We consulted IMDb's Highest-Rated Action-Family Films to came up with 10 scene-stealing action figures your kids can relate to, look up to, and be inspired by.
A New York socialite, deeply troubled and in denial, arrives in San Francisco to impose upon her sister. She looks a million, but isn't bringing money, peace, or love...
Director:
Woody Allen
Stars:
Cate Blanchett,
Alec Baldwin,
Peter Sarsgaard
Sally's parents' marriage breaks up when her father undergoes a mid-life crisis and impulsively weds a prostitute as Sally's own marriage also begins to disintegrate.
Two girlfriends on a summer holiday in Spain become enamored with the same painter, unaware that his ex-wife, with whom he has a tempestuous relationship, is about to re-enter the picture.
Director:
Woody Allen
Stars:
Rebecca Hall,
Scarlett Johansson,
Javier Bardem
A middle-aged, misanthropic divorcée from New York City surprisingly enters a fulfilling, Pygmalion-type relationship with a much younger, unsophisticated Southern girl.
Director:
Woody Allen
Stars:
Evan Rachel Wood,
Larry David,
Henry Cavill
Stanley is a magician who has dedicated his life to revealing fraudulent spiritualists. He plans to quickly uncover the truth behind celebrated spiritualist Sophie and her scheming mother. However, the more time he spends with her, he starts thinking that she might actually be able to communicate with the other world, but even worse, he might be falling in love with her. Written by
Anne Campbell
Stanley's onstage persona of Wei Ling Soo is a reference to Chung Ling Soo, the stage name of William Ellsworth Robinson (1861-1918). He was a popular magician in the U.S. and Europe for many years. Like Stanley, Chung Ling Soo was also known for trying to debunk spiritualists, and even wrote a book about it in 1898. A major difference is how carefully the men protect their Chinese personas. In the movie, it seems as though people are aware of Stanley's role as Wei Ling Soo. Robinson was very careful to protect his stage persona. See more »
Goofs
The film is set in 1928, and it appears to be summer, but a piece of the music in the magic show in the beginning is Ravel's "Bolero", which had its premier on 22 November at the Paris Opera. See more »
Quotes
Stanley:
I view your behavior as a great man views the malicious mischief of... what shall we say, pygmy?
See more »
Charleston
Composed by James P. Johnson and R.C. McPherson
Performed by Paul Whiteman and Orchestra (as Paul Whiteman & His Orchestra)
Courtesy of Columbia Records by arrangement with Sony Music Licensing See more »
Woody Allen's 45th film in as many years, the wondrously poetic yet intellectually dazzling "Magic in the Moonlight", proves once again that he is the greatest living American director. Virtually without peer, besides the prodigious output, no one moves as effortlessly between styles and genres while still managing to grapple with the usual existential themes in new and exciting ways: is love really real, magical vs. rational thinking, cynicism vs. optimism. Like the master magician here played so brilliantly by Colin Firth, he manages to use illusion to ensnare you, to keep you guessing at the outcome despite his classicist's adherence to form and tradition. But like an artist, he is also as enthralled as we, as lost in the journey, as anxious about the final determination of the question of life's purpose and meaning or complete lack of it. Once again he proves that he is both right and wrong in his cynical outlook on life, that rationality and irrationality can coexist perfectly, that one cannot judge or evaluate the other fairly as neither has a framework to understand the other. Absurd and frothy on the one hand, nuanced and emotional on the other, it manages to be at once a light, popular entertainment and great work of cinematic art.
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Woody Allen's 45th film in as many years, the wondrously poetic yet intellectually dazzling "Magic in the Moonlight", proves once again that he is the greatest living American director. Virtually without peer, besides the prodigious output, no one moves as effortlessly between styles and genres while still managing to grapple with the usual existential themes in new and exciting ways: is love really real, magical vs. rational thinking, cynicism vs. optimism. Like the master magician here played so brilliantly by Colin Firth, he manages to use illusion to ensnare you, to keep you guessing at the outcome despite his classicist's adherence to form and tradition. But like an artist, he is also as enthralled as we, as lost in the journey, as anxious about the final determination of the question of life's purpose and meaning or complete lack of it. Once again he proves that he is both right and wrong in his cynical outlook on life, that rationality and irrationality can coexist perfectly, that one cannot judge or evaluate the other fairly as neither has a framework to understand the other. Absurd and frothy on the one hand, nuanced and emotional on the other, it manages to be at once a light, popular entertainment and great work of cinematic art.