In her new film Sugar Babies, which premiered at Sundance Film Festival, Rachel Fleit charts the trajectory of a TikTok sugar baby influencer.
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In this latest Apes Retrospective, we dig into Battle for the Planet of the Apes and the 2001 reboot of the original Planet of the Apes.
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This week in Austin screenings 1/24-1/30.
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In The Lawnmower Man, virtual reality is more imaginative and worse rendered than we have ever conceived of it.
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Hey there seeker, welcome to February at Hyperreal Film Club! We've got festival favorites! We've got cable standard-bearers! We've got programmer Blake Williams' incredible BLACK IN AMERICA series, now in-person after being hosted on our Discord the past two years!
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The world David Lynch created and left behind is endlessly illuminating, compassionate, and strange.
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Leigh Whannell’s Wolf Man is a movie at odds with itself, too quick to take the time to delve into fraught family history and too narrowly focused to let its Wolf Men really cut loose and get monstrous.
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This week in movie screenings in Austin, TX, 1/17–1/23.
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Next week, two Hyperreal Film Journal writers will pack their parkas and snow boots and jet off to Park City, Utah, for the 2025 Sundance Film Festival. Our editor-in-chief Alix Mammina and staff writer Andy Volk share their top picks to catch, whether you’re braving the cold in-person or checking in for online screenings.
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In this latest Apes Retrospective, we dig into Escape From the Planet of the Apes and Conquest of the Planet of the Apes.
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Ziah Grace sat down with directors Annika Iltis and Timothy Kane to talk about what made "The Barkley Marathons: The Race That Eats Its Young" stand out from other sports docs.
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The Brutalist achieves its greatest emotional potency when it examines the precariousness of life’s balance.
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The best parts of Y2K weave together the absurdity of its situation into the absurdity of life in the United States on December 31, 1999.
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Every year as we construct our Top 10 list, we think: Man. There’s so many good movies. Enter our 2024 Honorable Mentions and Editors’ Choice picks.
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100 voters. 140 movies. It all comes to this: Hyperreal Journal’s Best of 2024 Top 10 list.
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It is a film that is a film and that's all it could ever be. Made by humans, poorly, created for crass and financial goals, visibly, and released to a public who could only hiss and mock it. It is exactly what it is, and I love it dearly.
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A Complete Unknown isn’t just a biopic—it’s a meditation on artistry, identity, and the inevitable sacrifices of chasing immortality.
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Queer is a challenging film. It is not necessarily a kind or optimistic film about the queer experience. But, Luca Guadagnino recognizes the inherent loneliness in queerness. He is not turning away from it—no, he confronts, reveals it.
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This reviewer agrees with the quote from the character Robert McKee from the film Adaptation (2002) that voice-over narration is “flaccid, sloppy writing. Any idiot can write [them] to explain the thoughts of a character.” And yet, the voice-over narration found in Moonlighting (1982) is justified, for it effectively conveys the crisis of conscience of its main character.
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