Fantastic Fest 2023 is here and Justin Norris was able to catch Baby Assassins 2 Babies, the second entry of the Baby Assassins franchise. Does the movie have the madcap energy and tongue-in-check humor promised by the title? Keep reading.
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This Week in (Non-FF) Austin Screenings 9/22-9/28.
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Coming from a background in mostly commercial work, shorts, and only one other feature length, Al Warren manages to take the spirit, fun, and headaches of indie filmmaking and puts them on the big screen with Dogleg. The film is a testament to trusting: The process, the people you create with, and that bad days don’t last forever.
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Our resident tastemaker, James McDonald, takes a quick detour from his usual roundup of the best screenings to catch in Austin every week to offer a roundup of some of the best and most interesting screenings you can catch at Fantastic Fest 2023.
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The way I see it, the filmmakers better be working their ass off for my fifteen bucks. Wife-and-husband team Hélène Cattet and Bruno Forzani are certainly either working their asses off or have sold their souls to Satan to create something this entertaining.
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It’s got a little Gentlemen Prefer Blondes, a little Austin Powers, and a lot of the Rock Hudson-Doris Day led rom-coms of the ‘50s, particularly Lover Come Back and Pillow Talk. The film’s influences are so clear it could be hard to see if it's giving viewers anything new, but Peyton Reed offers a homage to the greats of the genre’s past while poking fun at its historical gender politics and upending the status quo.
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This week in Austin screenings 9/15-9/21.
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In days of yore, you'd go to see a movie, the lights would go down, and just before the feature presentation (if you were lucky) you'd get to watch a cartoon. The Golden Age of Animation was a renaissance of technical and artistic development, and without these artists foundational work you would never see the likes of Disney or Pixar or even Studio Ghibli.
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Black and white films—particularly American offerings—can be challenging for new cinephiles. Even if it seems blasphemous to admit. You can practically hear Orson Welles rolling in his grave, or is that Hitchcock? Regardless, black and white films often struggle to connect with modern audiences. They were made in a different time, where different aspects of stories and filmmaking were emphasized. Filmmaking has come a long way and it can make it difficult to give movies from a bygone era their chance. It’s a Wonderful Life? Bah-humbug! Casablanca? Snooze-fest! Sunset Boulevard? More like Sunset Bored-evard.
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Jeff Baugh begins his new regular column by talking about two recent big releases that aren’t Barbie and Oppenheimer.
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This Week in Austin screenings 9/8-9/14.
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Films about transness and particularly trans women have been around, oh, since the invention of film, but films with trans actors are rarer. Hard Women doesn’t provide a clear history of transness in Germany. It doesn’t give us easy answers, or “representation.” Instead, what Hard Women does is offer a layered reflection of transploitation and trans performance in 1970s Germany.
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GUTS is the short story of Horace (Kirk C. Johnson), a guy at his office trying to fit in with his coworkers and get a promotion from his boss. Oh, and Horace's intestines are on the outside of his body. The film’s director, Chris McInroy, recently sat down with Hyperreal Film Club to share all of the bloody, gooey details of his off-kilter office comedy.
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Miles Davis’ breathtaking trumpet score elevates Louis Malle’s 1958 Elevators to the Gallows to a mid-century classic, enshrining a moment of musical evolution in film.
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This week in Austin screenings 9/1-9/6
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Summer may be over but movies are forever. The breakneck pace of our summer schedule brought with it action movies from across the globe, under-seen gems from the ‘90s and 2000s, and the sweatiest version of Double Indemnity you’ll ever see in your life. But if you’re looking for even more movies to give you an excuse not to leave the air-conditioned oasis of your home, here are the double features suggested by the Hyperreal Film Club community.
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Twenty years on, Oldboy’s themes are more relevant to our current hellscape timeline than ever. Efforts to even the moral scales of grievance, even catastrophic ones, lead only to self-destruction and incalculable shards of collateral damage, reflecting the absurd chaos of the human condition.
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As a prime example of the pulp genre, Peter Jackson’s King Kong (2005) takes its audience on a rollercoaster of thrills.
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Tears of the Black Tiger understands that when you’re in love, every stake and sensation is elevated to the highest level possible.
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This week in Austin screenings 8/25-8/31
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