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Fresh Kill is a neon-green love letter to what was then the new world of hacktivism, a playful form of civil disobedience attempting to disrupt and infiltrate the technological systems that control modern life by replacing algorithms with abstraction and logic with poetry.
Read MoreThis week in Austin screenings 10/4-10/10.
Read More25 years later, Spice World is still the highest-grossing film of all time by a musical group. This is why the parody film still holds sway over its fans a quarter-century after release.
Read MoreAlan Swyer, director of the documentary When Houston Had the Blues, shares more about his work to tell the largely untold story of a vibrant and rich American music scene in Houston, Texas.
Read MoreFrederick Wiseman's documentaries The Store and Law and Order highlight different stages of sociopolitical change, through plainly depicting his subjects with as little interpretive framework as possible.
Read MoreA fanatical community of misogynistic Dutch people, or powerful, skittery, and kind of sexy forest demons? Oh, what a decision for down-on-her luck villager Frieda (Anneke Sluiters, Flikken Rotterdam) to make in Didier Konings’ Witte Wieven.
Read MoreFrom the outset, Get Away perpetually winks at the audience. The comedy comes from a family’s obliviousness to numerous foreboding signifiers of doom, though Frost’s script goes back to that well so much it starts to run dry by the second act.
Read MoreThis week in Austin screenings 9/20-10/3.
Read MoreWith The Substance, Coralie Fargeat goes beyond surface-level depictions of double standards and female rageto not only show flawed, complex women, but also the social conditions shaping their everyday lives.
Read MoreZatoichi, literally “Ichi the low rank blind man,” was created by Kan Shimozawa in 1948 when he published the short story, Zatoichi Monogatari. Most of us know him as the beloved swordsman from the adapted film series, though. For any genre fans, or people that just want to see some rad katana shit, this series is instantly appealing.
Read MoreTed Post's The Baby (1973) tells the story of a woman stricken with grief, looking to help an underdeveloped adult man trapped within the warped remains of a nuclear family.
Read MoreThis week in Austin screenings, 9/13-9/19.
Read MoreBased on the short story by John Cheever (1964), The Swimmer (1968) is a surrealist drama that has achieved cult status since its release.
Read MoreThe 2024 Crow is substantially more lore-heavy than Alex Proyas’ 1994 take on the comic, but it’s all so much nothing.
Read MoreThe Front Room covers what it says on the tin: Old people are gross, weird, and maybe a little evil.
Read MoreThis week in Austin screenings 9/6-9/12.
Read MoreAfter 25 years of production hell, Tim Burton's Beetlejuice Beetlejuice turns out to be a delightful ride of chaos.
Read MoreFew 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.”
Read MoreOutside 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.
Read MoreThis week in Austin screenings, 8/30-9/5.
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