Romeo Must Die, starring Aaliyah and Jet Li, is a hilariously specific time capsule of early-aughts action style.
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Kristen Stewart is always interesting to watch, a preternaturally intelligent, intuitive actress, Olivier Assayas understood this earlier than most, and no discussion of Stewart’s gifts as an artist (nor indeed a discussion of how those gifts went from mocked to embraced) can overlook the two films she made with Assayas, Clouds of Sils Maria (2014) and Personal Shopper (2016).
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This week in Austin screenings 8/2 - 8/8.
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A romantic post-apocalyptic sci-fi whatsit as grand and unwieldy as its title, Until the End of the World presents a singular cinematic experience for the age of binge-streaming.
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Greg Kwedar’s Sing Sing quietly insists on vulnerability and empathy as far more valuable healing tools than jailing and confining.
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We caught up with BigXthaPlug and Ro$ama about their new song Beast Mode for the new movie, Godzilla x Kong: The New Empire! Hyperrealist, Blake Williams, talks to them about their creative process, and their favorite movies growing up, and gets to the bottom of who’s more of a Godzilla or a King Kong in the hip-hop duo!
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More than likely you will not walk away with all the answers to Lynch’s films from Lynch/Oz, but there is still something special about asking yourself questions.
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This week in Austin screenings 7/26 - 8/1.
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Ten years ago, David Robert Mitchell’s It Follows premiered at the 2014 Cannes Film Festival. After a decade of rewatches, if It Follows is about anything, it’s about people who wanna get laid. Vibe prone, quiet, the basic plot is simple, but the film’s strength is its mournful ambiguity.
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Dial M for Murder is chock-full of the suspense, schemes and shots that make a classic Hitchcock, alongside some choices that perhaps the man himself does not recognize as being bizarrely unique.
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Elizabeth Sankey weaves an intricate tale of female persecution and its relation to postpartum depression, soaked with the tears of her own harrowing experience in a psychiatric hospital after her own breakdown. The documentary works as an expose of her institutionalization intercut with iconic witches throughout film and television history and the confessions of other suffering mothers.
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The Life Aquatic with Steve Zissou explores why filmmakers are so often drawn to dig cinematic graves – places to revisit the ones we love long after their last curtain call.
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This week in Austin screenings, 7/19-7/25.
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Whereas Cronenberg’s prior works such as Scanners stem from a distrust of the medical establishment, Videodrome – similar to later work eXistenZ – prods anxieties over technological advancements and the way society (literally; disgustingly) integrates with them.
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Fly Me to the Moon knows how to use Channing Tatum’s grace and physical control as a key building block in the construction of NASA Flight Director Cole Davis.
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The short film Make Me a Pizza is on its surface a very silly nod to ‘80s and ‘90s porn, but director Talia Shea Levin and producer Kara Grace Miller approached the preparation and filming of these comedic scenes seriously and methodically.
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As far as directorial debuts go, Eve’s Bayou is in a league of its own.
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Despite its titular (and occasionally apt) shallowness, Tolga Karaçelik’s entry at Tribeca is a great ride that manages to find moments of poignancy.
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This week in Austin screenings, 7/12-7/18.
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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.
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