A Seattle moviegoing lifestyle magazine
Once upon a time, in a village far, far away, there was a lonely Fisherwoman, a spinster isolated from her community for being viewed as unattractive, smelly, and altogether undesirable. That is until she approaches the Basket Weaver and asks him to craft her a husband made of wicker. Soon she is the happiest woman in the entire village (and certainly the most sexually satisfied).
A Talent for Murder, a sly (if slight) psychological thriller about a young man in publishing who travels to Switzerland to try to convince Highsmith (played by Helen Mirren) to write a sixth book in her “Ripliad” series near the end of her life. For the uninitiated, the Ripliad consists of five novels featuring Tom Ripley, Highsmith’s charming, amoral, occasionally murderous antihero.
Pity poor Klara, she’s a B1 AF (artificial friend) and the store across the street is selling B3s that can do anything B1s can do, only better. The B3s are better looking, more agile, don’t lose their balance whenever they go outdoors, and will probably not be found standing like a flamingo at any random moment. Obsolescence, like death, comes for us all, but it is often injudicious about scheduling.
For some inexplicable reason, TV star Nathan Fielder (along with veteran documentarian Lance Oppenheim) was given almost unlimited access to Elizabeth Holmes and her boyfriend Billy Evans, an heir to the Evans Hotels hospitality group and tech entrepreneur, in their San Diego rental home. He is an omnipresent figure in the Evans-Holmes household and it’s a bit unsettling when we see him looking on during unguarded moments. The result is one jaw-dropping moment after another.
This film flits somewhere between the absurd and the ridiculous, while somehow remaining predictable. This movie, directed by Michael Showalter, is flawed (and often embarrassingly so) but has something going for it: Anne Hathaway is fully committed to the part.
When the Fifth Avenue Theatre announced they were kicking off their 2026-27 season with a revival of A Chorus Line earlier this …
Onslaught is the first screening I’ve ever attended where I wished I hadn’t seen the movie in IMAX.
The plot, for all its predictability, does have something going for it: efficiency. Mutiny is a brisk 95 minutes, and it asks nothing of the audience beyond being passive viewers while Jason Statham kicks ass.
Has it really been five years since we’ve seen a new, proper live-action Spider-Man movie? After what I call the “Home Trilogy” (Homecoming, Far From Home, and No Way Home) from director Jon Watts, Spidey is back with the same central cast.
Last time Christopher Nolan had a new feature in theaters, he was helping save blockbusters, movies, and even summer itself with a three-hour drama about a nuclear scientist. It ruled. Today, he is back in cinemas with his telling of Homer’s epic poem The Odyssey and, frankly, epic is the only word that feels appropriate in my vocabulary.
