This week in Austin screenings 7/25-7/31.
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James Gunn’s Superman is the opening act to the new DC Extended Universe. Instead of telling the Man of Steel’s origin story for the umpteenth time, the movie takes a page from 2022’s The Batman and drops us right into the story.
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Filmmaker David Verbeek delivers a strong early entry into a body of feature films that showcases not only directorial craft but skillful writing.
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Director duo Raitis and Lauris Abele, brothers, explore the dichotomy between the church and the tavern as two separate houses of gluttony, the most underrated of the seven deadly sins. Now, don’t let the plethora of meaningful elements fool you; if you cut through all the chaff, Dog of God is at its heart a psychedelic-thriller-feminist-drama-pagan-horror-dark-comedy.
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Animals in War is an anthology of seven short films credited to Myroslav Slaboshpytskyi.
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This week in Austin screenings 7/18-7/24.
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Footmen is a Baptist propaganda movie about a Communist takeover of the US in the late '60s. It’s normally the kind of thing that sits in a church basement for years before finally dissolving from vinegar syndrome.
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M3gan 2.0 is an entertaining watch for those that were delighted in M3gan a few years ago and proves M3gan is still that girl and she’ll still do anything to defend her bestie Cady.
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With Eddington, writer-director Ari Aster (Hereditary, Beau is Afraid) takes us back to that time in an attempt to work through its wreckage—with mixed results. Over the 2 hour and 30 minute runtime, Aster tries to tackle big themes and big issues—some successfully, and some in a way that seems just as confused and uncertain about that time as the rest of us.
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If there is a manual on feminine teen angst, Ghost World helped lay the groundwork for it. Whether this film finds you in your teens or late in life, Ghost World offers comfort in the discontentment that comes with growing up, especially for the weirdos, loners, and outcasts.
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This week in Austin screenings 7/11-7/17.
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Pavements, directed by Alex Ross Perry, is a deeply loving, weird, and funny tribute to a much-romanticized band and the even-more-romanticized decade of the 1990s.
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Terrible and beautiful, grief is a kind of madness.
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Orlando, My Political Biography is a documentary-of-sorts, exploring Virginia Woolf’s Orlando through interviews with transgender folks and narration from Preciado in the form of a letter to Virginia Woolf. Each of the 26 subjects introduces themselves as “playing the role of Orlando,” Orlando becoming a stand-in for transgender subjectivity. As Preciado is Orlando, so is he, so is she, so are they. The title of the film is instructive: it is Preciado’s “political biography”–not an autobiography, but a tapestry of trans experiences united under the concept of Orlando.
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In Afternoons of Solitude, Serra’s first feature-length documentary in over a decade, the Spanish filmmaker sets his sights on one of his country’s longest-standing cultural institutions: bullfighting.
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This week in Austin screenings 7/4-7/10.
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Tornado is a welcome return from writer-director John Maclean. Hopefully, his next feature will not take another decade for its release.
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Life of Chuck is a movie that is full of heart and leaves you feeling warm and hopeful.
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Joseph Kosinski’s F1, a combination sports/coming-of-age/cool-aging-guy-still-has-it movie, has a lot that works. But for all of F1’s many virtues, it’s more interesting to think about than it is enjoyable.
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28 Years Later is both a strong revival and promising start to the new trilogy.
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