In a time where people want the short and fun action movies of the ‘90s and ‘00s to return, the Bob Odenkirk-helmed Normal gives you just that with a modern twist.
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The idea of sex and death being intertwined is a cliche going back to Freud, but that doesn't make it any less relevant when it comes to horror movies.
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Contrary to what one might think, Capturing Bigfoot isn't about proving or disproving Bigfoot.
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Joybubbles is a delightful treat of a documentary. An insight into a world that we’ve moved so far past technologically but also a view into a more connected world.
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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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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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It remains an extraordinarily compelling documentary about one of the pieces of detritus of American culture.
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A hilarious and hyperbolic analysis of modern dating, female friendships, and self discovery.
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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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Patricia Gillespie’s documentary aims to expose the insidious nature of unchecked mental illness at its most extreme, and for the most part she succeeds. #SKYKING is a tough watch but it is a rewarding one.
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Forbidden Fruits feels like an almost great teen movie.
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While Scott and Deadwyler are magnetic performers, The Saviors becomes too focused on its own plot to let the viewer engage with it as a pure character piece, but the plot is so obviously foreshadowing a twist that the film feels slow in execution.
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Ready or Not 2: Here I Come aims to be bigger and bolder, but a suite of new characters can’t save the movie from a dumbed-down script.
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At SXSW, Hyperreal’s Hannah Dubbe had the opportunity to sit down with Ayden Mayeri to talk about her documentary Summer 2000: The X-Cetra Story, the album, baby-boomers, and future plans for X-Cetra.
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In advance of its 2026 World Premiere at SXSW, Hyperreal Film Journal staff writer Ziah Grace sat down with writer/director Eric Jackowitz to talk about his giallo parody The Seeing Eye Dog Who Saw Too Much.
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Each year, our team of Hyperreal Film Journal writers takes to the streets (and movie theaters) of Austin to cover the SXSW Film Festival. Here’s what’s on our can’t-miss radar.
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With SXSW ‘25 in the rearview mirror, here’s the full rundown of our coverage.
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Cristina Costantini’s Sally is a welcome highlight among the documentaries of SXSW ‘25.
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