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Review: In 'Close Your Eyes,' a Spanish master returns, still obsessed with the power of movies

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Review: In 'Close Your Eyes,' a Spanish master returns, still obsessed with the power of movies

The first feature that Victor Erice directed, 1973’s “The Spirit of the Beehive,” begins in the 1940s, when a traveling cinema arrives in a small rural town in Spain to project “Frankenstein.” In the crowd of moviegoers, a child with eager eyes stands out, Ana (Ana Torrent), whose sister will later reassure her that in cinema nobody dies and everything is but a trick. Still, what Ana sees on screen will slowly seep into her reality, blurring the division between the fate of the misunderstood monster of make-believe, and the actions of those near to her.

In 1983’s “El Sur,” a project never finished to Erice’s liking but released nonetheless, another young girl finds in the movies a crucial piece of information to decipher her father’s unspoken anguish. To opens one’s eyes, Erice suggests, is to come to terms with how little we understand about the pain of others, even those we deeply love. For Erice, a master, cinema works as a revelatory force that can illuminate our truest feelings and yearnings, despite the efforts of some of his characters to escape their torturous pasts.

One gets the sense that Erice, who counts famed directors such as Pedro Almdóvar and Guillermo del Toro among his admirers, has been eulogizing cinema ever since he started making his sporadic but delicately profound movies.

Against all prognostications, Erice has returned three decades after his last effort (a 1992 documentary called “Dream of Light”), as if to have a final say about his own artistic legacy. The themes that have recurrently consumed the 84-year-old — the specter of the Spanish Civil War, daughters estranged from fathers with peculiar histories, the merciless march of time — coalesce into the unhurried, poetically rewarding “Close Your Eyes,” his fourth film in 50 years and likely his last.

Interpreted as the auteur’s confession through surrogate filmmaker character Miguel (Manolo Solo), “Close Your Eyes” acquires a layered, contemplative quality. Can we truly learn about an artist through their work or is creation just another mask? Miguel’s career aspirations died when his best friend and renowned actor Julio Arias (a marvelous José Coronado in a sort of dual role) vanished without a trace while they filmed a period piece titled “The Farewell Gaze,” a movie within the movie about a mysterious idealist entrusted with finding a wealthy man’s long-lost daughter. Only two pivotal scenes from that uncompleted venture were finished, the opening and its poignant ending.

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Miguel dives back into that chapter of his life when a television program focused on unresolved cases seeks to unearth whether Julio, a womanizer afraid of getting older, died in an accident or by suicide, or if a mental breakdown allowed him to start over without a single memory of the man he once was. A partial answer does surface halfway through “Close Your Eyes,” but that’s just another door Erice entices us to walk through — not, by any means, a neat resolution.

Using a style of elegant lyricism, which enshrines tiny moments into glisteningly miraculous turning points, Erice lets the exchanges between the people he’s conceived play out without the need to advance the plot. His purpose, if there is one explicitly, is to enrich our minimal comprehension of the lives unfolding in his truthful fictions; a substantial segment in “Close Your Eyes” is dedicated to Miguel’s simple existence by the shore, fishing. We also learn about his own romantic regrets, his enduring friendship with a celluloid-devoted film editor and the unbearable loss of a child.

Ana Torrent in the movie “Close Your Eyes.”

(Film Movement)

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Obsessed with his actors’ power and symbolism, Erice appears to cast them based on their eyes, more specifically their incandescent expressiveness. That certainly appears the case with Solo. You will also recognize the inquisitive gaze of the child protagonist from “Beehive” in Torrent, now appearing in “Close Your Eyes” as Julio’s daughter, a woman in her 50s. Torrent is older now than Erice was when they made their first movie, and it serves as a moving reminder both of the years that have passed and how a person’s inherent essence is immutable across time. Cinema holds the frozen memory of Torrent as a kid, but reality has moved on.

That Torrent returned to collaborate with Erice after five decades — again playing a movie lover searching for answers — reads beautifully self-referential. That’s the crux of “Close of Your Eyes,” and of Erice’s concise body of work: Cinema crystallizes something that reality alone can’t, convincing us that perhaps what we need exists somewhere outside of ourselves, somewhere we can only access through the screen. It’s a reflection and an illusion at once.

Though film can trigger a memory-induced epiphany, it’s not the remedy itself, but an invitation to look inward, to close one’s eyes and find what’s inalienable about yourself.

In the monumental final frame of “Close Your Eyes,” the most soul-stirring ending of the year, Erice’s camera shuts its eyelids one last time, a humble sign of acceptance. Even within their limitations, the movies do see us.

