Director Christopher Nolan returns to Gotham City with this sequel to the critical and fan favorite BATMAN BEGINS. In THE DARK KNIGHT, Batman (Christian Bale) squares off against a new foe: the Joker (Heath Ledger). Director Christopher Nolan returns to Gotham City with this sequel to the critical and fan favorite BATMAN BEGINS. In THE DARK KNIGHT, Batman (Christian Bale) squares off against a new foe: the Joker (Heath Ledger).

Intelligent, adult and provocative Philip Roth adaptation, with classy performances.

Like director Isabel Coixet's previous film MY LIFE WITHOUT ME, ELEGY is consumed by the ideas of love and mortality. But while that film focused on a young protagonist, the hero of this drama is an aging writer and professor played by Ben... Like director Isabel Coixet's previous film MY LIFE WITHOUT ME, ELEGY is consumed by the ideas of love and mortality. But while that film focused on a young protagonist, the hero of this drama is an aging writer and professor played by Ben Kingsley. David Kepesh (Kingsley) is a minor literary celebrity in New York City who shies away from commitment, happy with his casual relationship with a businesswoman (Patricia Clarkson) who is rarely in town. But a date with a stunning grad student named Consuela (Penelope Cruz) surprisingly turns into a long-term romance, changing David from a confident Lothario into a jealous boyfriend. His age and her beauty haunt their romance until David begins to push her away.

Director Christopher Nolan returns to Gotham City with this sequel to the critical and fan favorite BATMAN BEGINS. In THE DARK KNIGHT, Batman (Christian Bale) squares off against a new foe: the Joker (Heath Ledger). Director Christopher Nolan returns to Gotham City with this sequel to the critical and fan favorite BATMAN BEGINS. In THE DARK KNIGHT, Batman (Christian Bale) squares off against a new foe: the Joker (Heath Ledger).

Intelligent, adult and provocative Philip Roth adaptation, with classy performances.

Like director Isabel Coixet's previous film MY LIFE WITHOUT ME, ELEGY is consumed by the ideas of love and mortality. But while that film focused on a young protagonist, the hero of this drama is an aging writer and professor played by Ben... Like director Isabel Coixet's previous film MY LIFE WITHOUT ME, ELEGY is consumed by the ideas of love and mortality. But while that film focused on a young protagonist, the hero of this drama is an aging writer and professor played by Ben Kingsley. David Kepesh (Kingsley) is a minor literary celebrity in New York City who shies away from commitment, happy with his casual relationship with a businesswoman (Patricia Clarkson) who is rarely in town. But a date with a stunning grad student named Consuela (Penelope Cruz) surprisingly turns into a long-term romance, changing David from a confident Lothario into a jealous boyfriend. His age and her beauty haunt their romance until David begins to push her away.

Director Christopher Nolan returns to Gotham City with this sequel to the critical and fan favorite BATMAN BEGINS. In THE DARK KNIGHT, Batman (Christian Bale) squares off against a new foe: the Joker (Heath Ledger). Director Christopher Nolan returns to Gotham City with this sequel to the critical and fan favorite BATMAN BEGINS. In THE DARK KNIGHT, Batman (Christian Bale) squares off against a new foe: the Joker (Heath Ledger).

Intelligent, adult and provocative Philip Roth adaptation, with classy performances.

Like director Isabel Coixet's previous film MY LIFE WITHOUT ME, ELEGY is consumed by the ideas of love and mortality. But while that film focused on a young protagonist, the hero of this drama is an aging writer and professor played by Ben... Like director Isabel Coixet's previous film MY LIFE WITHOUT ME, ELEGY is consumed by the ideas of love and mortality. But while that film focused on a young protagonist, the hero of this drama is an aging writer and professor played by Ben Kingsley. David Kepesh (Kingsley) is a minor literary celebrity in New York City who shies away from commitment, happy with his casual relationship with a businesswoman (Patricia Clarkson) who is rarely in town. But a date with a stunning grad student named Consuela (Penelope Cruz) surprisingly turns into a long-term romance, changing David from a confident Lothario into a jealous boyfriend. His age and her beauty haunt their romance until David begins to push her away.

Director Christopher Nolan returns to Gotham City with this sequel to the critical and fan favorite BATMAN BEGINS. In THE DARK KNIGHT, Batman (Christian Bale) squares off against a new foe: the Joker (Heath Ledger). Director Christopher Nolan returns to Gotham City with this sequel to the critical and fan favorite BATMAN BEGINS. In THE DARK KNIGHT, Batman (Christian Bale) squares off against a new foe: the Joker (Heath Ledger).

Intelligent, adult and provocative Philip Roth adaptation, with classy performances.

