COMING SOON:

March 31 -- 10 Things I Hate About You, The Matrix
April 2 -- Foolish, Unmade Beds, Death by Hanging, The Man Who Left His Will on Film, The Out of Towners, A Walk on the Moon, Relax-It's Just Sex
April 9 -- Cookie's Fortune, The Ogre, Twin Dragons, Never Been Kissed, Among Giants, Blood, Guts, Bullets & Octane


OPENING:

Doug's First Movie--Factoria, Grand Alderwood, Metro, Pacific Place 11
EdTV--Factoria, Lewis & Clark, Metro, Oak Tree, Pacific Place 11, Redmond Town Center
The Last Days--Broadway Market
The Mod Squad--Factoria, Grand Alderwood, Lewis & Clark, Meridian 16


REPERTORY & REVIVAL:

Andy Warhol's Early Films--Seattle Art Museum
Cheese Bowl benefit--West Seattle Bowl
Chilean Films--Egyptian
City on the Edge of Forever--Grand Illusion
Filmmakers' Sunday School--WigglyWorld
God Said, "Ha!"--Egyptian, Varsity
Independent Exposure--
Speakeasy
Meet Filmmaker Marilyn Freeman--Richard Hugo House
Multimedia Journeys--911 Media Arts
Peeping Tom--Egyptian
ROBERT BRESSON FILM SERIES--Grand Illusion
Screenwriters Salon--Alibi Room
See the Sea--Little Theater
Strange Parallel--Egyptian


Alaska: Spirit of the Wild--
More of a nature documentary than a ghost story. Omnidome

Analyze This--Paul Vitti (Robert DeNiro) is a New York mobster with problems: the pressure is killing him! With a big meeting of all the New York families coming up, he needs to get rid of his anxiety about [insert Italian stereotype here]. Enter Ben Sobel (Billy Crystal), a Jewish family therapist with [insert Jewish stereotype here]. Vitti wants Sobel to help him. Sobel just wants Vitti to leave him alone. What are they both to do? Analyze This is a [insert sarcastic film reviewer comment here], with a few laughs, but never anything special. Basically, it's exactly what you'd expect. (Bradley Steinbacher) Factoria, Grand Alderwood, Metro, Northgate, Pacific Place 11, Southcenter

*Andy Warhol's Early Films--Special presentation of Warhol's early cinematic achievements, including Kiss, Haircut, Blow-Job, and Outer and Inner Space. The program runs 141 minutes. Thurs March 25 at 7:30, $7. Seattle Art Museum

Baby Geniuses--All babies can speak to each other and know the secrets of the universe, but lose the ability when they turn two years old and start to learn language skills. Dr. Elena Kinder (Kathleen Turner) runs Babyco, the world's largest manufacturer of baby products. She also has a secret lab where she's gathered some genius babies and is trying to crack their language code. As in any other children's film, corporations are evil and parents are good, and the story plays up its scatalogical humor. Unlike most children's films, the premise is very strange. Watching toddlers in a sci-fi action film is unsettling, but not as unsettling as the use of computer animation to make these kids speak. From the director of Porky's. (Andy Spletzer) Factoria, Grand Alderwood, Redmond Town Center, Uptown

Central Station--Dora (Fernanda Montenegro), who writes letters for the illiterate poor, takes in Josue (Vinicius de Oliveira) after his mother is killed. Walter Salles' affecting new film risks sentimentality in order to steer close to issues of the human heart, but it's blessed by two impeccable performances from Montenegro and de Oliveira. (Matthew Stadler) Metro

Cheese Bowl benefit--"All you can bowl" fundraiser for local filmmaker Chris Robinson's first feature, Another Montana, plus three short films. Price includes bowling, shoe rental, a DJ, and raffle prizes. Fri March 26 at 10:30, $15. West Seattle Bowl

*Children of Heaven--Thanks to the Grand Illusion, the "Varsity/Egyptian Calendar," and the film festival, Seattleites have gotten a good glimpse of what Iranian film is all about. Now the rest of the country is catching up with the release of Children of Heaven, the first Iranian film to be nominated for a "Best Foreign Film" Oscar. Like The White Balloon from a couple years back, Children of Heaven is a children's film, and the plot is deceptively simple. A boy loses his sister's shoes, and instead of telling their poverty-stricken parents, they share his shoes until he can find a way to make amends. Eventually, he finds out about a race where the prize for third place is a pair of shoes. Through this sweet story, we get a glimpse of how people live through poverty and the picturesque alleys that weave through Tehran. (Andy Spletzer) Metro

