While The Glassworker doesn’t quite stick its landing, it’s thoughtful, thorny, and willing to ride ambiguities and uncertainties.
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A forgotten film in the filmography of both Richard Linklater and Matthew McConaughey. This is Day 8 of McConaugheMay.
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A discussion with PJ Raval on his Spring ‘25 Queer Media Production course and the importance of community and queer filmmaking.
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I’m not and neither is Matthew McConaughey, but that doesn’t change either of us from learning about ourselves in Day 7 of McConaugheMay: I Am Evel Knievel.
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From horror franchise installments to indie dramas and everything in-between, here’s our must-watch movies for the summer 2025.
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Not really a movie, and only barely about Matthew McConaughey. This is Day 6 of McConaugheMay.
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A documentary about legendary director William Friedkin (in which McConaughey barely appears) offers a fascinating glimpse at both men.
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With SXSW ‘25 in the rearview mirror, here’s the full rundown of our coverage.
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McConaugheMay Day 4 brings yet another pseudo-documentary that barely features Matthew McConaughey. The twist? This one is great.
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Day 3 of McConaugheMay offers us one of the actor’s best (and least seen) films.
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Day 2 of McConaugheMay sees Ziah watching a long-forgotten short film starring character actor extraordinaire Clarence Williams III.
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Cristina Costantini’s Sally is a welcome highlight among the documentaries of SXSW ‘25.
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Though director Max Hey is focused and dialed in from the moment the documentary begins, Now! More! Yes! ultimately meanders around with its subject without inspiring much interest.
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This week in Austin screenings, 5/2-5/8.
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Day 1 of McConaugheMay sees Ziah watching a not-quite movie.
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Director/writer Rungano Nyoni’s On Becoming a Guinea Fowl—her second feature film after 2017’s I Am Not a Witch—is one of the best films of 2025 so far.
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Started in 2016 by co-founders Dave Cebrero, Pedro Rivas, and David Cortez, the Houston Latino Film Festival offers an eclectic selection of films.
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While few of Fulci’s classic films appear to take place in the “real” world, Conquest (1983) is the director’s lone foray into the pure fantasy genre.
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From the get-go, Godzilla vs Megalon misleads and surprises the audience. Outside of the final twenty minutes and the first two minutes, Godzilla is not in the movie. Rather, we follow a story of kaiju and sci-fi intrigue as two parents and their kid try to stop spies from the underground world of Seatopia from stealing Jet Jaguar, a humanoid robot.
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Peter Strickland’s Duke of Burgundy examines the give and take of love through the prism of kink, and how even in the context of a sapphic dom-sub relationship, power dynamics can ever shift between two people.
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