Like director Isabel Coixet's previous film MY LIFE WITHOUT ME, ELEGY is consumed by the ideas of love and mortality. But while that film focused on a young protagonist, the hero of this drama is an aging writer and professor played by Ben... Like director Isabel Coixet's previous film MY LIFE WITHOUT ME, ELEGY is consumed by the ideas of love and mortality. But while that film focused on a young protagonist, the hero of this drama is an aging writer and professor played by Ben Kingsley. David Kepesh (Kingsley) is a minor literary celebrity in New York City who shies away from commitment, happy with his casual relationship with a businesswoman (Patricia Clarkson) who is rarely in town. But a date with a stunning grad student named Consuela (Penelope Cruz) surprisingly turns into a long-term romance, changing David from a confident Lothario into a jealous boyfriend. His age and her beauty haunt their romance until David begins to push her away.

Director Christopher Nolan returns to Gotham City with this sequel to the critical and fan favorite BATMAN BEGINS. In THE DARK KNIGHT, Batman (Christian Bale) squares off against a new foe: the Joker (Heath Ledger). Director Christopher Nolan returns to Gotham City with this sequel to the critical and fan favorite BATMAN BEGINS. In THE DARK KNIGHT, Batman (Christian Bale) squares off against a new foe: the Joker (Heath Ledger).

Intelligent, adult and provocative Philip Roth adaptation, with classy performances.

Like director Isabel Coixet's previous film MY LIFE WITHOUT ME, ELEGY is consumed by the ideas of love and mortality. But while that film focused on a young protagonist, the hero of this drama is an aging writer and professor played by Ben... Like director Isabel Coixet's previous film MY LIFE WITHOUT ME, ELEGY is consumed by the ideas of love and mortality. But while that film focused on a young protagonist, the hero of this drama is an aging writer and professor played by Ben Kingsley. David Kepesh (Kingsley) is a minor literary celebrity in New York City who shies away from commitment, happy with his casual relationship with a businesswoman (Patricia Clarkson) who is rarely in town. But a date with a stunning grad student named Consuela (Penelope Cruz) surprisingly turns into a long-term romance, changing David from a confident Lothario into a jealous boyfriend. His age and her beauty haunt their romance until David begins to push her away.

From the author of FIGHT CLUB!

CHOKE's protagonist, Victor Mancini, shouldn't be a likable character. He's an unrepentant sex addict who has sex with the woman he's supposed to be sponsoring. He purposely chokes in restaurants so that rich patrons will save him and send him money. And he sometimes wishes that his mother, who suffers from dementia, would just get it over with and die. But because Victor is played--and played quite well--by Sam Rockwell (THE HITCHHIKER'S GUIDE TO THE GALAXY), it's hard not to have a little sympathy for him. He spends his days working at a colonial tourist attraction with his best friend, Denny (Brad William Henke), incurring the wrath of his authenticity-craving boss (Clark Gregg, who also directed and wrote the film). His evenings are spent visiting his mother (Oscar winner Anjelica Huston) in a private hospital, but she mistakes her son for men in her past and wonders when Victor will visit. But young, pretty Dr. Paige Marshall (NO COUNTRY FOR OLD MEN's Kelly Macdonald) has a radical idea about treatment that may bring his mother's mind back, and Victor's devotion to his mother--and a desire to sleep with Dr. Marshall--makes him eager to try.

When the box office champ Ben Stiller's comedic performances aren't a variation on a soft-spoken, put-upon everyman with an eventual fuse, he's usually playing a full-blown absurdist monster with an apoplectic Napoleon complex. These bizarre creations usually adorn films in which the funnyman provides the supporting work (DODGEBALL, HEAVYWEIGHTS), but, whenever he's directing, he's free to build an entire filmic universe around his asinine, ludicrously funny, culture-skewering characters and premises. His ZOOLANDER (2001) bit at the entertainment industry with silly abandon, but Stiller has firmly set TROPIC THUNDER within the realm of sophisticated Hollywood satire. In it, a desperate director named Damien Cockburn (Steve Coogan) trying to make a Vietnam war movie drops his pampered actors into the heart of the jungle. Cockburn's stars include Stiller as an action hero who's starting to make bad career choices, Jack Black as an insecure low-brow comedy star going through heroin withdrawals, and Robert Downey Jr. as an Australian Oscar winner so lost in his "craft" he underwent a procedure to become black for his role. In the jungle, they remain under the delusion that they are still being filmed even after they encounter a dangerous gang of druglords. The film's basic premise has popped up several times since Hollywood's 1970s golden age in films such as THREE AMIGOS! and GALAXY QUEST. Where those films simply blanketed a classic Overconfident Bumbling Idiot comedy showcase with a pop culture lexicon, however, TROPIC THUNDER could have only been made, as on-the-nose at is, by people who have been working in the Hollywood system for years, making cutting observations along the way. Simply put, this raucous satire knows big-budget filmmaking, the delusional narcissism of actors, and even the good points of those actors--perhaps why they're celebrated--like the back of its hand.

