Best selling author and Magnolia resident Mike Lawson will be on hand for a book signing July 8, 3 to 5 p.m. at Magnolia’s Bookstore, 3206 W. McGraw St.
Drive might have earned Nicolas Winding Refn Best Director laurels at the 2011 Cannes film fest, but detractors rated the Ryan Gosling thriller over-heavy on ultraviolence and arthouse style, light on substance. Refn’s latest, Only God Forgives, again featuring Gosling, makes the dreamlike Drive look like realism.
Framing Pictures took the month off in July, but the cadre re-convenes 5 p.m. Friday, Aug. 16, at Northwest Film Forum, 1515 12th Ave.
Watching Adore, one isn’t often prompted to admire Anne Fontaine’s directorial astuteness when it comes to framing and composing her strange fable. It’s more a matter of going with the flow, surrendering to rhythms of light, desire, grace. Coming away, one feels a little dazed, as though one had just come in out of the sun after a long, slow swim. And Adore’s spell lingers, its power radiating from the sensual allure and intelligence of the two actresses who are the heart of this uterine tale of almost-incest.
School’s out for the summer. This hardly seems the time for students to be reading up on how to interact with their college professors, but maybe they need a leg up.
The controversial five-stone sculptures are in place in Counterbalance Park at the corner of Queen Anne and Roy Street.
Harry Nyhus, 92, would rather talk about growing up on his family’s farm outside Port Angeles than about his experiences during World War II.
Concerns have arisen in Magnolia Village over the lack of movement with the proposed, mixed-use apartment complex at 2406 32nd Ave. W. The property is occupied by two adjoining, 1940s vintage, vacant commercial buildings between U.S. Bank and Ace Hardware.
The roof of the Mercer Garage, near the Seattle Center, was built to hold cars, but what about piles of dirt?
To supply some context for Tim Burton's new movie Dark Shadows, not to mention May's installment of Framing Pictures, we offer a feature Kathleen Murphy wrote for MSN.com/Movies back when Charlie and the Chocolate Factory was going into release. MSN.com doesn't seem to be archiving ancient texts as assiduously as we might hope, so find the whole deal here.
Another Tim Burton oldie, resurrected as a footnote to the May Framing Pictures discussion of the director's style and career. This was written for the website Mr. Showbiz, a sharper operation than the name suggests.
...So I let my Framing Pictures colleagues Kathleen Murphy and Robert Horton sign me up for a Facebook account, in order to help administrate our new page there. And in selecting a jokey 1987 portrait to serve as my Profile Picture, I realized I ought to go ahead and scan the magazine article it accompanied. This was in the late, lamented Pacific Northwest (the glossy getaway mag, not the Seattle Times supplement). I must admit I got a kick out of reencountering film year 1987 as configured on that occasion. Twenty-five years ago. Twenty-five years is a good pretext for announcing an anniversary. OK then, here's the Director's Cut Restoration. Oh, that photograph? I'm posing as a private eye with trenchcoat, snap-brim hat, and a very nice cigar.....
"Like most casualties of Noirland, Foley (Samuel L. Jackson) is pretty much DOA from the get-go." So begins Kathleen Murphy's review, which continues to begin on the next page....
Bringing The Eye of the Storm to the screen involved the reunion of a filmmaking "family," a brilliant bevy of old Oz hands from that heady era of filmmaking hailed as the Australian New Wave.