstrong Gibbs and Gordon Jacob, conducting with Malcolm Sargent, and organ with Arnold Goldsborough. As a jobbing musician he undertook arranging projects, working most notably on such scores by Benjamin Britten as the Soirées musicales and the Piano Concerto. He also orchestrated Britten’s On the Frontier for a production at the Arts Theatre in Cambridge in 1939, before spending much of the war in Ceylon and India working on documentaries for their governments’ film units. Returning to Britain in 1946, he was invited by the masterful film making team of Michael Powell and Emeric Pressburger, also known as The Archers, to write an exotic dance for Jean Simmons to perform in their forthcoming film, Black Narcissus, and ended up composing the whole score. The film is a veritable masterpiece of melodrama with highly dramatic music to match.

The involvement of Easdale in Black Narcissus effectively launched his career in film music and led him to other projects, most notably The Red Shoes (1948) for which he won an Academy Award for Best Original Music Score. This is one of the most iconoclastic films in the Pantheon of British Cinema. Given a highly atmospheric score, the film concerns a traveling ballet company and tells the story of a young hopeful ballerina, catapulted into stardom and wrestling with her love for a composer and the pull of her career. In the end it becomes too much of a fight and while on tour with the company in Monte Carlo, she leaps to her death.

The Battle of the River Plate (1956) is also worth a separate mention. A semi-documentary account of the trapping of the German pocket battleship Admiral Graf Spee in Montevideo harbour, and her subsequent scuttling, the film was commercially very successful. The two movements recorded here are the Prelude (heard over the main titles and opening scene with narration) and a March, the concert version of which was created by Easdale after the film’s release.

Romantic music for the screen - smooth and touching.



GUNNING Poirot Variants. 1 La Móme Piaf. 2 Under Suspicion. Cold Lazarus. Rosemary and Thyme Caprice. 3 Rebecca. 4 Pollyanna. Firelight. When the Whales Came. 5 The Hollow. 5 Little Pigs. 6 Lighthouse Hill • Rumon Gamba, cond; BBC Phil; 1 Martin Robertson(sax); 2,5 Nicole Tibbels (sop); 2 Matthew Compton (acc); 3 Craig Ogden (gtr); 4 Julia Bradshaw (vc); 6 Yuri Torchinsky (vn) • CHANDOS 10625 (75:50)


Some 20 years ago a friend alerted me to a limited-edition recording of the score for a British television documentary, Yorkshire Glory . This gloriously lyrical music in a richly pastoral vein was my introduction to the work of Christopher Gunning (b.1944), a composer who is reinvigorating the timeless tradition of Vaughan Williams, Holst, Finzi, et al. However, this pupil of Richard Rodney Bennett as well as Edmund Rubbra can, when appropriate, also demonstrate an acute awareness of postwar developments in English music, as this generous and varied compendium of his film and television music over the past two decades makes clear.


This collection marks the first time in Chandos’s indispensable movie-music series when a living composer has directly participated in the presentation of his scores. Gunning has prepared special versions for this particular project in the form of small-scaled but through-composed tone poems, not the customary sequence of disconnected excerpts. So the listener can experience this disc as a kind of multimovement suite of diverse moods, because of the high consistency and individuality of the writing.


Although only a few of the films and television series will be familiar to American audiences, two of the well-known highlights open the program. The Poirot Variants for saxophone and orchestra—a totally independent work from the composer who gave us the lovely Thames Rhapsody for the same combination (available on a Dutton Epoch disc of several years ago)—is based on the well-known wily and insinuating theme that introduced the popular BBC series starring David Suchet. The following piece, for accordion and orchestra, is derived from music for the acclaimed film biography of French legendary singer Edith Piaf, La Vie en Rose . The alternation of film and television scores continues with the 1990s thriller Under Suspicion starring Liam Neeson, and the great television dramatist Dennis Potter’s final effort, Cold Lazarus. Both of these illustrate Gunning’s darker and more melodramatic side.