From the author of FIGHT CLUB!

CHOKE's protagonist, Victor Mancini, shouldn't be a likable character. He's an unrepentant sex addict who has sex with the woman he's supposed to be sponsoring. He purposely chokes in restaurants so that rich patrons will save him and send him money. And he sometimes wishes that his mother, who suffers from dementia, would just get it over with and die. But because Victor is played--and played quite well--by Sam Rockwell (THE HITCHHIKER'S GUIDE TO THE GALAXY), it's hard not to have a little sympathy for him. He spends his days working at a colonial tourist attraction with his best friend, Denny (Brad William Henke), incurring the wrath of his authenticity-craving boss (Clark Gregg, who also directed and wrote the film). His evenings are spent visiting his mother (Oscar winner Anjelica Huston) in a private hospital, but she mistakes her son for men in her past and wonders when Victor will visit. But young, pretty Dr. Paige Marshall (NO COUNTRY FOR OLD MEN's Kelly Macdonald) has a radical idea about treatment that may bring his mother's mind back, and Victor's devotion to his mother--and a desire to sleep with Dr. Marshall--makes him eager to try.

When the box office champ Ben Stiller's comedic performances aren't a variation on a soft-spoken, put-upon everyman with an eventual fuse, he's usually playing a full-blown absurdist monster with an apoplectic Napoleon complex. These bizarre creations usually adorn films in which the funnyman provides the supporting work (DODGEBALL, HEAVYWEIGHTS), but, whenever he's directing, he's free to build an entire filmic universe around his asinine, ludicrously funny, culture-skewering characters and premises. His ZOOLANDER (2001) bit at the entertainment industry with silly abandon, but Stiller has firmly set TROPIC THUNDER within the realm of sophisticated Hollywood satire. In it, a desperate director named Damien Cockburn (Steve Coogan) trying to make a Vietnam war movie drops his pampered actors into the heart of the jungle. Cockburn's stars include Stiller as an action hero who's starting to make bad career choices, Jack Black as an insecure low-brow comedy star going through heroin withdrawals, and Robert Downey Jr. as an Australian Oscar winner so lost in his "craft" he underwent a procedure to become black for his role. In the jungle, they remain under the delusion that they are still being filmed even after they encounter a dangerous gang of druglords. The film's basic premise has popped up several times since Hollywood's 1970s golden age in films such as THREE AMIGOS! and GALAXY QUEST. Where those films simply blanketed a classic Overconfident Bumbling Idiot comedy showcase with a pop culture lexicon, however, TROPIC THUNDER could have only been made, as on-the-nose at is, by people who have been working in the Hollywood system for years, making cutting observations along the way. Simply put, this raucous satire knows big-budget filmmaking, the delusional narcissism of actors, and even the good points of those actors--perhaps why they're celebrated--like the back of its hand.

From the author of FIGHT CLUB!

CHOKE's protagonist, Victor Mancini, shouldn't be a likable character. He's an unrepentant sex addict who has sex with the woman he's supposed to be sponsoring. He purposely chokes in restaurants so that rich patrons will save him and send him money. And he sometimes wishes that his mother, who suffers from dementia, would just get it over with and die. But because Victor is played--and played quite well--by Sam Rockwell (THE HITCHHIKER'S GUIDE TO THE GALAXY), it's hard not to have a little sympathy for him. He spends his days working at a colonial tourist attraction with his best friend, Denny (Brad William Henke), incurring the wrath of his authenticity-craving boss (Clark Gregg, who also directed and wrote the film). His evenings are spent visiting his mother (Oscar winner Anjelica Huston) in a private hospital, but she mistakes her son for men in her past and wonders when Victor will visit. But young, pretty Dr. Paige Marshall (NO COUNTRY FOR OLD MEN's Kelly Macdonald) has a radical idea about treatment that may bring his mother's mind back, and Victor's devotion to his mother--and a desire to sleep with Dr. Marshall--makes him eager to try.

