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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In the mid-1990s, Japanese filmmaker Kaizo Hayashi took a crack at the Hammer character in a trilogy of offbeat crime capers.
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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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