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.
Kate and Martin escape from personal tragedy to an Island Retreat. Cut off from the outside world, their attempts to recover are shattered when a Man is washed ashore, with news of airborne killer disease that is sweeping through Europe.
Working in a Boston homeless shelter, Nick Flynn re-encounters his father, a con man and self-proclaimed poet. Sensing trouble in his own life, Nick wrestles with the notion of reaching out yet again to his dad.
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
The character played by the Argentinean actor Leonardo Sbaraglia, carries by last name PALLADINO. It is a nod to one of the great mediums of the early twentieth century, the Italian EUSAPIA PALLADINO who was investigated by Dr. Eugene Osty and discovered in fraud on several occasions. Evidently, the scriptwriter-director has researched a lot ... 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 »
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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