This week in Austin screenings 6/19-6/25.
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It’s as if Michael Sarnoski was so put off by the success of A Quiet Place: Day One that he decided to make a movie that is nearly impossible to enjoy.
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In Tuner, the narrative feature debut of co-writer/director Daniel Roher, Roher puts the risk-taking in the hands of the filmmakers in attempting to make the romantic plot the focus of the film, with the criminal storyline taking a backseat.
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Just like Nope gives us a thrilling finale and a printed image that means our heroes “succeeded,” The Drama gives us the messiest wedding possible while leaving us with an image of the happy couple in their wedding clothes ready to start their new life. They’re completely disheveled and all of their other relationships are in shambles, but they are ultimately still together.
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Rudd is charming, and Jonas is excellent. Power Ballad isn’t a bad film, but it doesn’t measure up to either the fine work of its leads or the best of Carney’s past work. It’s good for one go round.
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This week in Austin screenings 6/12-6/18.
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Adrift On The Other Side of The World: Early Films by Jia Zhangke revealed a conscious artistic statement that blends the world in front and behind the camera, using any tool necessary to depict the lived experience of China’s working class during the country’s rapid globalization.
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This week in Austin screenings 6/5-6/11.
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Layering imagery in its liquid prowling camera, inky shadows and foggy alleys, Terrible exudes effortless cool with splashes of modern ultraviolence, ending in a downbeat cliffhanger and a switch to eye-popping color for a preview of the sequels.
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Make no mistake, The Sheep Detectives, as a film, is strange. However, using sheep as a metaphor for groupthink versus individualism, commodification, and prejudice works.
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‘I’m here, I’m Homoti, get used to it.’
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Director Michal Marczak shoots the film with such a tenderness and intimacy that the audience feels like they are right on the river with these two men, forever searching for something to bring the titular “closure” its subject Daniel Dymiński so desperately needs.
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This week in Austin screenings 5/29-6/4.
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Despite its oddball ending and workmanlike production, Riverbend is a noteworthy blend of drive-in shoot ‘em up and radical historical revisionism.
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The act of watching Alpha is better described as deflating and tedious, a filmmaker doing some impressive moves, but ultimately stumblingly to the finish line.
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Recently returning to theaters in Austin, Stop Making Sense is, 42 years on, still a masterpiece in austerity and obfuscated movement highlighting the ecstasy of performing in a live musical setting.
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Though An Unquiet Mind cites data about OCD’s prevalence and impact throughout its runtime, it wisely makes the realities of OCD personal by focusing on the lived experiences of two people with the disorder.
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This week in Austin screenings 5/22-5/28.
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“That’s the one thing the movies don’t tell you: how shitty it feels to be an outcast.”
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The brilliance of James Van Der Beek’s performance shines brightest in the moments where the actor allows Rick’s mask of the golden boy to slip. The young actor makes each moment count, and thus demonstrates his Hollywood potential.
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