Alien: Romulus is a thin, photocopy of the original, made purely for the sake of Franchise Potential.
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This week in Austin screenings, 8/16-8/22.
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In Cure, Kurosawa finds an outlet for that national miasma as ordinary people find themselves both the victim and the perpetrator of senseless violence.
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How should movies reflect our morals and values as a society? Or, more pointedly, what function does entertainment serve? This question seems to lie at the heart of the controversy surrounding Colleen Hoover’s enormously popular novel It Ends With Us and its new film adaptation.
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Hit Man is Richard Linklater’s latest movie about the double life of a college professor who wants to live the philosophy he teaches. The story follows Gary (Glen Powell), who moonlights with an undercover law enforcement team that extracts confessions from homicide solicitors. He doesn’t pose as a hitman, though. He’s one of the techs in the van that does whatever a tech-in-a-van does.
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Stop for a moment. Stop and look at your phone. Resist the urge to reflexively open Instagram or check a message— simply rest the phone in your hand and raise it up before you.
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This week in Austin screenings, 8/9-8/15.
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Trap echoes much of M. Night Shyamalan’s filmography—his interest in fatherhood especially—but eschews his traditional “big twist” in favor of a series of escalating, but surprisingly grounded, reveals.
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Watching a Deadpool movie used to feel like catching something during the late-night hours of the Comedy Central lineup—now, that’s been swapped out for a Disney+ version, with the same concept but not quite the same execution.
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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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