The 2024 Crow is substantially more lore-heavy than Alex Proyas’ 1994 take on the comic, but it’s all so much nothing.
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The Front Room covers what it says on the tin: Old people are gross, weird, and maybe a little evil.
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This week in Austin screenings 9/6-9/12.
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After 25 years of production hell, Tim Burton's Beetlejuice Beetlejuice turns out to be a delightful ride of chaos.
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Few actors' cinematic journeys can be encapsulated in a single sentence — and even fewer in a single word. Yet that’s what Owen Wilson has managed to accomplish in his 30-year career. From squalor to Sundance, his rise to prominence began in the late ‘90s where he turned from mischievous indie darling to charming, subdued stardom. In the last two decades, there are few who have been able to match his “Wow Factor.”
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Outside of showcasing the fun of mushroom trips, My Old Ass announces the arrival of an exciting young star. In a role that brings to mind Emma Stone’s earlier role in the excellent Easy A, Maisy Stella brings the perfect blend of heart and humor to director and writer Megan Park’s (The Fallout) latest film.
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This week in Austin screenings, 8/30-9/5.
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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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