While director Miko Lim does craft a visually arresting documentary—with both his own filmography and his subject’s archival footage—he’s less successful in telling the story of the man at the center of it.
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I Love Boosters is a fun albeit confusing bit of mess. But for every half baked detail this movie offers, it makes up in style and acting which seems like a bit of a Boots Riley show.
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Love Me Deadly is a baffling enigma of a film.
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Foodfight! is a frightening look at the future of film.
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Miniatures designed by Christopher Lee Warren and his team feature in Boots Riley’s I Love Boosters and Alex Prager’s DreamQuil.
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This week in Austin screenings 4/17-4/23.
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It remains an extraordinarily compelling documentary about one of the pieces of detritus of American culture.
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Lancelot du Lac (1974), is a revisionary take on the myth of King Arthur and the Knights of the Round Table.
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Mother Mary may be messy, but it is far from incoherent or lacking confidence in its phenomenal vision and how Anne Hathaway and Michaela Coel bring it to life.
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A hilarious and hyperbolic analysis of modern dating, female friendships, and self discovery.
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What’s the easiest way to get the audience to buy into a big performance? To make your character Bugs Bunny.
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This week in Austin screenings 4/10-4/16.
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Auteurism has entered the mainstream, and in mainstream fashion, has completed its metamorphosis and become what all things are destined to: a brand.
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With its marriage of whip-smart dialogue, darkly satiric themes and a finely honed direction, Borgli’s best effort yet is the romantic-dramedy we deserve.
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While the subject matter of Josephine is a risky approach and will likely be triggering for some, in Araújo’s careful hands we’re left with a uniquely modern portrait of how there is no right way to navigate healing from trauma; and further how trauma can seep into everything in our daily lives, at school, at home, or in quiet moments where there’s no language to process what happened.
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Blake Williams interviews Charlie Tyrell, one half of the directing team behind The AI Doc (or How I Became An Apocaloptimist) about the filmmaking process, apocaloptimism, and creative balance.
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Alex Prager’s DreamQuil is a tonally confused and mostly incoherent movie buckling under the weight of its ideas—and even a strong lead and distinctive visuals can’t save it from that.
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Scorsese would never again make a film this unwieldy again, the last time he’d not be fully in control. And that is what makes New York, New York so special.
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This week in Austin screenings 4/3-4/9.
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First They Came for My College is an incredibly emotional documentary, even if it struggles to connect that emotion to the bigger picture.
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