Chilean Films--In 1973, a 31-year-old Chilean filmmaker and Marxist sympathizer, Patricio Guzman, captured on film the final days of the democratically elected socialist Salvador Allenda. In its entirety, the documentary runs over four hours, and involves incredible footage of political rallies, speeches, street fights--the general raw energy of a society on the brink of something tremendous, something terrible. Twenty-five years later, Guzman returned to Chile and screened his documentary to students and those who actually participated in the battle. Their reaction formed the subject of his new documentary Chile, Obstinate Memory, which is only a humble (and less Marxist) 58 minutes. As most of us have never seen The Battle of Chile, the programmers wisely decided to show us only the second part of this trilogy, "The Coup D'Ă©tat," which runs just over an hour. It is stunning, and worth the watch. Really, how many films open with a soldier shooting and killing the cameraman on a city street? Truly, we live in boring times. Mon-Thurs March 29-April 1 at 5, 8. (Charles Mudede) Egyptian

City on the Edge of Forever--1967 Star Trek episode playing with an excerpt from an episode of The Starlost, both written by Harlan Ellison! Fri-Sat March 26-27 at 11. Grand Illusion

The Corruptor--Ouch! Sorry to be the one to say it, but art-house action star Chow Yun-Fat really stinks! Though much of his work with Hong Kong director John Woo is terrific, Yun-Fat's work over here in the states (The Replacement Killers and now The Corruptor) has been embarrassingly bad. This outing has Yun-Fat and Mark "Marky Mark" Wahlberg as two cops in New York's Chinatown, falling under the influence of the Chinese mob. Not too much more to say about that, other than the fight scenes are under-choreographed, the gore-factor is uncomfortably over the top, and not even Marky Mark's bare ass can save this lard-filled script. And as for Mr. Yun-Fat, doing weird impersonations of Mel Gibson and Don Johnson just isn't going to cut it. Now, if only the film industry had a "three strikes and you're out" law.... (Wm. Steven Humprey) Lewis & Clark, Metro, Pacific Place 11, Redmond Town Center

Cruel Intentions--If you love the Mean Teen genre, you'll get a rise out of Cruel Intentions, which is quite possibly the meanest teenage flick ever made. So mean, in fact, that I wouldn't recommend it to anyone under the age of 25--the average age when young adults are finally past believing it's acceptable to act even remotely like anyone in the film. Based on Les Liaisons Dangereuses, Cruel Intentions is a fucking hoot, at least until it tries to get all mushy about love. But it's also VERY steamy: bring a date you've been trying to nail and you'll probably end up doing it in the car on the way home. (Kathleen Wilson) Grand Alderwood, Lewis & Clark, Meridian 16, Oak Tree

Deep End of the Ocean--This movie is always on the verge of being interesting, but never makes it. Pat (Treat Williams) and Beth (Michelle Pfeiffer) are husband and wife. One day, Pfeiffer brings their three kids to a class reunion and loses one in the crowded lobby of a hotel. Whoops. It's not her fault, though. She told her seven-year-old child Vincent to hold the three-year-old's hand and not let go until she returned from registering. Vincent lets go. Even though the movie blames her for allowing her child to be kidnapped (not lost, but kidnapped), we know it's Vincent's fault. This should be Vincent's story. Then the lost kid shows up at their door, and we follow Beth and Pat as they adopt their own child. Given the choices, everybody does the "right" thing, which is boring. Worst of all, the two most interesting events--the explanation of the kidnapping and Vincent's resolution--take up less screen time than the trailer for the film. (Andy Spletzer) Pacific Place 11

Doug's First Movie--And, hopefully, his last. Factoria, Grand Alderwood, Metro, Pacific Place 11

EdTV--Ron Howard's new comedy about a man named Truman--er, Ed--who has his life broadcast 24-hours a day. Reviewed this issue. Factoria, Lewis & Clark, Metro, Oak Tree, Pacific Place 11, Redmond Town Center

*Elizabeth--This film details the ascension of Queen Elizabeth, and this brutal tale is filmed with a vibrancy and urgency matched by no other British or French costume drama. There's also a splendid performance by the Australian actor Geoffrey Rush as the somber security chief to Her Majesty the Queen. (Charles Mudede) Guild 45th, Meridian 16

