The most effective scenes in “Driveways” come quietly, which filmmaker Andrew Ahn understood, because he made most of the scenes come quietly.
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“At the start of [the virus outbreak,] we were in California, in Indian Wells. A girl on the street saw my husband and I walking in the street, and was loudly wondering what ‘the Asians’ were doing out. That we should be staying locked in and we already spread it.
The first thing you notice about 1980’s “Fist of Fear, Touch of Death” is that its star, Bruce Lee, isn’t actually in it.
“The past six years have been transformative and given me a new perspective of my career. I just felt like I kept hitting a wall with taking my music to the next level here in the U.S.
Up until recently, the notion of spending an evening in an art gallery alone, forcibly sequestered from anyone else while you regard the exhibits, would have seemed at least mildly far out.
“Go Back to China,” director and writer Emily Ting’s second feature film, has compelling characters, suspenseful situations, and tough talk. What it doesn’t have is much gild on the lily.
Most Americans seeing a turban-wearing Sikh, with a long beard, would not automatically assume such a man called Charlotte, N.C., his home, growing up.
Now in its 15th year, the annual Seattle Children’s Film Festival counts itself as “a teenager now, deciding who it wants to be when it grows up,” in the humorous terms of festival director Elizabeth Shepherd. She’s held that title since the first festival back in 2005, so she should know.
“There will be… liberal use of stage blood, should occasion warrant it,” warns the email invite confirmation to “The Angel in the House,” a new play written and directed by Seattle’s Sara Porkalob.
Guy Richie’s new action comedy “The Gentlemen” has one of those twisting, turning plots that’s hard to follow, and deliberately so.