When the box office champ Ben Stiller's comedic performances aren't a variation on a soft-spoken, put-upon everyman with an eventual fuse, he's usually playing a full-blown absurdist monster with an apoplectic Napoleon complex. These bizarre creations usually adorn films in which the funnyman provides the supporting work (DODGEBALL, HEAVYWEIGHTS), but, whenever he's directing, he's free to build an entire filmic universe around his asinine, ludicrously funny, culture-skewering characters and premises. His ZOOLANDER (2001) bit at the entertainment industry with silly abandon, but Stiller has firmly set TROPIC THUNDER within the realm of sophisticated Hollywood satire. In it, a desperate director named Damien Cockburn (Steve Coogan) trying to make a Vietnam war movie drops his pampered actors into the heart of the jungle. Cockburn's stars include Stiller as an action hero who's starting to make bad career choices, Jack Black as an insecure low-brow comedy star going through heroin withdrawals, and Robert Downey Jr. as an Australian Oscar winner so lost in his "craft" he underwent a procedure to become black for his role. In the jungle, they remain under the delusion that they are still being filmed even after they encounter a dangerous gang of druglords. The film's basic premise has popped up several times since Hollywood's 1970s golden age in films such as THREE AMIGOS! and GALAXY QUEST. Where those films simply blanketed a classic Overconfident Bumbling Idiot comedy showcase with a pop culture lexicon, however, TROPIC THUNDER could have only been made, as on-the-nose at is, by people who have been working in the Hollywood system for years, making cutting observations along the way. Simply put, this raucous satire knows big-budget filmmaking, the delusional narcissism of actors, and even the good points of those actors--perhaps why they're celebrated--like the back of its hand.

From the author of FIGHT CLUB!

CHOKE's protagonist, Victor Mancini, shouldn't be a likable character. He's an unrepentant sex addict who has sex with the woman he's supposed to be sponsoring. He purposely chokes in restaurants so that rich patrons will save him and send him money. And he sometimes wishes that his mother, who suffers from dementia, would just get it over with and die. But because Victor is played--and played quite well--by Sam Rockwell (THE HITCHHIKER'S GUIDE TO THE GALAXY), it's hard not to have a little sympathy for him. He spends his days working at a colonial tourist attraction with his best friend, Denny (Brad William Henke), incurring the wrath of his authenticity-craving boss (Clark Gregg, who also directed and wrote the film). His evenings are spent visiting his mother (Oscar winner Anjelica Huston) in a private hospital, but she mistakes her son for men in her past and wonders when Victor will visit. But young, pretty Dr. Paige Marshall (NO COUNTRY FOR OLD MEN's Kelly Macdonald) has a radical idea about treatment that may bring his mother's mind back, and Victor's devotion to his mother--and a desire to sleep with Dr. Marshall--makes him eager to try.

From the author of FIGHT CLUB!

CHOKE's protagonist, Victor Mancini, shouldn't be a likable character. He's an unrepentant sex addict who has sex with the woman he's supposed to be sponsoring. He purposely chokes in restaurants so that rich patrons will save him and send him money. And he sometimes wishes that his mother, who suffers from dementia, would just get it over with and die. But because Victor is played--and played quite well--by Sam Rockwell (THE HITCHHIKER'S GUIDE TO THE GALAXY), it's hard not to have a little sympathy for him. He spends his days working at a colonial tourist attraction with his best friend, Denny (Brad William Henke), incurring the wrath of his authenticity-craving boss (Clark Gregg, who also directed and wrote the film). His evenings are spent visiting his mother (Oscar winner Anjelica Huston) in a private hospital, but she mistakes her son for men in her past and wonders when Victor will visit. But young, pretty Dr. Paige Marshall (NO COUNTRY FOR OLD MEN's Kelly Macdonald) has a radical idea about treatment that may bring his mother's mind back, and Victor's devotion to his mother--and a desire to sleep with Dr. Marshall--makes him eager to try.

When the box office champ Ben Stiller's comedic performances aren't a variation on a soft-spoken, put-upon everyman with an eventual fuse, he's usually playing a full-blown absurdist monster with an apoplectic Napoleon complex. These bizarre creations usually adorn films in which the funnyman provides the supporting work (DODGEBALL, HEAVYWEIGHTS), but, whenever he's directing, he's free to build an entire filmic universe around his asinine, ludicrously funny, culture-skewering characters and premises. His ZOOLANDER (2001) bit at the entertainment industry with silly abandon, but Stiller has firmly set TROPIC THUNDER within the realm of sophisticated Hollywood satire. In it, a desperate director named Damien Cockburn (Steve Coogan) trying to make a Vietnam war movie drops his pampered actors into the heart of the jungle. Cockburn's stars include Stiller as an action hero who's starting to make bad career choices, Jack Black as an insecure low-brow comedy star going through heroin withdrawals, and Robert Downey Jr. as an Australian Oscar winner so lost in his "craft" he underwent a procedure to become black for his role. In the jungle, they remain under the delusion that they are still being filmed even after they encounter a dangerous gang of druglords. The film's basic premise has popped up several times since Hollywood's 1970s golden age in films such as THREE AMIGOS! and GALAXY QUEST. Where those films simply blanketed a classic Overconfident Bumbling Idiot comedy showcase with a pop culture lexicon, however, TROPIC THUNDER could have only been made, as on-the-nose at is, by people who have been working in the Hollywood system for years, making cutting observations along the way. Simply put, this raucous satire knows big-budget filmmaking, the delusional narcissism of actors, and even the good points of those actors--perhaps why they're celebrated--like the back of its hand.

