Streets of Fire is an anthem for those who live for love, or trouble, or both.
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Sleuth is the diabolically entertaining tale of two men engaged in an increasingly high stakes competition of wits, will, and imagination.
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For a movie about supernatural revenge against a cadre of scumbags, The Crow is remarkably sweet-hearted. Combine that sweetness with Lee’s work, solid action, and an impeccable feel, look, and sound, and there’s a reason that Proyas and crew’s picture remains well-loved. Would that it was just one of many pictures in Lee’s filmography rather than a memorial.
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One of the most accurate portrayals of late stage capitalism before it was even fully realized. A prophesy of the eventual TikTokification of the music industry. A satire of the American government’s corruption as bolstered by a Machiavellian antagonist. Josie and the Pussycats is all this and so much more.
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This week in Austin screenings 8/23-8/29.
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The American version of this type of hero usually involves a man who derives his virtue from rugged, individualist morality, while Riki derives his virtue from popular, collectivist traditionalism.
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Zoë Kravitz’s directorial debut Blink Twice aims to mirror the success of recent social satire thrillers, but is neither smart nor subtle enough to be anything but a total misfire.
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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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