I Come in Peace feels like the culmination of 80s action schlock dialed to eleven and engineered to do nothing but simply entertain our lizard brains with mesmerizing action, cheesy comebacks, and gargantuan muscles.
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By focusing so much on the imagined perfection of a non-existent project, Zodiac Killer Project loses focus on its own best qualities.
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Reeling is filmmaker Yana Alliata’s first narrative feature, and it’s a strong debut and a worthy feature at SXSW 2025.
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Despite the occasional lapse in focus, Spreadsheet Champions offers a fascinating look at an under-discussed subculture.
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Nicole Kidman is excellent in Holland, the new mystery-thriller from director Mimi Cave (who previously directed Fresh)… However, a stellar performance and quirky setting don’t make up for the fact that Holland has little to say.
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Eyes Wide Shut has a fascinating legacy where the conversation went from "is it any good?" to "this movie is the skeleton key for unmasking the sex crimes of the elite."
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This week in Austin screenings, 3/14-3/20.
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Fandoms are unhinged. Celebrity culture is surreal.
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Paul Michael Glaser’s The Running Man bottles up all the absurdity lovingly found in any great ‘80s action flick, but uncorking it almost 40 years later proves that some of the absurdity has matured into a shockingly accurate dystopian satire.
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Paddington in Peru beats the odds stacked against it, understanding Paddington is the draw and whatever adventure he goes on audiences will join him.
Read More![Watching Snowpiercer on Ketamine, or: How I Learned to […] Love Mickey 17](https://images.squarespace-cdn.com/content/v1/58a13eba20099eb147e68d26/1741645706664-5CRWTBIZDES9NM3ZCTFE/mickey%2B1.jpg)
In adapting the novel Mickey7 by Edward Ashton, director Bong Joon Ho makes the great decision to add 10 more lifetimes and change Mickey’s background from middle- to working-class, all in service of the often funny and always scathing critiques of modern capital that define his work. And, Mickey 17 poses the question: what if one slipped through the cracks?
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This week in Austin screenings, 3/7-3/13.
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Like much of Dumont’s filmography, his sci-fi satire The Empire is relentlessly unafraid of what people might think of it.
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Better Man, the biopic about British pop star Robbie Williams, is undoubtedly a unique experience for an undeniably unique figure.
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A Real Pain encompasses grief as it is, as its effects live within each person who has faced it, lending humor and empathy to the journey of remembering, and the confrontations that must occur to understand one’s pain.
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As part of our coverage of Animation First Festival 2025, which celebrates Francophone film, we took a look at the second of their two short film programs.
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Paolo Sorrentino's Parthenope could make for a fascinating character study and an interesting point of view, but the film never gets into its protagonist’s head.
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At Sundance 2025, Sorry, Baby is just the kind of independent debut you hope to uncover.
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Brit Chainey’s Rabbit Trap, which premiered at Sundance Film Festival, tries to capitalize on the wild and weird beauty of Wales to create a folk horror story with a strong emotional tenor. But clever visual tricks and an evocative setting can’t save Rabbit Trap from its own incoherent plot.
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In her directorial debut Seeds, which won the Sundance Grand Jury Prize for U.S. Documentary, Brittany Shyne offers an intimate look at the fate of Black farmers in the American South. Shooting in black-and-white with a single-minded focus on her subjects, Shyne creates what feels like an elegy for a way of living on the brink of dying out.
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