Recently returning to theaters in Austin, Stop Making Sense is, 42 years on, still a masterpiece in austerity and obfuscated movement highlighting the ecstasy of performing in a live musical setting.
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The brilliance of James Van Der Beek’s performance shines brightest in the moments where the actor allows Rick’s mask of the golden boy to slip. The young actor makes each moment count, and thus demonstrates his Hollywood potential.
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Not every film needs to be built. Some films need to be survived. Help!!! is that kind of movie, and it earns every one of those three exclamation points.
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Contrary to what one might think, Capturing Bigfoot isn't about proving or disproving Bigfoot.
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Sharing the actual journey would be doing Is God Is a disservice. This is a powerful tale of young black women on a quest to do what needs to be done, come Hell or high water.
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Nirvanna: The Band - the Show - the Movie really is that stupid. It is also really great.
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Bumpkin Soup and Abnormal Family each take a hand at blowing up the conventional ideas about pink films and films in general.
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Vampyros Lesbos is an experience where logic and reality are afterthoughts, a truly dreamlike film that exists as a delivery method for beautiful women doing strange and exciting things around some lavishly-designed contemporary decor while one of the grooviest psychedelic scores of all time takes things to another dimension.
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“Breaking Silence” explores disability, communication access, and family relationships. For Director Amy Bench, these themes were universal, relatable components that transformed this narrative from an introspection on incarceration and reentry to a vérité look at community and transformation.
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In a time when the world’s most powerful countries attempt to extract commerce with the threat of violence, Magellan prompts the question: has anything really changed all these centuries later?
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In protecting Michael Jackson’s memory so fiercely from “Wacko Jacko” negative energy, the filmmakers fail to create a believable human portrait.
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Hard Target (1993), while sometimes dismissed as a middling Jean Claude Van Damme vehicle, has taken its honorable place in John Woo’s filmography.
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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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Love Me Deadly is a baffling enigma of a film.
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Foodfight! is a frightening look at the future of film.
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Lancelot du Lac (1974), is a revisionary take on the myth of King Arthur and the Knights of the Round Table.
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Mother Mary may be messy, but it is far from incoherent or lacking confidence in its phenomenal vision and how Anne Hathaway and Michaela Coel bring it to life.
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A hilarious and hyperbolic analysis of modern dating, female friendships, and self discovery.
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With its marriage of whip-smart dialogue, darkly satiric themes and a finely honed direction, Borgli’s best effort yet is the romantic-dramedy we deserve.
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