The most effective scenes in “Driveways” come quietly, which filmmaker Andrew Ahn understood, because he made most of the scenes come quietly.
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.
“Tigertail” is a drama about a stoic and stern Taiwanese father who is emotionally estranged from his daughter. The film, which was released on April 10 by Netflix, flicks back and forth between the present day and the past to contextualize why this man is the way that he is.
I’ve been binge-watching so many movies! Are you too? As a result, I’ve become a bit of a connoisseur of Asian American-y movies on basic streaming services (so not HBO; stuff that costs $10/month or less).
“Little America” is a collection of 30 episodes meant to demonstrate to audiences the “collective” that is the United States.
“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.
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.
“Come As You Are” is about three young men with physical disabilities. Scotty (Grant Rosenmeyer) is a paraplegic, Matt (Hayden Szeto) has use of his arms but is also restricted to a wheelchair, and Mo (Ravi Patel) is partially blind—to the point where he has to use a magnifying glass to read and cannot drive a car.
To start this review, I’d like to be clear: If I were in high school and the five love letters I wrote to my secret crushes got delivered to them, there’s no chance any of them would’ve returned my affections.
“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.