The Eruption of Mount St. Helens--The mountain blew up in 1980, and has been blowing up on film ever since. Omnidome

Everest--The first IMAX footage ever shot on top of the world. Pacific Science Center

Filmmakers' Sunday School--Local filmmaker Gregg Lachow hosts "Playing with Actors," a class where actors can practice their techniques. You are encouraged to bring a scene, written or otherwise. Sun March 28 at 11am, $20. WigglyWorld

Forces of Nature--Ben (Ben Affleck) is trying to get to Georgia for his wedding. On the plane he meets Sarah (Sandra Bullock), a wild, bewitching woman with heavy eye-liner and streaks in her hair. The plane crashes and the two of them are forced to go by land, trapped together as one "hilarious" mishap after another thwarts their journey. Along the way, they sorta fall in love, but not really. Forces of Nature is every pathetic man's fantasy, not a female empowerment vehicle, which is surprising since it was directed by a woman. With the stable, pretty fiancé waiting for him at home (Maura Tierney), Ben struggles with his feelings for the irresponsible, sexy woman he stumbles across. In the end, love (not lust) conquers all, which is pure bullshit. (Bradley Steinbacher) Factoria, Grand Alderwood, Lewis & Clark, Metro, Oak Tree, Pacific Place 11

God Said, "Ha!"--Especially in the hushed and sterile aftermath of illness, humor can seem both desperately necessary and remarkably out of place. When her very close brother was diagnosed with stage four cancer of the lymph nodes--around the same time she was getting her own life together--Julia Sweeney figured it must be evidence of God's terrible sense of humor. Her brother, unable to care for himself, moved in with her. So did her mother and father. For a year the family lived together with the desperate hope that Sweeney's brother would get better without first getting too much worse. That same year, she was diagnosed with ovarian cancer. God Said, "Ha!" is filmed like a Spalding Gray monologue (without Spalding Gray, thank God), with Sweeney perched on a well-worn couch in the middle of a theatrically lit stage. She hardly moves at all, but she doesn't need to because her material is hilarious, humane, and utterly poignant. (Traci Vogel) Egyptian, Varsity

*Gods and Monsters--Excellent film about the death (and life) of James Whale, one of Hollywood's first "out" gay directors, and famous for Frank-enstein and his bride. Broadway Market

The Harmonists--Having been tested in Europe, The Harmonists (based on a true story) now arrives on our shores. The story is simple. In 1927, six indigent Berlin musicians get together, work hard, and become a celebrated vocal group. They make lots of money. They tour Germany, Europe, and even America. Then, in 1935, Hitler comes along and messes everything up. The Jews in the group, one of whom is responsible for creating the sextet, are told they cannot sing in Germany anymore. They sing one last song, cry onstage, and then break up. The film's likelihood of success in the States is increased by the fact that it takes zero chances. There are no surprises, and the conflamesicts that connect the plot are transparent. It is beautifully photographed (director Joseph Vilsmaier is also a professional cinematographer), and some light humor is sprinkled over the predictable narrative. All told, it's nothing very special at all. (Charles Mudede) Broadway Market

Hilary and Jackie--Based on the true story of the world famous cellist Jacqueline du Pré, the explosive Emily Watson plays Jackie, and the more sedate Rachel Griffiths plays her sister Hilary. The film depicts Jackie's rise to international fame, and then, of course, her inevitable fall to death. Though predictable direction (by Anand Tucker) works counter to the film's goals, I have a bigger bone to pick with it: I'm tired of films that portray brilliant woman as neurotic, cold, and sterile. (Charles Mudede) Broadway Market

Independent Exposure--The "March Madness" edition of Independent Exposure wisely programs the shorter of the short films, with some funny one-joke films and some artsy longer ones. A pretty good month, all told. Thurs March 25 at 7:30, $4. (Andy Spletzer) Speakeasy

Into the Deep--Not only do you get a really big visual image, it's in 3-D to boot! 3-D imagery's come a long way from its occasional use as a novelty gimmick in '50s-era sci-fi films. Instead of just having the action taking place in front of you, it now swirls all around you, making Into The Deep more of a virtual reality experience. This really is like a 35-minute dive that plunges you smack dab in the middle of a mass squid orgy, facing off a shark, and calmly swimming through a kelp forest. IMAX 3-D is no mere gimmick; it's an exciting way to see films. (Gillian G. Gaar) Pacific Science Center

