What happens when the Kong franchise bounds outside its California home and we let the Godzilla folks take the reins for a bit? The result is the recent Weird Wednesday showing of King Kong Escapes.
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Ninja Terminator tells the story of three ninjas, led by Ninja Master Harry (Richard Harrison), who pull off a heist against an all-powerful, entirely-evil, oddly-omnipresent crime empire run by ninjas.
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Exit 8 is an admirable experiment: a video game adaptation that doesn’t just replicate its source but reimagines it as a metaphor for daily life, where the routines we take for granted may be leading us deeper into a purgatory of our own making.
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The Mastermind is a welcome return to higher stakes storytelling, with surprising splashes of slapstick comedy.
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Enjoying its world premiere at the Austin Film Festival, The Boy from St. Croix is a heartfelt documentary of Hall-of-Fame professional basketball player Tim Duncan.
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Rebecca Zlotowski’s A Private Life (2025) is an enjoyable comic mystery that proves that the therapist is the last person to know what’s going on.
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Ultimately, The Unexpecteds is about people trying their best to navigate a system that is designed to make sure they never win.
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This week in Austin screenings 11/14-11/20.
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Jensen reunites with regular actors Nikolaj Lie Kaas and Mads Mikkelsen for a crime tale about two brothers attempting to retrieve heist money in The Last Viking (2025).
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Where SISU 2 shines is taking every element from the first movie and ramping it all up tenfold.
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Hot, sweaty, and filled with dread, Sirāt goes there and takes you alongside it whether you wanted that or not.
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It’s interesting that we don’t really get movies about monkeys very often, let alone horror movies about how scary monkeys are.
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The Carpenter’s Son doesn’t want to be the kind of film I was expecting it to be.
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Like the other two movies in the series, Now You See Me: Now You Don’t is convoluted, preposterous, and often downright silly. In other words, it’s what basically any mainstream American caper of the last few decades has been.
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Benoit Blanc (Daniel Craig) is back as the iconic, deeply Southern, master detective for the third installment of the Knives Out Franchise in writer/director Rian Johnson’s Wake Up Dead Man, but this time, something feels different.
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In a world where there is no such thing as job security, No Other Choice resonates as an apt satire-thriller of employment anxiety.
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This week in Austin screenings 11/7-11/13.
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The Black Phone left far more questions than answers. And given how Black Phone 2 plays out, maybe those questions should’ve stayed unresolved.
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This year’s Austin Film Festival witnessed a true full-circle moment for filmmaker Austin Kolodney. In 2022, he premiered his short film Two Chairs, Not One at AFF; in 2025, he came back to screen his feature debut Dead’s Man Wire, directed by Gus Van Sant, following its world premiere at the Venice International Film Festival.
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From the supernatural ghosts, ghouls, zombies, and demons, to the more cold-blooded reality of violent murderers and devious psychopaths, there are more than enough options to chill a viewer to the core. Despite all of these more traditional horrors, nothing affects me quite so much as the very real fear of simply losing my grasp on reality without any kind of warning, and at its core, this is what Gaspar Noe’s Climax is all about.
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