Despite its titular (and occasionally apt) shallowness, Tolga Karaçelik’s entry at Tribeca is a great ride that manages to find moments of poignancy.
Read More
This week in Austin screenings, 7/12-7/18.
Read More
The circumstances of Annie Baker’s debut film, Janet Planet, are specific: the film centers on Lacy, an 11 year old girl, and her mother Janet, as they while away the summer of 1991 in the woods of Massachusetts.
Read More
From stories of awkward college students to investigations into supernatural conspiracy, here are five overlooked films from 2020 that should be on everyone’s watchlist.
Read More
Taking advantage of this period of artistic semi-freedom, director Karen Shakhnazarov made Zerograd in 1988, a Kafkaesque satire of life under authoritarian rule that draws attention to the surreal nature of a government actively attempting to resuscitate what was already on its way out.
Read More
A movie is a catharsis, a chance for Jeremy O. Harris to say, “This is what you were supposed to learn. Hear it from me. I am the authority on my work.”
Read More
This week in Austin screenings, 7/5 - 7/11.
Read More
Bigelow takes what could be a standard cop drama with a Gen X edge (these bank robbers are SURFERS, DUDE!) and turns it on its head, zeroing in past the cliches and expected beats to create a sultry, desire-driven thriller.
Read More
Ti West and Mia Goth’s MaXXXine takes us to a lovely replication of ‘80s Los Angeles, but there’s not much substance behind the sets and star power.
Read More
A Quiet Place: Day One poses the question: What if you eschewed a family-driven survival story in favor of a plot with stakes no higher than that of a video game side quest?
Read More
Embracing global cinema has the ability to cross cultural and cinematic barriers: how the filmmaker uses action and visual storytelling as a universal language, how the filmmaker connects their personal story to broader themes, and how the filmmaker embraces the absurdity of the world around us. In Tsui Hark’s Wicked City (1992), we have one of global cinema’s finest and oddest examples.
Read More
This week in Austin screenings, 6/28-7/4.
Read More
Lanthimos loves a fall from grace and loves to see characters smart enough to make the right moves but dumb enough to think that the good days will last forever.
Read More
Jacques Tati’s Playtime (1967) remains a masterpiece of visual comedy reminding viewers of our own contemporary constructions that threaten to engulf us.
Read More
For director Shaun Seneviratne, life is cinema and cinema is life. His first feature film, Ben and Suzanne: A Reunion in Four Parts, which debuted at SXSW this year, places the viewer as a fly on the wall, witnesses to a week in the life of a couple’s attempt to figure out their future. It is the result of a fourteen-year-long filmmaking process.
Read More
With All That Jazz, Fosse not only created a pageant of his own death, but the glorious death of the original movie musical altogether.
Read More
This week in Austin screenings, 6/21-6/27.
Read More
Desert Hearts has become a touchstone for queer audiences across generations, a lesbian love story written and directed by women that gives space to the emotions and sexuality of two women’s relationship.
Read More
Movie musicals have been a persistent staple in American culture nearly as long as movies themselves have. Therefore, it is worth discussing ten movie musicals you may have seldom stopped to consider next to standards like Singin’ in the Rain or Cabaret or Grease. These unsung heroes of the movie musical genre are begging for more love and attention.
Read More
In director Chris Smith’s blitzy kitsch-soaked documentary, DEVO, Mothersbaugh and Casale give an oral history of the experimental music project’s suburban origins, their wacky audio-visual antics on the punk circuit, and their brief, but explosive time as one of the most famous bands in the world.
Read More