This Week in Screenings 6/2-6/8
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More movies to cure your May melancholy.
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DOA: Dead or Alive delivers on three fronts: backstory montages, punching, and ass-shots. And to be fair, that's kind of all you need.
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A love of film and a compelling lead character makes The Hard Goodnight a film to watch.
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It’s not just a film about a woman who squirts literal geysers of fresh water, but it’s not not that, either.
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This week in Austin screenings 5/26-6/1
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Heat is so much more than that iconic diner scene.
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Hyperreal Interviewer extraordinaire Justin Norris sat down with filmmaker Ryan Darbonne to discuss his short film What They Found, authenticity in period piece filmmaking, and watching The Banshees of Inisherin in Ireland.
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Phillip Ko tackles the video game adaptation genre by… adapting a non-existent game. And that’s not even the craziest part of Techno Warriors.
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37 years in production didn’t stop this scrappy ninja-sploitation from turning into a charming oddity with a killer soundtrack.
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This week in Austin screenings 5/19-5/25
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This week in Bruno-Vision: Jordan time-warps back to 1991 to take a look at Bruce Willis in all kinds of flavors–actions, comedy, drama, and even musical.
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Justin Norris sat down with filmmaker Julia Hebner to talk lobster actors, New York jazz, and what kind of retirement that crustacean got after filming.
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5 reasons why Sisu is the best action movie in years.
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Forget Ryan Gosling and forget being a real human being—real ones know that 1997’s Drive has the diamond in the rough, the jewel in the Wal-Mart DTV bin, that you really need to watch. Mark Dacascos, Kardeem Hardison, and Brittany Murphy team up to drive you wild in this underseen, underloved, and over-the-top action film.
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This week in Austin screenings 5/12-5/18.
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Writer Matthew Seidel got the chance to see the SXSW premiere of Blackberry in advance of its May 12th release date. Did the movie turn out better than the phone? Keep reading.
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Hot, Hotter, Hottest! Let David Snee sing the praises of Carl Weathers’ best action movie performance.
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Weird Wednesday really lived up to its promise with this one. All 71 minutes of this gothic puppet show are without dialogue, scored by hollow wooden flutes, punctuated only by screeches and squawks. This film is a true obscurity, largely the product of Cegavske alone, who filmed it over the course of thirteen years in her apartment.
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You have to know the rules to break the rules. Camp is the glowing pink tonic that keeps Death Becomes Her forever fresh all these years later.
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