From the author of FIGHT CLUB!

CHOKE's protagonist, Victor Mancini, shouldn't be a likable character. He's an unrepentant sex addict who has sex with the woman he's supposed to be sponsoring. He purposely chokes in restaurants so that rich patrons will save him and send him money. And he sometimes wishes that his mother, who suffers from dementia, would just get it over with and die. But because Victor is played--and played quite well--by Sam Rockwell (THE HITCHHIKER'S GUIDE TO THE GALAXY), it's hard not to have a little sympathy for him. He spends his days working at a colonial tourist attraction with his best friend, Denny (Brad William Henke), incurring the wrath of his authenticity-craving boss (Clark Gregg, who also directed and wrote the film). His evenings are spent visiting his mother (Oscar winner Anjelica Huston) in a private hospital, but she mistakes her son for men in her past and wonders when Victor will visit. But young, pretty Dr. Paige Marshall (NO COUNTRY FOR OLD MEN's Kelly Macdonald) has a radical idea about treatment that may bring his mother's mind back, and Victor's devotion to his mother--and a desire to sleep with Dr. Marshall--makes him eager to try.

When the box office champ Ben Stiller's comedic performances aren't a variation on a soft-spoken, put-upon everyman with an eventual fuse, he's usually playing a full-blown absurdist monster with an apoplectic Napoleon complex. These bizarre creations usually adorn films in which the funnyman provides the supporting work (DODGEBALL, HEAVYWEIGHTS), but, whenever he's directing, he's free to build an entire filmic universe around his asinine, ludicrously funny, culture-skewering characters and premises. His ZOOLANDER (2001) bit at the entertainment industry with silly abandon, but Stiller has firmly set TROPIC THUNDER within the realm of sophisticated Hollywood satire. In it, a desperate director named Damien Cockburn (Steve Coogan) trying to make a Vietnam war movie drops his pampered actors into the heart of the jungle. Cockburn's stars include Stiller as an action hero who's starting to make bad career choices, Jack Black as an insecure low-brow comedy star going through heroin withdrawals, and Robert Downey Jr. as an Australian Oscar winner so lost in his "craft" he underwent a procedure to become black for his role. In the jungle, they remain under the delusion that they are still being filmed even after they encounter a dangerous gang of druglords. The film's basic premise has popped up several times since Hollywood's 1970s golden age in films such as THREE AMIGOS! and GALAXY QUEST. Where those films simply blanketed a classic Overconfident Bumbling Idiot comedy showcase with a pop culture lexicon, however, TROPIC THUNDER could have only been made, as on-the-nose at is, by people who have been working in the Hollywood system for years, making cutting observations along the way. Simply put, this raucous satire knows big-budget filmmaking, the delusional narcissism of actors, and even the good points of those actors--perhaps why they're celebrated--like the back of its hand.

$7 TICKETS

FUNDRAISER for the Appalachian Fund
Prop bags to be given out.


THE ROCKY HORROR PICTURE SHOW is a magical phenomenon unlike anything ever before seen onscreen. Borrowing largely from cinema's horror conventions, the film begins as an innocent young couple is stranded at the home of a mad scientist who is building the perfect man. The castle is filled with a most bizarre group of characters who worship their master, Dr. Frank-N-Furter, played magnificently by the fabulously sexy Tim Curry, in leather jacket, pearls, fishnet stockings, and heavy makeup. Brad (Barry Bostwick) and Janet (Susan Sarandon) are forced to examine their own sexuality as the voluptuous doctor releases the hidden desires in each of them. Based on the stage musical by Richard O'Brien (who also appears in the film as Riff Raff), the film comes alive with unforgettable song-and-dance numbers that have come to represent the sexual liberation of the 1970s. The outstanding costuming and makeup, the terrific acting by a group of relative unknowns (Curry, O'Brien, Bostwick, Sarandon, Nell Campbell, Patricia Quinn, Meat Loaf), and the memorable songs ("Time Warp," "Sweet Transvestite") help make THE ROCKY HORROR PICTURE SHOW one of the most bizarrely entertaining and satisfying musicals ever made.

$7 TICKETS

FUNDRAISER for the Appalachian Fund
Prop bags to be given out.


