Reich, David Darling, and Arvo Pärt, with most compositions dating from the 1990s. Manfred Eicher, founder of ECM Records, is credited as music consultant. "Country" (Keith Jarrett) by Keith Jarrett, Jan Garbarek, Palle Danielsson, and Jon Christensen "Let's Do It in A-Flat" (Steve Reich) by M. Segal, S. Reich, J. Gunkel, and M. Fonfara "How Deep Is the Blues" (Steve Reich) by M. Segal, S. Reich, J. Gunkel, and M. Fonfara "Too Much of Your Love" (Steve Reich) by M. Segal, S. Reich, J. Gunkel, and M. Fonfara "Special Delivery" (Peter Blegvad) by Peter Blegvad "Darkwood VII: New Morning" (David Darling) by David Darling "Für Alina" (Arvo Pärt) by Alexander Malter "Tokyo, Encore" (Keith Jarrett) by Keith Jarrett "Angelina – Zooma Zooma" (Roberts, Fisher – Citarrelly, Prima) by Louis Prima "Volare" (Franco Migliacci, Domenico Modugno) by Dean Martin "Bregenz, Part I" (Keith Jarrett) by Keith Jarrett "Via Con Me" (Paolo Conte) by Paolo Conte "Attenti Al Lupo" (Ron) by Lucio Dalla "Relax-Ay-Voo" (Johns, Salvador) by Dean Martin "Never Let Me Go" (Ray Evans, Jay Livingston) by Keith Jarrett, Gary Peacock, and Jack de Johnette "U Dance" (Keith Jarrett) by Keith Jarrett, Gary Peacock, and Jack de Johnette Reception Box office Mostly Martha earned $5,691,547 in box office revenue in Europe, and $4,158,045 in the United States. Admissions in Europe include 213,037 (Germany), 38,812 (Netherlands), 1,510 (Norway), and 202,150 (Spain). Critical response Rotten Tomatoes, an aggregator of reviews from published critics, showed that 92% of them reviewed it favorably based on 85 reviews, with an average rating of 7.17/10. The site's critics consensus reads, "Mostly Martha may have a predictable plot, but it still feels charming and fresh, and the food will make you hungry." In his review in The New York Times, film critic Elvis Mitchell wrote, "The movie itself has a trim, ticking precision, though Manfred Eicher (one of the founders of the ECM jazz label) adds a score that gives the picture a light-handed rhythm. Ms. Nettelbeck seems to have achieved a balance of control and autonomy so that Mostly Martha doesn't feel as if it was directed by its central figure. The final confection is extremely enjoyable, though a few degrees shy of perfection." In their review in Spirituality & Practice, Frederic and Mary Ann Brussat wrote, "Writer and director Sandra Nettelbeck beautifully orchestrates the transformation of the chilly, neurotic, and self-absorbed Martha as her heart begins