A Seattle moviegoing lifestyle magazine
The Devil Wears Prada 2 is primarily a nostalgic homage to the drama of everyone’s favorite not-so-fictitious fashion magazine. It doesn’t provide anything particularly innovative, but it’s still an enjoyable return to the world of the original film.
David Lowery’s latest, Mother Mary, shares with his filmography an openness to the surreal as well as the ability to give main character energy to bolts of fabric. Bolstered by two entrancing performances from Anne Hathaway and Michaela Coel, it joins his others as deeply fascinating and surprisingly revelatory examinations of humanity.
Bob Odenkirk is firmly in his “Liam Neeson phase”: a middle-aged man reluctantly forced to kick a lot of ass in order to protect what really matters.
Starting today, tickets and passes are now available to the public for the Seattle International Film Festival. While we’re digging through the schedule and plotting our own agendas, we thought we’d start by each highlighting a film (or two) from the program that we’re most excited to see or recommend.
Julian Sklar has followed the familiar trajectory from enfant terrible to full-blown crank. Once a renowned artist, he now spends most of his time not painting and recording Cameo-style videos—often for mothers urging their children to pursue art (in this economy?). Dressing is optional. There was also a regrettable stint as a judge on a reality show that makes Simon Cowell look like the Easter Bunny.
Imagine being stuck in an endless loop through a subway station hallway. If you aren’t meticulous enough to notice any little detail that alters from the “original”, you start all over again. It seems simple enough, right? I mean you just memorize all the minute details about every aspect in the hallway, but make a mistake and you start over… but the stakes start to rise, your secret innermost fears are brought to light and you could even start losing your mind. Not so simple.
Faces of Death (2026 | USA | 98min | Daniel Goldhaber) For an entire generation, 1978’s Faces of Death became the most …
With something always tantalizingly out of reach, Christian Petzold’s films carry a certain rigor of academic riddles, albeit koans populated by characters nursing their own quiet tragedies. With vibrant interiority, Paula Beer’s melancholic university music student becomes a makeshift bandage for a rural family in the wake of a freak car crash.
Kristoffer Borgli’s newest film, The Drama, starring Zendaya and Robert Pattinson, is a—you guessed it—drama masquerading as a rom-com, but with only bits and pieces of romance and comedy; instead, as the title suggests, it leans very heavily on the drama.