THE ROCKY HORROR PICTURE SHOW is a magical phenomenon unlike anything ever before seen onscreen. Borrowing largely from cinema's horror conventions, the film begins as an innocent young couple is stranded at the home of a mad scientist who is building the perfect man. The castle is filled with a most bizarre group of characters who worship their master, Dr. Frank-N-Furter, played magnificently by the fabulously sexy Tim Curry, in leather jacket, pearls, fishnet stockings, and heavy makeup. Brad (Barry Bostwick) and Janet (Susan Sarandon) are forced to examine their own sexuality as the voluptuous doctor releases the hidden desires in each of them. Based on the stage musical by Richard O'Brien (who also appears in the film as Riff Raff), the film comes alive with unforgettable song-and-dance numbers that have come to represent the sexual liberation of the 1970s. The outstanding costuming and makeup, the terrific acting by a group of relative unknowns (Curry, O'Brien, Bostwick, Sarandon, Nell Campbell, Patricia Quinn, Meat Loaf), and the memorable songs ("Time Warp," "Sweet Transvestite") help make THE ROCKY HORROR PICTURE SHOW one of the most bizarrely entertaining and satisfying musicals ever made.

Woody Harrelson, Ben Kingsley, Emily Mortimer


Brad Anderson is a quintessentially independent film director known for his attention to character psychology and the details and nuance of place, traits that make the superbly crafted thriller Transsiberian an uncommonly absorbing experience. One of those legendary train trips that people used to dream about taking, the Transsiberian Express has probably seen better days. An American couple, Roy (Woody Harrelson) and Jessie (Emily Mortimer), decide to return home the long way from their recent sojourn in Peking and meet another couple from the West, Carlos (Eduardo Noriega) and Abby (Kate Mara), with whom they quickly form that tenuous bond that often unites fellow travelers away from home. When Roy gets separated from the train at a stopover, Jessie begins to realize that their compatriots aren’t exactly who or what they seem to be. But the real dangers of their unforgettable trip have only begun to surface; Russian cops (Ben Kingsley plays one), mobsters, and locals are still to come. As much a psychological puzzle piece as artful suspense, the film showcases Anderson's newfound skill with dramatic action that meshes seamlessly with his engrossing atmosphere. Blessed with a engagingly subtle performance by the always-exemplary Mortimer and a surprisingly fresh turn by Harrelson, Transsiberian transports us into a new and different world and creates a unique cinematic experience. -- © Sundance Film Festival

Woody Harrelson, Ben Kingsley, Emily Mortimer


Brad Anderson is a quintessentially independent film director known for his attention to character psychology and the details and nuance of place, traits that make the superbly crafted thriller Transsiberian an uncommonly absorbing experience. One of those legendary train trips that people used to dream about taking, the Transsiberian Express has probably seen better days. An American couple, Roy (Woody Harrelson) and Jessie (Emily Mortimer), decide to return home the long way from their recent sojourn in Peking and meet another couple from the West, Carlos (Eduardo Noriega) and Abby (Kate Mara), with whom they quickly form that tenuous bond that often unites fellow travelers away from home. When Roy gets separated from the train at a stopover, Jessie begins to realize that their compatriots aren’t exactly who or what they seem to be. But the real dangers of their unforgettable trip have only begun to surface; Russian cops (Ben Kingsley plays one), mobsters, and locals are still to come. As much a psychological puzzle piece as artful suspense, the film showcases Anderson's newfound skill with dramatic action that meshes seamlessly with his engrossing atmosphere. Blessed with a engagingly subtle performance by the always-exemplary Mortimer and a surprisingly fresh turn by Harrelson, Transsiberian transports us into a new and different world and creates a unique cinematic experience. -- © Sundance Film Festival

Woody Harrelson, Ben Kingsley, Emily Mortimer


Brad Anderson is a quintessentially independent film director known for his attention to character psychology and the details and nuance of place, traits that make the superbly crafted thriller Transsiberian an uncommonly absorbing experience. One of those legendary train trips that people used to dream about taking, the Transsiberian Express has probably seen better days. An American couple, Roy (Woody Harrelson) and Jessie (Emily Mortimer), decide to return home the long way from their recent sojourn in Peking and meet another couple from the West, Carlos (Eduardo Noriega) and Abby (Kate Mara), with whom they quickly form that tenuous bond that often unites fellow travelers away from home. When Roy gets separated from the train at a stopover, Jessie begins to realize that their compatriots aren’t exactly who or what they seem to be. But the real dangers of their unforgettable trip have only begun to surface; Russian cops (Ben Kingsley plays one), mobsters, and locals are still to come. As much a psychological puzzle piece as artful suspense, the film showcases Anderson's newfound skill with dramatic action that meshes seamlessly with his engrossing atmosphere. Blessed with a engagingly subtle performance by the always-exemplary Mortimer and a surprisingly fresh turn by Harrelson, Transsiberian transports us into a new and different world and creates a unique cinematic experience. -- © Sundance Film Festival