‘Close Your Eyes’

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Not rated

In Spanish, with English subtitles

Running time: 2 hours, 49 minutes

Playing: Now at Landmark’s Nuart Theatre, West Los Angeles

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Movie Reviews

1986 Movie Reviews – Black Moon Rising | The Nerdy

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1986 Movie Reviews – Black Moon Rising | The Nerdy
by Sean P. Aune | January 10, 2026January 10, 2026 10:30 am EST

Welcome to an exciting year-long project here at The Nerdy. 1986 was an exciting year for films giving us a lot of films that would go on to be beloved favorites and cult classics. It was also the start to a major shift in cultural and societal norms, and some of those still reverberate to this day.

We’re going to pick and choose which movies we hit, but right now the list stands at nearly four dozen.

Yes, we’re insane, but 1986 was that great of a year for film.

The articles will come out – in most cases – on the same day the films hit theaters in 1986 so that it is their true 40th anniversary. All films are also watched again for the purposes of these reviews and are not being done from memory. In some cases, it truly will be the first time we’ve seen them.

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This time around, it’s Jan. 10, 1986, and we’re off to see Black Moon Rising.

Black Moon Rising

What was the obsession in the 1980s with super vehicles?

Sam Quint (Tommy Lee Jones) is hired to steal a computer tape with evidence against a company on it. While being pursued, he tucks it in the parachute of a prototype vehicle called the Black Moon. While trying to retrieve it, the car is stolen by Nina (Linda Hamilton), a car thief working for a car theft ring. Both of them want out of their lives, and it looks like the Black Moon could be their ticket out.

Blue Thunder in the movies, Airwolf and Knight Rider on TV, the 1980s loved an impractical ‘super’ vehicle. In this case, the car plays a very minor role up until the final action set piece, and the story is far more about the characters and their motivations.

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The movie is silly as you would expect it to be, but it is never a bad watch. It’s just not anything particularly memorable.

1986 Movie Reviews will continue on Jan. 17, 2026, with The Adventures of the American Rabbit, The Adventures of Mark Twain, The Clan of the Cave Bear, Iron Eagle, The Longshot, and Troll.


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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

California helped make them the rich. Now a small proposed tax is spooking them out of the state.

California helped make them among the richest people in the world. Now they’re fleeing because California wants a little something back.

The proposed California Billionaire Tax Act has plutocrats saying they are considering deserting the Golden State for fear they’ll have to pay a one-time, 5% tax, on top of the other taxes they barely pay in comparison to the rest of us. Think of it as the Dust Bowl migration in reverse, with The Monied headed East to grow their fortunes.

The measure would apply to billionaires residing in California as of Jan. 1, 2026, meaning that 2025 was a big moving year month among the 200 wealthiest California households subject to the tax.

The recently departed reportedly include In-n-Out Burger owner and heiress Lynsi Snyder, PayPal co-founder and conservative donor Peter Thiel, Venture Capitalist David Sacks, co-founder of Craft Ventures, and Google co-founder Larry Page, who recently purchased $173 million worth of waterfront property in Miami’s Coconut Grove. Thank goodness he landed on his feet in these tough times.

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The principal sponsor behind the Billionaire Tax Act is the Service Employees International Union-United Healthcare Workers West (SEIU-UHW), which contends that the tax could raise a $100 billion to offset severe federal cutbacks to California’s public education, food assistance and Medicaid programs.

The initiative is designed to offset some of the tax breaks that billionaires received from the One Big Beautiful Bill Act recently passed by the Republican-dominated Congress and signed by President Trump.

According to my colleague Michael Hiltzik, the bill “will funnel as much as $1 trillion in tax benefits to the wealthy over the next decade, while blowing a hole in state and local budgets for healthcare and other needs.”

The drafters of the Billionaire Tax Act still have to gather around 875,000 signatures from registered voters by June 24 for the measure to qualify on November’s ballot. But given the public ire toward the growing wealth of the 1%, and the affordability crisis engulfing much of the rest of the nation, it has a fair chance of making it onto the ballot.

If the tax should be voted into law, what would it mean for those poor tycoons who failed to pack up the Lamborghinis in time? For Thiel, whose net worth is around $27.5 billion, it would be around $1.2 billion, should he choose to stay, and he’d have up to five years to pay it.

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Yes, it’s a lot … if you’re not a billionaire. It’s doubtful any of the potentially affected affluents would feel the pinch, but it could make a world of difference for kids depending on free school lunches, or folks who need medical care but can’t afford it because they’ve been squeezed by a system that places much of the tax burden on them.

