The Legend of the Stardust Brothers feels universal. More than brothers, they are the heroes with a thousand faces: the rock band: the movie.
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Insidious: Out of the Further is that rare sixth entry in a horror franchise that happens to be the best.
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This week in Austin screenings 8/28-9/3.
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Like all good films about film, Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma is obsessed with looking: who's looking, and how they’re looking.
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Skweezy Jibbs Makes a Movie is a testament to the fact that regardless of a movie’s quality, the world is better for having more real art in it, straight from the soul.
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It’s hard to remember now, but before Tom Cruise decided that hanging off the Burj Khalifa and the sides of airplanes was the proper way to entertain his audience, for the first 25 years of his career, the actor had been focused on director and auteur driven projects.
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This week in Austin screenings 8/21-8/27.
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After a lost decade of madness, The Godfather of Punk Cinema returns to the screen with his 8th feature, NUMBSKULL REVOLUTION, filmed in Marfa, TX and Santa Fe, NM.
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This might seem like an obvious statement, but for a filmmaker synonymous with blockbuster movies, Steven Spielberg has rarely, if ever, made something impersonal in his 50 year career. And Disclosure Day is perhaps the most personal blockbuster he’s made in 20 years.
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Cruel Jaws feels dangerous in a fun way, like watching a friend spray graffiti on a government building. It doesn’t matter that the graffiti is incomprehensible trash, it’s exhilarating and fun in the moment.
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One Night Only knows that it’s a silly, trashy, and charming romantic-comedy starring two very game actors who are over qualified for this kind of thing and should probably have some serious talks with their agents.
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This week in Austin screenings 8/14-8/20.
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While The Samurai and The Prisoner may take its time rolling through its four seasonal vignettes, there are elements that will satisfy both fans of good, Columbo-style mysteries and Kurosawa’s dives into the darker parts of the human psyche.
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Spider-Man: Brand New Day is a messy cacophony of sounds and images that serve as a good Spider-Man movie, but also kind of a throwaway.
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Director David Wain’s comedy is inextricable from the people he’s surrounded himself with for over two decades, and the result are movies that feel like a group of friends getting together to do stupidly fun shit.
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This week in Austin screenings 8/7-8/13.
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If one were to pull out a theme from The Birds, it’s that of chaos.
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The achievement of the directors is no simple feat. They have presented a collection of intimate interviews about a scene that perhaps will never again get such a careful treatment.
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A meta sci-fi/giallo hybrid from the director of Drive sounds sick as hell on paper, which makes the ordeal of sitting through Her Private Hell all the more disappointing.
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Maddie’s Secret achieves the emotional magic of melodramas: the viewer unknowingly finds themselves swept up in the heightened emotions at the story’s peak, with crushing emotional consequences
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