This week in Austin screenings 7/24-7/30.
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The Dink simply exists halfway between a sports movie and a comedy, never thrilling enough to be the former, never funny enough to be the latter.
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Evil Dead movies are so beloved because they’re fun. Burn seems to forget that.
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Michael sounds like a Michael Jackson fan’s dream while Man In The Mirror sounds like an incredibly lacking, unintentionally funny ode to the King of Pop, and maybe both of those things are true, but Man In The Mirror has something that Michael definitely lacked: the courage to explore its hero, warts and all.
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This week in Austin screenings 7/17-7/23.
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While this is undeniably a poor movie, it is indeed fun to watch, but not taken as a representation of Juan Piquer Simón’s finest work.
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For an adaptation of an ancient work, it is startling how much Nolan’s recontextualizing of Troy’s destruction speaks to societal failures we are living through over 2,000 years later.
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This is no cloying tale of Americana, all wrapped in nostalgia and summertime haze. Clad in cool undertones, this is an ultra-realistic, dreary portrayal of life in rural small-town America, where mundanity and its discontents take center stage.
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Back to the Future is not about time travel. It is about the universe looking at the McFly family tree, sighing deeply, and sending an Appalachian Time Lord in a DeLorean to make sure the branches do not touch.
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This week in Austin screenings 7/10-7/16.
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The tomboy continues to endure as an endearing character in film. A tomboy is an empowered girl who is resilient, courageous, and daring.
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Truth be told there’s a lot to like here, but unfortunately the movie kinda whiffs a lot more.
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I’m not sure about Penny Slot, but I’m pretty sure that Showgirls 2 is a gift from heaven. Doubly so for the woman who created it.
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This week in Austin screenings 7/3-7/9.
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The city landscape provides a unique backdrop to explore human experiences, and metropolitan films of the 1970s and 1980s reflected a significant shift in how society thought of city life.
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Obsession offers a more existential terror by pulling no punches and offering no grace to its characters. But a predictable plot and messy construction can’t save the movie from itself.
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The Toy accidentally lets Richard Pryor be Richard Pryor, not the cleaned-up, family-friendly studio product Pryor, but the Pryor who understood that being a black man in America meant performing a version of yourself that kept the room comfortable while the actual work happened somewhere behind your eyes.
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This week in Austin screenings 6/26-7/2.
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Olivia Wilde’s The Invite might aim to be a meaningful excavation of a relationship on the rocks, but this marriage drama isn’t covering any new terrain.
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Hayley Kiyoko knows that not everyone watching Girls Like Girls was a teenage lesbian, but we all were teenagers at one point. We all dealt with a world that didn’t understand us in some way. And if we were lucky, at some point during those years we got to fall in love for the first time.
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