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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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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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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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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Though director Max Hey is focused and dialed in from the moment the documentary begins, Now! More! Yes! ultimately meanders around with its subject without inspiring much interest.
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The Rivals of Amziah King is one of the most strangely-paced films and thematically-incohesive films I’ve ever seen. That’s both to its benefit and its greatest flaw.
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The Python Hunt expertly delivers on its promises of humor and human interest.
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Where some stories of addiction slip into melodrama and misery, Surviving Earth shows the reality of sobriety as a choice that’s made every single day.
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The Infinite Husk falters under the weight of its big philosophical ambitions, leaning too far into the pessimism of the human condition without actually exploring what it means to live and move through the world’s structures.
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Following its first screening, Nirvanna the Band the Show the Movie proved itself as the SXSW breakout of the year, with the word-of-mouth buzz resulting in a frenzy around the film’s second showtime.
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Friendship, which had its Texas Premiere at SXSW in 2025, is all about the strange amorphous heartbreak when a (mostly) heterosexual male friendship is ended. It’s also about star Tim Robinson continuing his streak of ego-less humiliation comedy.
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Slanted does well to avoid the pitfall of many modern satires by avoiding an explicit morality tale or an ending that ties everything up with a bow and a preachy monologue.
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Shuffle adeptly straddles the line between documentarian and subject while uncovering a deep web of fraud and scams at the heart of addiction treatment.
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Bunny (Mo Stark, also co-writer), the titular lead of the dramedy Bunny, which premiered at SXSW 2025, is the sort of guy you’d want for a neighbor.
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