According to the California Budget & Policy Center, the bottom fifth of California’s non-elderly families, with an average annual income of $13,900, spend an estimated 10.5% of their incomes on state and local taxes. In comparison, the wealthiest 1% of families, with an average annual income of $2.0 million, spend an estimated 8.7% of their incomes on state and local taxes.

“It’s a matter of values,” Rep. Ro Khanna (D-Fremont) posted on X. “We believe billionaires can pay a modest wealth tax so working-class Californians have Medicaid.”

Many have argued losing all that wealth to other states will hurt California in the long run.

Even Gov. Gavin Newsom has argued against the measure, citing that the wealthy can relocate anywhere else to evade the tax. During the New York Times DealBook Summit last month, Newsom said, “You can’t isolate yourself from the 49 others. We’re in a competitive environment.”

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He has a point, as do others who contend that the proposed tax may hurt California rather then help.

Sacks signaled he was leaving California by posting an image of the Texas flag on Dec. 31 on X and writing: “God bless Texas.” He followed with a post that read, “As a response to socialism, Miami will replace NYC as the finance capital and Austin will replace SF as the tech capital.”

Arguments aside, it’s disturbing to think that some of the richest people in the nation would rather pick up and move than put a small fraction of their vast California-made — or in the case of the burger chain, inherited — fortunes toward helping others who need a financial boost.

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

A still from ‘Song Sung Blue’.
| Photo Credit: Focus Features/YouTube

There is something unputdownable about Mike Sardina (Hugh Jackman) from the first moment one sees him at an Alcoholics Anonymous meeting celebrating his 20th sober birthday. He encourages the group to sing the famous Neil Diamond number, ‘Song Sung Blue,’ with him, and we are carried along on a wave of his enthusiasm.

Song Sung Blue (English)

Director: Craig Brewer

Cast: Hugh Jackman, Kate Hudson, Michael Imperioli, Ella Anderson, Mustafa Shakir, Fisher Stevens, Jim Belushi

Runtime: 132 minutes

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Storyline: Mike and Claire find and rescue each other from the slings and arrows of mediocrity when they form a Neil Diamond tribute band

We learn that Mike is a music impersonator who refuses to come on stage as anyone but himself, Lightning, at the Wisconsin State Fair. At the fair, he meets Claire (Kate Hudson), who is performing as Patsy Cline. Sparks fly between the two, and Claire suggests Mike perform a Neil Diamond tribute.

Claire and Mike start a relationship and a Neil Diamond tribute band, called Lightning and Thunder. They marry and after some initial hesitation, Claire’s children from her first marriage, Rachel (Ella Anderson) and Dayna (Hudson Hensley), and Mike’s daughter from an earlier marriage, Angelina (King Princess), become friends. 

Members from Mike’s old band join the group, including Mark Shurilla (Michael Imperioli), a Buddy Holly impersonator and Sex Machine (Mustafa Shakir), who sings as James Brown. His dentist/manager, Dave Watson (Fisher Stevens), believes in him, even fixing his tooth with a little lightning bolt!

The tribute band meets with success, including opening for Pearl Jam, with the front man for the grunge band, Eddie Vedder (John Beckwith), joining Lightning and Thunder for a rendition of ‘Forever in Blue Jeans’ at the 1995 Pearl Jam concert in Milwaukee.

There is heartbreak, anger, addiction, and the rise again before the final tragedy. Song Sung Blue, based on Greg Kohs’ eponymous documentary, is a gentle look into a musician’s life. When Mike says, “I’m not a songwriter. I’m not a sex symbol. But I am an entertainer,” he shows that dreams do not have to die. Mike and Claire reveal that even if you do not conquer the world like a rock god, you can achieve success doing what makes you happy.

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ALSO READ: ‘Run Away’ series review: Perfect pulp to kick off the New Year

Song Sung Blue is a validation for all the regular folk with modest dreams, but dreams nevertheless. As the poet said, “there’s no success like failure, and failure’s no success at all.” Hudson and Jackman power through the songs and tears like champs, leaving us laughing, tapping our feet, and wiping away the errant tears all at once.

The period detail is spot on (never mind the distracting wigs). The chance to hear a generous catalogue of Diamond’s music in arena-quality sound is not to be missed, in a movie that offers a satisfying catharsis. Music is most definitely the food of love, so may we all please have a second and third helping?

Song Sung Blue is currently running in theatres 

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