Psychologist Margaret Matheson and her assistant study paranormal activity, which leads them to investigate a world-renowned psychic who has resurfaced years after his toughest critic mysteriously passed away.
The skeptical psychologist Dr. Margaret Matheson and her assistant, physicist Tom Buckley, are specialists in disclosing fraudulent paranormal phenomena. When the famous psychic Simon Silver reappears to his public after many years of absence, Tom becomes singularly obsessed in determining whether Silver is a fraud or not. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Toby Jones, Elizabeth Olsen, and Sigourney Weaver appeared in the Marvel Cinematic Universe. Jones as Dr. Arnim Zola in Captain America: The First Avenger (2011) and Captain America: The Winter Soldier (2014), with Olsen appearing as Wanda Maximoff (Scarlet Witch) in Captain America: The Winter Soldier (Post Credit Scene), Avengers: Age of Ultron (2015), and Captain America: Civil War (2016), and Weaver having a role in The Defenders (2017). On DCs side, Cillian Murphy appeared in all three Dark Knight movies as Dr. Jonathan Crane/Scarecrow, and Burn Gorman portrayed Stryver in The Dark Knight Rises. See more »
At the beginning of the movie you hear a car driving with the gears changing on a manual transmission. However, when the car appears, it is a car that was never manufactured with a manual transmission. The car zooms down the road in the same scene with, again, the wrong automobile sounds. See more »
If Not for You
Written by Bob Dylan (Big Sky Music)
Performed by Olivia Newton-John
Courtesy of Sony/ATV Music Publishing Spain LLC and ONJ Productions, Inc.
By arrangement with PEN Music Group, Inc. See more »
Rodrigo Cortes has all the makings of an auteur. "Red Lights" really puts the hook in viewers, and is hard to stop watching once it gets going. You get the feeling Cortes is quite enthusiastic, just dying to tell you this yarn. His script is well-written, intelligent, and never bamboozles. Elisabeth Olsen is incandescent, and the performances from all the leads have them in top form. Some may criticize the film as being overproduced: many sequences are bursting forth with camera angles and takes, and these combined with Cortes's fulminating style of editing sometimes give the film the feel of "Desperate Hours." But I loved this film, loved the color palette, loved the patois and exposition, and admire Cortes's confident bombast. Great things are coming from this filmmaker.
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