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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A description of “Denis Villeneuve’s Arrival, but it’s a buddy-comedy adventure” may sound galling, but that’s ultimately what Project Hail Mary turns into with powerful results.
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In advance of its 2026 World Premiere at SXSW, Hyperreal Film Journal staff writer Ziah Grace sat down with writer/director Eric Jackowitz to talk about his giallo parody The Seeing Eye Dog Who Saw Too Much.
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Despite the difficult exterior, the film strives to look lovingly at New York City, knowing under the rough edges there’s a place full of beauty and unique magic, a victim itself of fraught leadership.
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This week in Austin screenings 3/13-3/19.
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Marty Supreme is a triumph because it serves as a pure extension of Josh Safdie's vision.
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Two packed weeks, very little sleep, and more films than our brains could probably process. Here is everything we caught at Sundance Film Festival.
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The arguments around both films are noticeably similar: do the films fully embrace the politics they portray? How radical can big-budget films released by major studios ever really be?
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Director Sam Green’s latest film, named after the Guinness World Record designation, follows several of the title holders of this ephemeral honor.
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Each year, our team of Hyperreal Film Journal writers takes to the streets (and movie theaters) of Austin to cover the SXSW Film Festival. Here’s what’s on our can’t-miss radar.
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This week in Austin screenings 3/6-3/12.
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Any merits of The Bride!, of which there are many, slam into a brick wall in the face of its biggest problem: undermining surreal storytelling with hyper-literal storytelling.
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