This week in Austin screenings 6/26-7/2.
Read More
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.
Read More
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.
Read More
In the mid-1990s, Japanese filmmaker Kaizo Hayashi took a crack at the Hammer character in a trilogy of offbeat crime capers.
Read More
This week in Austin screenings 6/19-6/25.
Read More
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.
Read More
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.
Read More
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.
Read More
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.
Read More
This week in Austin screenings 6/12-6/18.
Read More
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.
Read More
This week in Austin screenings 6/5-6/11.
Read More
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.
Read More
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.
Read More
‘I’m here, I’m Homoti, get used to it.’
Read More
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.
Read More
This week in Austin screenings 5/29-6/4.
Read More
Despite its oddball ending and workmanlike production, Riverbend is a noteworthy blend of drive-in shoot ‘em up and radical historical revisionism.
Read More
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.
Read More
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.
Read More