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Wolf Man is a movie at odds with itself. In set-up, it aims to be character-based horror, with Blake’s lycanthropy the fanged manifestation of his fear that he’d repeat his father’s mistakes with Ginger, the worst possible way he could let loose the anger he’s been repressing. In execution, it tries to be a lean and mean werewolf thriller.
Read MoreThis week in movie screenings in Austin, TX, 1/17–1/23.
Read MoreNext week, two Hyperreal Film Journal writers will pack their parkas and snow boots and jet off to Park City, Utah, for the 2025 Sundance Film Festival. Our editor-in-chief Alix Mammina and staff writer Andy Volk share their top picks to catch, whether you’re braving the cold in-person or checking in for online screenings.
Read MoreIn this latest Apes Retrospective, we dig into Escape From the Planet of the Apes and Conquest of the Planet of the Apes.
Read MoreZiah Grace sat down with directors Annika Iltis and Timothy Kane to talk about what made "The Barkley Marathons: The Race That Eats Its Young" stand out from other sports docs.
Read MoreThe Brutalist achieves its greatest emotional potency when it examines the precariousness of life’s balance.
Read MoreThe best parts of Y2K weave together the absurdity of its situation into the absurdity of life in the United States on December 31, 1999.
Read MoreEvery year as we construct our Top 10 list, we think: Man. There’s so many good movies. Enter our 2024 Honorable Mentions and Editors’ Choice picks.
Read More100 voters. 140 movies. It all comes to this: Hyperreal Journal’s Best of 2024 Top 10 list.
Read MoreIt is a film that is a film and that's all it could ever be. Made by humans, poorly, created for crass and financial goals, visibly, and released to a public who could only hiss and mock it. It is exactly what it is, and I love it dearly.
Read MoreA Complete Unknown isn’t just a biopic—it’s a meditation on artistry, identity, and the inevitable sacrifices of chasing immortality.
Read MoreQueer is a challenging film. It is not necessarily a kind or optimistic film about the queer experience. But, Luca Guadagnino recognizes the inherent loneliness in queerness. He is not turning away from it—no, he confronts, reveals it.
Read MoreThis reviewer agrees with the quote from the character Robert McKee from the film Adaptation (2002) that voice-over narration is “flaccid, sloppy writing. Any idiot can write [them] to explain the thoughts of a character.” And yet, the voice-over narration found in Moonlighting (1982) is justified, for it effectively conveys the crisis of conscience of its main character.
Read MoreThis week in Austin, TX, movie screenings, 12/13–12/19.
Read MoreTyler Taormina’s Christmas Eve In Miller’s Point is refreshing in its deep study of the “home for the holidays” concept.
Read MoreThough critically acclaimed throughout his career, Ingmar Bergman was never a filmmaker that drew large crowds to his movies. His cerebral horror film The Magician (1958) serves as his revenge on those critical audiences.
Read MoreIn Venom: The Last Dance, Eddie Brock (Tom Hardy) and his symbiote Venom are on the run.
Read MoreWhat Dark Angel: The Ascent lacks in Ursula is made up for in spine removals as Angela Featherstone lets loose her sense of justice upon the world.
Read MoreDutch filmmaker Halina Reijn (Bodies Bodies Bodies) brings sex back on screen in a big way with her erotic thriller Babygirl.
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