From social media stalking to uninvited home visits, Lurker explores the consequences a budding singer faces when letting, unbeknownst to him, a stan into his inner circle.
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This week in Austin screenings 10/3-10/9.
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The Smashing Machine (2025) is not the first film about the career of real life MMA fighter Mark Kerr. The 2002 documentary The Smashing Machine: The Life and Times of Extreme Fighter Mark Kerr covers much of the same ground, spanning the same chunk of Mark Kerr’s professional fighting career. The Smashing Machine (2025) even looks like a documentary, largely shot on handheld in cinema vérité style.
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The Lost Bus is everything you can want from a movie like this; great acting, heroes to root for, a story that never loses speed (even when the bus breaks down), and a broader message about how man-made climate change is capable of destroying the communities we love.
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Helmed by Saoirse Ronan as the teacher who takes matters into her own hands, Bad Apples takes a satirical bite out of education.
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Though buoyed by strong performances and a sustained sense of tension, Aneil Karia’s hollowed-out adaptation struggles under the weight of its legacy.
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Joachim Trier’s latest is a success in creating an intergenerational story of art and personal history.
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By positioning Videoheaven as both a cinematic essay and an archive, Alex Ross Perry ensures that the memory of video stores won’t just fade into nostalgia, but remain available for future generations to discover.
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This week in Austin screenings 9/26-10/2.
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Him follows Cameron Cade (Tyriq Withers), a generational talent in college football who is so unbelievably hyped up by the entire sports-watching community that even before the NFL combine, he is expected to easily become one of the greatest players in the history of the sport.
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Nobody 2, the sequel to 2021’s Bob Odenkirk-plays-a-sadsack-who-gets-his-groove-back-by-resurrecting-his-abilities-as-a-master-assassin picture Nobody is an amiable, brisk goof with a game cast and some creative action.
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I’ll rip the band aid off early; The Conjuring: Last Rites is a bad, flaccid film that clocks in at an unholy 137 minutes. While the poor quality is baked into the final product (unenthusiastic direction, boring script), the badness is even worse when compared to what came previously.
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To put it cattily, A Big Bold Beautiful Journey feels like Everything Everywhere All at Once if it were made by capital T capital K Theater Kids as opposed to capital I capital K Internet Kids.
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This week in Austin screenings 9/19-9/25.
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Over a mild weekend in the middle of August, the Austin Film Society hosted a four-day retrospective on the globally renowned art cinema director Tsai Ming-liang.
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Those with pretensions to auteur status must announce themselves, they must Hold Court. Schlesinger doesn't need to. He needn't bother himself with vulgar displays of power.
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On the shores of Club Med, the possibilities of love are as endless as the sea itself. In the second two films of the series, Lina Wertmüller’s Swept Away and Jean-Luc Godard’s Contempt, we see love’s demise as irreconcilable differences surface in the tumultuous throes of passion.
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From secret screenings to off-the-wall showings, Fantastic Fest has a little something for everyone.
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This week in Austin screenings 9/12-9/18.
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Francis Lawrence has thoroughly demonstrated that despite The Long Walk being over four decades late to the party inspired by its legacy, a thoughtful approach to a book adaptation is always the best way to make sure the soul of that book survives onto the screen. I only wish that this thoughtfulness had been infused into all of the movie instead of most of it.
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