Then follow a number of lesser-known television productions: a sprightly, folk-inflected caprice for the series Rosemary and Thyme ; yet another adaptation of the romantic perennial Rebecca (a haunting prelude for cello and orchestra); the family-styled Pollyanna (full of the usual good tunes); two individual Poirot episodes— The Hollow and Five Little Pigs— and finally an obscure British film (never issued here), Lighthouse Hill.


The most impressive compilations here are drawn from two somewhat better-known films, the romantic dramas Firelight of 1997 and When the Whales Came, the earliest score included, from 1989, where Gunning’s use of an eerie soprano vocalise recalls Vaughan Williams’s Scott of the Antarctic music. Both of these emphasize Gunning’s exceptionally scenic imagination and his natural gift for the telling and memorable theme garbed in a lustrous orchestration.


As always in this series, conductor Rumon Gamba, the BBC Philharmonic, and the Chandos recording staff offer this endlessly appealing music in the best possible light. Anyone who loves the traditional school of English music will not be disappointed.


FANFARE: Paul A. Snook


The case of Christopher Gunning has been well and truly taken up by Chandos. Last year we had two of his six symphonies and the oboe concerto (review). Now the genre that brought him to wide attention is tackled.

It's mostly suave music for television. We start with the Poirot Variants for sax and orchestra. This is a combination he has tackled before in On Hungerford Bridge on ASV (review). A smooth fantasy touches on train rhythms, Buenos Aires dance-halls and a worldly romantic lassitude. Martin Robertson's saxophone presents the music without rough edges, subtle and undulating: not a trace of rasp. La Môme Piaf - 2007 film – quite rightly fears no cliché in deploying the accordion. It's all very romantic. Under Suspicion leaves such smoothness behind in a gruff nightmare-image speaking of the ruptured emotional landscapes of late Malcolm Arnold … though tenderness does arrive. The Cold Lazarus (1996) music is at first ascetic and doom-laden with whip-like dactyls reaching out. From this Fahrenheit 451 chill arises the most glorious romantic theme - almost Born Free or Howard Hanson Second Symphony. The Rosemary and Thyme Caprice has the closely recorded Craig Ogden confiding Scarborough Fair to the listener in an English countryside evocation. Rebecca showcases the cellist Julia Bradshaw in another dark-clouded piece completely in keeping with the brooding and intensely romantic spirit of the Daphne du Maurier book. It's well worth hearing. Innocent folk voices abound in Pollyana which is heavily freighted with charm. Woodwind solos and piano are prominent. Firelight - 1997 film - is among his most popular scores yet is quite low key and contained. This is not a grand statement and the music is heavily characterised by Yuri Torchinsky's tremblingly vulnerable violin. When the Whales Came - 1989 film - is quite naturally threaded through with the spirit of the sea. There are added elements such as a slowed whale-song recording (like Hovhaness and George Crumb, in that sense only) and a vocalising soprano. The Hollow and Five Little Pigs are from Poirot episodes. The first is very romantic and memorable. The second is sly and ambivalent in mood as voiced by the solo violin. Lighthouse Hill - film, 2004 - is again hyper-romantic and rounded in its progress. I was rather sad that there was nothing here from Geoffrey Household's Rogue Male or from Porterhouse Blue or from Middlemarch.

A wide soundstage complements a lavish audio image each of which articulates the often simple textures yet meets with a fierce embrace the grander statements.

-- Rob Barnett, MusicWeb International

The story begins when ace detective Harry Goodman goes mysteriously missing, prompting his 21-year-old son Tim to find out what happened. Aiding in the investigation is Harry's former Pokémon partner, Detective Pikachu: a hilariously wise-cracking, adorable super-sleuth who is a puzzlement even to himself. Finding that they are uniquely equipped to communicate with one another, Tim and Pikachu join forces on a thrilling adventure to unravel the tangled mystery. Chasing clues together through the neon-lit streets of Ryme City--a sprawling, modern metropolis where humans and Pokémon live side by side in a hyper-realistic live-action world--they encounter a diverse cast of Pokémon characters and uncover a shocking plot that could destroy this peaceful co-existence and threaten the whole Pokémon universe.

