Scorsese would never again make a film this unwieldy again, the last time he’d not be fully in control. And that is what makes New York, New York so special.
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This week in Austin screenings 4/3-4/9.
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First They Came for My College is an incredibly emotional documentary, even if it struggles to connect that emotion to the bigger picture.
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Ultimately, Kontinental ‘25 feels like a Radu Jude film for people who can’t stomach the idea of a Radu Jude film.
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Love Hotel ends up not necessarily answering the question of what these two people want or need from each other, but it does leave a familiar bittersweetness in its wake.
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Patricia Gillespie’s documentary aims to expose the insidious nature of unchecked mental illness at its most extreme, and for the most part she succeeds. #SKYKING is a tough watch but it is a rewarding one.
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From its name on down, Polone’s Psycho Killer has a certain braindead charm that earns its mercifully brief 92 minutes.
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Passing Through represents a dynamic example of black artists creatively reacting to times of civil unrest, and inspiring other filmmakers to continue telling such stories in later periods.
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Before we even meet the central couple, the film frames sex not as a conquest for pleasure or love, but as a means to start a philosophy lecture on the human drive.
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This week in Austin screenings 3/27-4/2.
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I left the theater that evening yearning for modern filmmaking to take a note from something like Pink Cut – a film brave enough to marry whimsy and eroticism perfectly.
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Forbidden Fruits feels like an almost great teen movie.
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While Scott and Deadwyler are magnetic performers, The Saviors becomes too focused on its own plot to let the viewer engage with it as a pure character piece, but the plot is so obviously foreshadowing a twist that the film feels slow in execution.
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Ready or Not 2: Here I Come aims to be bigger and bolder, but a suite of new characters can’t save the movie from a dumbed-down script.
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Alien: Covenant wants to impart awe, philosophy, and cosmic discovery, but it’s actually a movie about logistics, contamination, and procedural breakdown.
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With a neo-noir tone, a sleek L.A. setting and a cop versus criminal plot, Layton’s Crime 101 takes a page from Michael Mann’s oeuvre but struggles to pull off a heist movie with any real style.
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This week in Austin screenings 3/20-3/26.
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At SXSW, Hyperreal’s Hannah Dubbe had the opportunity to sit down with Ayden Mayeri to talk about her documentary Summer 2000: The X-Cetra Story, the album, baby-boomers, and future plans for X-Cetra.
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This movie was the end of an era, and it deserves your time. We didn’t know how good we had it.
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In Dead Bang, Don Johnson’s Jerry Beck isn’t a wisecracking action hero like John McClane; he’s exhausted, bureaucratically constrained, and emotionally numb. The movie keeps reminding you that this is a job, not an adventure. He’s got bigger fish to fry, it seems.
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