In the new film Now You See Me, Interpol detective Alma Dray (Mélanie Laurent) tells her partner that sometimes logic won’t solve the puzzle. Sometimes it takes a leap of faith.
If you can head this advice, then you might really enjoy Now You See Me.
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The story of a young husband and wife’s struggles through the personal and professional speed bumps encountered in most marriages during the early just-had-a-kid years, ‘A Song Still Inside’ opens today at SIFF 2013.
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Cullen Hoback’s new documentary, Terms and Conditions May Apply, holds that the proliferation of information via the Internet is being used to bilk people and, worse, rob them of their freedoms.
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The practical effects and location shooting only further enhance and lend gravitas and a sense of authenticity to The Deep. Having played at this year’s Seattle International Film Festival, it’s in the running for the best film going at that event this year.
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Pierre Etaix mastered an almost wordless, deadpan comic delivery in the Buster Keaton vein and a deliberate pace that assured that his carefully planned gags came to fruition with a minimal amount of cutting. Criterion’s box set is a must-have for serious film fans.
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Henrik in The Almost Man is a perpetual man-child whose mid-life angst and rudderless existence is on par with anything Will Ferrell, Seth Rogen, or the like ever pulled off.
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This is not something one might eagerly to recommend. For a Peter Greenaway fan, yeah: this might be right up your alley. For pretty much everyone else, prepare yourself for one of the weirdest, most obscene, nonsensical cinematic journeys of your life.
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The actors in each movie don’t have much to do, but at least one of these movies understands where its strength lies — in putting bodies in constant motion and thumbing its nose at the laws of physics.
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‘The Punk Singer’ is a new documentary showing at this year’s Seattle International Film Festival, and it argues that an important piece of rock and roll’s early-90s historical puzzle lies in the punk movement’s feminist roots, and its undisputed champion, Kathleen Hanna.
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Fast & Furious 6 goes bigger, dumber and more funner.
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For people that care about The Hangover canon, there are call backs to situations and characters from the first movie that remind us of headier times for the Wolfpack. The real mystery is how the most successful R-rated comedy franchise in history could tarnish its legacy in just two short years.
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C.O.G., a short story from Sedaris’ 1997 collection of essays Naked, is the progeny of this slow-simmered hype, and does about as well as a Sedaris fan might hope for; the story of a recently minted Yale grad looking for a taste of the genuine American experience
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Parker works as well as most of Statham’s action flicks; it’s enjoyable up to a point but largely forgettable after the credits roll.
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Abrams has grown into a confident cinematic storyteller, capable of setting high stakes, staging impossible situations, and having his characters get out of them, one after another, with a combination of exciting action and just enough of their intellect.
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Currently playing at this year’s Seattle International Film Festival, Imagine should keep audiences engaged, for cinema about blind characters has never looked so good, nor felt this fresh.
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