Sony Music Masterworks is delighted to announce the release of the Original London Cast Recording of Sue Townsend's 'The Secret Diary of Adrian Mole aged 13�' - The Musical. This eagerly-anticipated album with it's infectious score showcases aspects of the life of Britain's best-loved, luckless teenager. It features the original London cast with book and lyrics by Jake Brunger and music and lyrics by Pippa Cleary, all under the musical direction of Alex Parker. The cast includes Benjamin Lewis as Adrian Mole, Kelly Price as Pauline Mole, Gay Soper as Grandma Mole, Dean Chisnall as George Mole, Lara Wollington as Pandora, John Hopkins as Mr Lucas/Mr Scruton, Lara Denning as Doreen Slater/Miss Elf, Connor Davies as Barry and Max Robson as Nigel. Following two highly acclaimed runs at Leicester's Curve theatre in 2015 and the Menier Chocolate Factory in 2017, the musical will open for a limited season from 15 June until 12 October 2019 at the Ambassadors Theatre, London, with a Gala Night on Tuesday 2 July. It is directed by Luke Sheppard. Set in the 1980s in Leicester, this adaptation of Sue Townsend's best-selling book is a timeless tale of teenage angst, family struggles and unrequited love, told through the eyes of tortured poet and misunderstood intellectual, Adrian Mole. One of the most enduring comedy characters of all time, he is the hapless, hilarious, spotty teenager who captured the zeitgeist of 1980s Britain. This critically acclaimed production brings Adrian's story to life for a new generation of theatregoers. The Townsend family noted: "Sue loved West End theatre and she loved working with Jake and Pippa on the creation of this show. We're very happy for her and Mole that thirty years after his last appearance, a new generation has brought him back." Sarah Thwaites, UK Label Head commented: "It's incredibly exciting to see the nation's beloved novel by Sue Townsend 'The Secret Diary of Adrian Mole Aged 13 �' come to life on the big stage and it's a real honour for Sony Music Masterworks to release the Original London Cast Recording of this critically acclaimed and delightfully British production". 'The Secret Diary of Adrian Mole Aged 13�' was Townsend's first novel, originally published in 1982 by Methuen and now published by Penguin Books. It has sold over 20 million copies worldwide, been translated into 30 languages and spawned seven sequel Adrian Mole novels. The novels have previously been adapted for the stage, radio and television.

Mychael Danna is an Academy Award-winning film composer recognized for his evocative blending of non-western traditions with orchestral and electronic music. His highly awarded works include the Oscar and Golden Globe-winning score for Ang Lee's Life of Pi, following his collaborations with Lee on The Ice Storm (1997) and Ride with the Devil (1999). Among his other awards are the Emmy for Outstanding Composition for the mini-series World Without End (2013), the Frederick Loewe Award for Film Composing (2013), the World Soundtrack Awards for Film Composer of the Year, and Best Score of the Year (both 2013), and the Hollywood Film Award for Composer of the Year (2016). Danna says his approach is to "making music an integral part of the storytelling, not simply repeating what is happening onscreen, but adding unexpected dimension and insight that enrich the experience of the director's vision." His passion for presenting complex ideas in a musically accessible way began as Danna learned his craft at the University of Toronto. There, he was exposed to early- and world-music that later influenced his style. Danna earned the school's inaugural Glenn Gould Composition Award in 1985 and also began scoring for student theatre groups, as he launched his artistic partnership with filmmaker Atom Egoyan. Danna has scored all of Egoyan's films since 1987's Family Viewing. Danna's credits also include the Oscar-winning Little Miss Sunshine (2006), for which he shared a Grammy Award nomination for Best Compilation Soundtrack Album; Marc Webb's acclaimed romantic comedy (500) Days of Summer (2009); and James Mangold's Oscar-winning film, Girl, Interrupted (1999). Mychael also scored the Oscar-nominated Pixar short preceding the film, Sanjay's Super Team. Other celebrated collaborations include those with Bennett Miller on his Oscar-nominee Moneyball (2011) and his Oscar-winning drama Capote (2005); with Terry Gilliam on his oscar nominated The Imaginarium of Doctor Parnassus (2009) and Tideland (2005). "The most gratifying filmmaking experiences are ones that take effort to unpeel the layers surrounding the heart of the story, and to find the best musical expression of that heart, " says Danna. "Those are always the film scores that I am most proud of."

