Have you ever wondered if Santa Claus could beat Lucifer in an ultimate battle of good and evil? If yes, do I have the movie for you!
Read More
This week in Austin screenings 2/27-3/5.
Read More
This article is written to encourage others to endeavor upon their own movie quests via physical media, for there are adventures to be had and treasure to be discovered.
Read More
The new film adaptation of Emily Henry’s People We Meet On Vacation asks a question that seems quite simple at first, but carries a gravity that we ultimately cannot help being pulled in by: “What does it mean to truly come home?”
Read More
What needs to be abolished in these adaptations is the childlike depiction of the golden retrievers, rather than the intimacy that makes the books so beloved.
Read More
Jon Bois' documentaries often come close to scratching that itch for me. Through the use of charts, graphs, Google Earth satellite imagery, newspaper clippings, and the very occasional photo or brief footage, Bois and his collaborators stitch disparate lives into a grand narrative that means so much more than it seems.
Read More
KPop Demon Hunters is most incredible in its unabashed humanism.
Read More
This week in Austin screenings 2/20-2/26.
Read More
Verhoeven trusts us to take in an onslaught of religious parallels and florid symbolism and come to our own conclusions on what it all means—if anything.
Read More
In times of recent social unrest, films from the L.A. Rebellion movement provide a reflection on how other American regions in other times creatively react to such intensity. Anger will always interrupt a peaceful environment. Instead, communities that break bread rise together and communities that reconcile will endure.
Read More
The diaristic, process-dependent curiosity Un Ange Passe gives way to the script-bound melodrama I Can No Longer Hear the Guitar, which is dedicated to Nico’s memory after her tragic death in 1988, from cerebral hemorrhage following a bicycle accident.
Read More
Sentimental Value, apart from the heartwrenching family dynamics of grief and trauma on display, reads like a love letter to cinema — but by the time the credits roll, we realize it’s actually a eulogy.
Read More
The motorcyclist passes the car, which holds Colin (Harry Melling), a backseat passenger in the vehicle and in his own life, already a pillion before he ever touches a bike. This is the first time that Colin has laid eyes on the driver, Ray (Alexander Skarsgård), but it will hardly be the last.
Read More
This week in Austin screenings 2/13-2/19.
Read More
The Name of the Rose’s status as an arthouse mystery remains firmly intact. Annaud’s masterful direction of the medieval atmosphere and its commanding performances are central to its legacy.
Read More
This classic absolutely deserved its win for Best Foreign Language film at the 1965 Academy Awards.
Read More
In Father Mother Sister Brother, the first film from Jim Jarmusch in over six years, Jarmusch explores this world of, as Tom Waits puts it, “family relations” and how the secrets we keep to ourselves have the power to shape an entire family’s identity as much so as the things we reveal.
Read More
“Wuthering Heights” includes plenty of bodice-ripping romance on the foggy moors, but its overall affect resembles Sofia Coppola’s Marie Antoinette curdled into a horny, death-haunted nightmare.
Read More
he Moment gives an inside look into what goes on while an artist is trying to figure themselves out under massive scrutiny.
Read More
This week in Austin screenings 2/6-2/12.
Read More