Woody Harrelson, Ben Kingsley, Emily Mortimer


Brad Anderson is a quintessentially independent film director known for his attention to character psychology and the details and nuance of place, traits that make the superbly crafted thriller Transsiberian an uncommonly absorbing experience. One of those legendary train trips that people used to dream about taking, the Transsiberian Express has probably seen better days. An American couple, Roy (Woody Harrelson) and Jessie (Emily Mortimer), decide to return home the long way from their recent sojourn in Peking and meet another couple from the West, Carlos (Eduardo Noriega) and Abby (Kate Mara), with whom they quickly form that tenuous bond that often unites fellow travelers away from home. When Roy gets separated from the train at a stopover, Jessie begins to realize that their compatriots aren’t exactly who or what they seem to be. But the real dangers of their unforgettable trip have only begun to surface; Russian cops (Ben Kingsley plays one), mobsters, and locals are still to come. As much a psychological puzzle piece as artful suspense, the film showcases Anderson's newfound skill with dramatic action that meshes seamlessly with his engrossing atmosphere. Blessed with a engagingly subtle performance by the always-exemplary Mortimer and a surprisingly fresh turn by Harrelson, Transsiberian transports us into a new and different world and creates a unique cinematic experience. -- © Sundance Film Festival

Woody Harrelson, Ben Kingsley, Emily Mortimer


Brad Anderson is a quintessentially independent film director known for his attention to character psychology and the details and nuance of place, traits that make the superbly crafted thriller Transsiberian an uncommonly absorbing experience. One of those legendary train trips that people used to dream about taking, the Transsiberian Express has probably seen better days. An American couple, Roy (Woody Harrelson) and Jessie (Emily Mortimer), decide to return home the long way from their recent sojourn in Peking and meet another couple from the West, Carlos (Eduardo Noriega) and Abby (Kate Mara), with whom they quickly form that tenuous bond that often unites fellow travelers away from home. When Roy gets separated from the train at a stopover, Jessie begins to realize that their compatriots aren’t exactly who or what they seem to be. But the real dangers of their unforgettable trip have only begun to surface; Russian cops (Ben Kingsley plays one), mobsters, and locals are still to come. As much a psychological puzzle piece as artful suspense, the film showcases Anderson's newfound skill with dramatic action that meshes seamlessly with his engrossing atmosphere. Blessed with a engagingly subtle performance by the always-exemplary Mortimer and a surprisingly fresh turn by Harrelson, Transsiberian transports us into a new and different world and creates a unique cinematic experience. -- © Sundance Film Festival

Woody Harrelson, Ben Kingsley, Emily Mortimer


Brad Anderson is a quintessentially independent film director known for his attention to character psychology and the details and nuance of place, traits that make the superbly crafted thriller Transsiberian an uncommonly absorbing experience. One of those legendary train trips that people used to dream about taking, the Transsiberian Express has probably seen better days. An American couple, Roy (Woody Harrelson) and Jessie (Emily Mortimer), decide to return home the long way from their recent sojourn in Peking and meet another couple from the West, Carlos (Eduardo Noriega) and Abby (Kate Mara), with whom they quickly form that tenuous bond that often unites fellow travelers away from home. When Roy gets separated from the train at a stopover, Jessie begins to realize that their compatriots aren’t exactly who or what they seem to be. But the real dangers of their unforgettable trip have only begun to surface; Russian cops (Ben Kingsley plays one), mobsters, and locals are still to come. As much a psychological puzzle piece as artful suspense, the film showcases Anderson's newfound skill with dramatic action that meshes seamlessly with his engrossing atmosphere. Blessed with a engagingly subtle performance by the always-exemplary Mortimer and a surprisingly fresh turn by Harrelson, Transsiberian transports us into a new and different world and creates a unique cinematic experience. -- © Sundance Film Festival