On the Sony Classical label - This is the x26 song, original motion picture soundtrack to the highly anticipated film "Little Women" by the ten-time Oscar nominated and two-time Oscar winning film composer Alexandre Desplat. "Little Women" is based on the novel by Louisa May Alcott and stars a number of critically acclaimed actors including Emma Watson, Saoirse Ronan and Meryl Streep. In addition to all of his work with filmmaker Wes Anderson, Desplat credits include the music to The King’s Speech, Argo, The Imitation Game, The Shape of Water and The Grand Budapest Hotel.

Sony Music announces the release of THE HUSTLE (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by composer ANNE DUDLEY (The Full Monty, American History X, Mamma Mia! Here We Go Again). "THE HUSTLE is based on one of my favorite films Dirty Rotten Scoundrels and, in a nod to this, my score takes as it's starting point the music of The Hot Club of France," says composer ANNE DUDLEY of the soundtrack. "I've always found this sound both irrepressibly happy and somehow a bit louche. The driving energy of the guitar rhythms coupled with some sophisticated harmonies represent the contrasting characters of Penny (Rebel Wilson) and Josephine (Anne Hathaway), without the score having to be overbearingly 'comic.' It was a particular delight to work with some of my favorite musicians - especially John Parricelli on guitar, Chris Garrick on violin and Eddie Hession on accordion. It was also a pleasure to work with Chris Addison, the director who was full of good cheer, and musically incredibly literate."In the hilarious new comedy THE HUSTLE, Anne Hathaway and Rebel Wilson star as female scam artists, one low rent and the other high class, who team up to take down the dirty rotten men who have wronged them THE HUSTLE is directed by Emmy Award�-winner Chris Addison (Veep) from a screenplay by Jac Schaeffer. Cave 76's Roger Birnbaum and Rebel Wilson's CAMP SUGAR produced the film. Ilona Herzberg and Alison Owen serve as executive producers

Of working on the film's music, composer Jan A.P. Kaczmarek said, "Paul, Apostle of Christ, is a rare kind of film, which allows a composer, even demands from him, to speak in a fresh, original voice. I hope I found that tone, one which gives an additional strength to this powerful, inspiring movie, inviting the audience to enjoy it's emotional and intellectual depth." Paul, Apostle of Christ is the story of two men. Luke, as a friend and physician, risks his life when he ventures into the city of Rome to visit Paul, who is held captive in Nero's darkest, bleakest prison cell. But Nero is determined to rid Rome of Christians, and does not flinch from executing them in the grisliest ways possible. Before Paul's death sentence can be enacted, Luke resolves to write another book, one that details the beginnings of "The Way" and the birth of what will come to be known as the church. Bound in chains, Paul's struggle is internal. He has survived so much - floggings, shipwreck, starvation, stoning, hunger and thirst, cold and exposure - yet as he waits for his appointment with death, he is haunted by the shadows of his past misdeeds. Alone in the dark, he wonders if he has been forgotten... and if he has the strength to finish well. Two men struggle against a determined emperor and the frailties of the human spirit in order to live out the Gospel of Jesus Christ and spread their message to the world. Directed and written by Andrew Hyatt, the movie stars Jim Caviezel (The Passion of the Christ), James Faulkner (Downton Abbey), Olivier Martinez (S.W.A.T.), Joanne Whalley (A.D. The Bible Continues) and John Lynch (The Secret Garden).

Classical Music