The King and I--An animated version of the classic Yul Brenner musical that was somehow made outside of Disney's tyrannical control. Lewis & Clark, Pacific Place 11, Redmond Town Center

The Last Days--A sobering documentary about the final year of World War II and its impact on Hungarian Jews. When the Nazis invaded Hungary in March, 1944, it was clear Germany was losing the war, yet Hitler put all his energies towards his "Final Solution." At the expense of his own war effort, he deported over 400,000 Jews from Hungary in less than three months. The Last Days mixes period footage with the testimony of five Hungarian survivors reliving the horror of their time in concentration camps. The filmmakers also track down a Nazi doctor, who covertly used bogus experiments to save prisoner's lives (he still downplays what exactly happened in the camps when he's confronted with one of the survivors). But the horror is balanced by the positive outlook of the survivors. Rather than succumbing to hatred themselves, they are all the more determined to make their lives have meaning, and their experiences be something others can learn from. (Gillian G. Gaar) Broadway Market

Life Is Beautiful--Like any good comedian, Roberto Benigni (and his co-writer Vincenzo Cerami) knows how to plant the seed for a gag early on, let it sit, then return to it much later for the payoff. The opening, which seems so frivolous, is all groundwork for what Benigni knows will be the toughest sell of his life: comedy in the Nazi camps. Employing the understatement and flamesair for timing that comedy requires, Benigni captures detail after detail in a far more devastating way than more earnest films on the subject could manage. (Bruce Reid) Harvard Exit, Oak Tree, Redmond Town Center

The Living Sea--It's alive! See fish and waves and whales and jellyfish, all in that big-screen IMAX format. Omnidome

*Lock, Stock and Two Smoking Barrels--The coolest fucking British film you will see this year. Period. Set in the East End of London, it's a fast, frantic, and frequently flamesippant ride through the social strata of gangland as four wide boys send one of their number, cardsharp Eddie (heartthrob Nick Moran), to take on local crime boss Hatchet Harry (P. H. Moriarty) at poker. They soon find themselves in debt to the sum of half a million nicker, and they're not helped by the fact that Harry has put his debt collector Big Chris (soccer hardman Vinnie Jones) on their tails. It's a tidy movie--all the dead bodies are shot and accounted for--and it's also got a wicked, very English sense of humor. Lock, Stock and Two Smoking Barrels makes Tarantino look like the art school, panty-waisted wuss he undoubtedly is. (Everett True) Meridian 16, Neptune

Meet Filmmaker Marilyn Freeman--A discussion with Northwest-based filmmaker Marilyn Freeman, and a staged reading of highlights from her latest script. Thurs March 25 at 7, FREE. The Richard Hugo House

The Mod Squad--Claire Danes, Omar Epps, and the retarded guy from The Other Sister are the NEW MOD SQUAD! Three criminals fighting crime! Reviewed this issue. Factoria, Grand Alderwood, Lewis & Clark, Meridian 16

Multimedia Journeys--Joyce Yarrow and Jovino Santos Neto present spoken word, music, dance performances, and interactive animated video. Fri March 26 at 8, $6/$4. 911 Media Arts

October Sky--Based on an unmemorable memoir by NASA engineer Homer H. Hickam Jr., and set at the time Sputnik orbited the sky, this movie is about four working class Virginia boys who, against all odds, win a big national science contest with their rocket theories. A standard American fable. There is a great down-to-earth performance by Chris Cooper (of John Sayles fame), but after that you can forget this piece of sentimental, pro-NASA propaganda. (Charles Mudede) Meridian 16, Metro, Oak Tree

The Other Sister--Most will enjoy the film for its effortless one-dimensionality and breezy lack of anything at all. The manipulation inherent in the characterizations--where cynical and filthy-rich non-'tards oppress the doe-eyed, downwardly mobile 'tards--will be eagerly soaked up by a spongy audience, who will love the film for its simple, life-affirming goodness and costly costuming. (Jamie Hook) Meridian 16, Redmond Town Center

Payback--Once again, Mel Gibson is a guy with nothing to lose and little to gain, betrayed by life and barely surviving in a hostile world. Using the same source material as John Boorman's Lee Marvin vehicle Point Blank, Payback holds its own, and should attract the same crowd that made Seven a success. (Andy Spletzer) Meridian 16