It was among the fastest, most efficient production cars ever built. It ran on electricity, produced no emissions and catapulted American technology to the forefront of the automotive industry. The lucky few who drove it never wanted to give it up. So why did General Motors crush its fleet of EV1 electric vehicles in the Arizona desert? WHO KILLED THE ELECTRIC CAR? chronicles the life and mysterious death of the GM EV1, examining its cultural and economic ripple effects and how they reverberated through the halls of government and big business. The year is 1990. California is in a pollution crisis. Smog threatens public health. Desperate for a solution, the California Air Resources Board (CARB) targets the source of its problem: auto exhaust. Inspired by a recent announcement from General Motors about an electric vehicle prototype, the Zero Emissions Mandate (ZEV) is born. It required 2% of new vehicles sold in California to be emission-free by 1998, 10% by 2003. It is the most radical smog-fighting mandate since the catalytic converter. With a jump on the competition thanks to its speed-record-breaking electric concept car, GM launches its EV1 electric vehicle in 1996. It was a revolutionary modern car, requiring no gas, no oil changes, no mufflers, and rare brake maintenance (a billion-dollar industry unto itself). A typical maintenance checkup for the EV1 consisted of replenishing the windshield washer fluid and a tire rotation. But the fanfare surrounding the EV1's launch disappeared and the cars followed. Was it lack of consumer demand as carmakers claimed, or were other persuasive forces at work? Fast forward to 6 years later... The fleet is gone. EV charging stations dot the California landscape like tombstones, collecting dust and spider webs. How could this happen? Did anyone bother to examine the evidence? Yes, in fact, someone did. And it was murder. The electric car threatened the status quo. The truth behind its demise resembles the climactic outcome of Agatha Christie's Murder on the Orient Express: multiple suspects, each taking their turn with the knife. WHO KILLED THE ELECTRIC CAR? interviews and investigates automakers, legislators, engineers, consumers and car enthusiasts from Los Angeles to Detroit, to work through motives and alibis, and to piece the complex puzzle together. WHO KILLED THE ELECTRIC CAR? is not just about the EV1. It's about how this allegory for failure—reflected in today's oil prices and air quality—can also be a shining symbol of society's potential to better itself and the world around it. While there's plenty of outrage for lost time, there's also time for renewal as technology is reborn in WHO KILLED THE ELECTRIC CAR? --© Sony Pictures Classics

D.J. Caruso (TAKING LIVES, DISTURBIA) directs this tale of intrigue that utilizes technology as a character. Jerry Shaw (Shia LaBeouf) is a slacker who works at Copy Cabana--until he returns home after receiving bad news about his brother to find his apartment filled with incriminating packages, and receives a phone call from a mysterious woman advising him to vacate the premises immediately. Single mom Rachel Holloman (Michelle Monaghan) also finds herself at the mercy of the mystery caller after seeing her young son off on an overnight school trip. Soon, these two strangers find themselves caught in a tangled web, taking directions from the female caller who makes it very clear that if they disobey her, there will be consequences for them and their families. They have no control over the course that\'s been set in motion. But the real question is, who is making these calls and what is their ultimate goal? Filled with explosive action, car crashes, and high-tech hi-jinx, this thriller moves at breakneck speed. Technology is the co-star here: electronic signs relay the next move to Jerry and Rachel, traffic lights change as needed, and strangers\' cell phones ring with directions. The strong supporting human cast includes Billy Bob Thornton as a hard-nosed FBI agent who is investigating LaBeouf for terrorism, and Michael Chiklis as the Secretary of Defense. Rosario Dawson, Ethan Embry, and Anthony Mackie also star in the film, for which Steven Spielberg served as executive producer. LaBeouf remains an interesting young actor, able to move from action sequences to emotional moments with ease, and Monaghan protects her screen son with a mother\'s ferocity.

D.J. Caruso (TAKING LIVES, DISTURBIA) directs this tale of intrigue that utilizes technology as a character. Jerry Shaw (Shia LaBeouf) is a slacker who works at Copy Cabana--until he returns home after receiving bad news about his brother to find his apartment filled with incriminating packages, and receives a phone call from a mysterious woman advising him to vacate the premises immediately. Single mom Rachel Holloman (Michelle Monaghan) also finds herself at the mercy of the mystery caller after seeing her young son off on an overnight school trip. Soon, these two strangers find themselves caught in a tangled web, taking directions from the female caller who makes it very clear that if they disobey her, there will be consequences for them and their families. They have no control over the course that\'s been set in motion. But the real question is, who is making these calls and what is their ultimate goal? Filled with explosive action, car crashes, and high-tech hi-jinx, this thriller moves at breakneck speed. Technology is the co-star here: electronic signs relay the next move to Jerry and Rachel, traffic lights change as needed, and strangers\' cell phones ring with directions. The strong supporting human cast includes Billy Bob Thornton as a hard-nosed FBI agent who is investigating LaBeouf for terrorism, and Michael Chiklis as the Secretary of Defense. Rosario Dawson, Ethan Embry, and Anthony Mackie also star in the film, for which Steven Spielberg served as executive producer. LaBeouf remains an interesting young actor, able to move from action sequences to emotional moments with ease, and Monaghan protects her screen son with a mother\'s ferocity.