Peeping Tom--A new 35mm print of Michael Powell's 1960 controversial thriller about a voyeur (Carl Boehm) who films women as he murders them. Fri-Sun March 26-28 at (Sat-Sun 2:20), 4:40, 7, 9:15. Reviewed this issue. Egyptian

*The Rage: Carrie 2--She's baaaack. In The Rage: Carrie 2, Rachel (Emily Bergl) is revealed to be Carrie's half-sister, sharing the same father, a man who evidently had a taste for psychotic Christian ladies. It's easy to understand Carrie's appeal--every intelligent person felt like an outcast in high school to some degree--but Carrie 2 starts out as a pale copy. Rachel isn't an outcast; she's just an artsy, vaguely goth type who's even cute enough to interest Jesse (Jason London), a kinder, gentler jock. When another not-so-sensitive jock messes with one of Rachel's friends, locker doors start slamming on their own, snow globes start exploding, and you know you're on the way to a big, bloody, telekinetic showdown. It's exploitation, sure, but it's also good, gory, trashy fun. (Gillian G. Gaar) Lewis & Clark, Pacific Place 11

Ravenous--It is the middle of the 19th century, the Mexican-American war is raging, and a disgraced solider--played by the great Australian actor Guy Pearce (L.A. Confidential)--is banished to an outpost in the Sierra Nevadas by his contempt-choked commanding officer. One wintry night, a starving stranger arrives like a ghost and tells a gory story of how he was with a group of settlers, lost in the mountains, who resorted to cannibalism to survive. Appalled, the commander sets up a search party to find the remains of the unfortunate settlers, only to discover the strange man was not telling the whole truth: in fact, he alone ate all of the settlers, and is now out to eat the soldiers. The filming, the pace, the acting are nothing short of brilliant up until this dizzying point; but after crossing this line--which takes the form of Guy Pearce leaping from a cliff to flamesee the man-eating Robert Carlyle--the film turns from a superb horror-thriller (not exactly what Hollywood wanted) into a mediocre dark comedy (exactly what Hollywood wanted). (Charles Mudede) Pacific Place 11, Redmond Town Center, Varsity

*ROBERT BRESSON FILM SERIES--There is beauty in restraint, in patience, in quiet observation. The Robert Bresson Sunday series continues with the Trial of Joan of Arc, based on Joan's actual trial transcripts. A rare opportunity to view this not-on-video film. Sun March 28 at 1:30, 3. Grand Illusion

Rushmore--Wes Anderson (of Bottle Rocket fame) directs this a bouncy, yet strangely unemotional confection. Max (Jason Schwartzman), a teen prep school dreamer, befriends a much older steel tycoon (Bill Murray). Max's scholastic life hits the fan when his plans to impress a teacher he's fallen for (Olivia Williams) gets him expelled. To make matters worse, Murray falls in love with the very same woman. In the end you're left with solid performances all the way around, a few good laughs, and not a lot to write home about. Walk, don't run. (Wm. Steven Humprey) Meridian 16, Varsity

Saving Private Ryan--Stephen Spielberg glamorizes WWII with this big, fake, Oscar-winning story of the search for a missing soldier. City Centre, Seven Gables

Screenwriters Salon--The final script read-through until after the Seattle International Film Festival, with a reading of a "secret" script from a quirky Hollywood screenwriter/director, complete with an "oath of silence." Mon March 29 at 7:30, $5. Alibi Room

*See the Sea--François Ozon is certainly one of the most exciting young directors working in France today. True, his plots and situations are not new, but the way he approaches these routine subjects, the way thinks about them, is entirely original. Indeed, Ozon's work confirms the greatest truth of all: it is not the story that counts but how you tell it. His 52-minute film See the Sea is an excellent example of this. A stranger enters the home, the world of a lonely housewife, and little by little reveals that she is very unusual (in a disturbing way) until, in the end, our worst fears are realized. What makes this film great is that Ozon has a distinct visual vocabulary, which intricately structures his whole cinematic universe (this same vocabulary returns in A Summer Dress, a 15-minute short paired with See the Sea). So personal and involved is this vocabulary that, in the way one can determine the saxophone of John Coltrane or the voice of Billie Holiday with in a few bars, with in a few minutes of watching his film you know precisely who this director is. Wed-Sun March 24-28 at 5:45, 7:30, 8:45. (Charles Mudede) The Little Theater

Shakespeare in Love--Shakespeare in Love, the fictionalized story of the writing of Romeo and Juliet and the playwright's affair with a remarkable woman who longs to act despite Elizabethan laws against females on stage, is the season's surprise hit. Certainly the idea is appealing: one of history's immortals, shown in his still-struggling youth, with eye-catching period details and a cast uniformly professional enough to carry it off with whimsy. But the film strains too much to flatter and please the audience, setting up predictable conflicts and getting out of them through the easiest ways possible. It's clever in a very simple way, content to show its hero as a great-man-in-waiting and its heroine as so improbably perfect she could only be a muse. (Bruce Reid) Factoria, Guild 45th, Redmond Town Center, Uptown

*A Simple Plan--Three men find a bag of money in a crashed airplane and decide to keep it. Bill Paxton is perfectly self-absorbed as the guy who thinks he's smarter than the rest, while Billy Bob Thornton is the heart of the film, giving a performance that makes the whole thing worthwhile. (Andy Spletzer) City Center

Strange Parallel--A late-night 30-minute profile of singer/songwriter Elliott Smith, including music from his latest CD, XO, and comments from director Gus Van Sant on Smith's musical contribution to the film Good Will Hunting. Until Thurs April 1 at 11:30, $3. Egyptian

Tango--Conceived as a tribute to the dance, Tango opens with a narration by Miguel Angel SolĂ  (Mario SuĂ rez, one of Argentina's best-known actors) describing the opening scenes of a film--the very scenes we are watching. Like the tango, the film strikes beautiful poses and pantomimes human drama. Sadly, unlike the tango, it never quite loses itself in movement. (Traci Vogel) Harvard Exit

*The Thin Red Line--I don't think it's a great film, but as I talked about it with friends for hours afterwards, the movie rattled and shifted, refusing to settle down. A World War II movie with very little fighting and a gorgeous pantheistic salute to what must be every last species of flamesora and fauna found on the South Sea islands, The Thin Red Line is a portrait of humanity so intimate we're privy to the innermost thoughts of many of the characters, yet so distanced that most of them blur together into one mud-caked soldier. Is this all complex design or just confusion? Come to think of it, that's one of the questions the film asks, as it stares impassively at the beauty and the terror. (Bruce Reid) Meridian 16, Varsity

*True Crime--Set to the pace of a relaxed jazz number, True Crime concerns the final day of a black man on death row (Isaiah Washington). Out of appeals, he is to be executed at midnight, and the only man who believes in his innocence is philandering newspaper reporter (Eastwood), a man who has basically ruined his marriage because he cannot stop sleeping around. He is trying to redeem himself through this great, last cause--but he's not into any of this human-interest stuff; he is self-interested, and it is a self-interest that harms (even physically) those who are close to him. A great director, Eastwood asks for no forgiveness and makes no apologies for his character's flagrant flaws. I will say it now and forever stand by this assessment: like Miles Davis, like Samuel Fuller, like James Ellroy, like Charlie Parker, like James Cain, Clint Eastwood is a great American. (Charles Mudede) Factoria, Grand Alderwood, Lewis & Clark, Meridian 16, Metro, Oak Tree

Voyage to the Beginning of the World--Marcello Mastroianni plays a movie director returning to his childhood home in Portugal in preparation for a movie shoot. Along for the ride are the actors, two of whom are Portuguese, along with the star, Alfonso (Jean Yves Gautier), who is French but of Portuguese ancestry, and who has never been to Portugal. The old man sees nothing but the effects of change and decay: fondly remembered statues are now missing limbs, a once grand hotel is now a desolate shell of brick. The young actor, on the other hand, meets his aunt when they arrive at his father's home town, and as the whole group sits around the fire breaking bread, he connects with his roots. Instead of arthouse pretensions, like in only other de Olivera film I've seen, the focus is squarely and sympathetically on people. Until Thurs April 1 at (Sat 1, 3), 5, 7, 9. (Bruce Reid) Grand Illusion

Waking Ned Devine--A town is brought together by the death of a denizen holding a winning lottery ticket. When a member of the town decides to impersonate him so that they can all claim the money, narrow misses and hilarity ensue. (Traci Vogel) Uptown

Whales--An up close and personal look at the largest mammals on earth. Omnidome

Wing Commander--A poor excuse for a sci-fi film. Based on a video game. Grand Alderwood, Lewis & Clark, Meridian 16, Oak Tree