This week in Austin screenings 7/18-7/24.
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Footmen is a Baptist propaganda movie about a Communist takeover of the US in the late '60s. It’s normally the kind of thing that sits in a church basement for years before finally dissolving from vinegar syndrome.
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M3gan 2.0 is an entertaining watch for those that were delighted in M3gan a few years ago and proves M3gan is still that girl and she’ll still do anything to defend her bestie Cady.
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With Eddington, writer-director Ari Aster (Hereditary, Beau is Afraid) takes us back to that time in an attempt to work through its wreckage—with mixed results.
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If there is a manual on feminine teen angst, Ghost World helped lay the groundwork for it. Whether this film finds you in your teens or late in life, Ghost World offers comfort in the discontentment that comes with growing up, especially for the weirdos, loners, and outcasts.
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This week in Austin screenings 7/11-7/17.
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Pavements, directed by Alex Ross Perry, is a deeply loving, weird, and funny tribute to a much-romanticized band and the even-more-romanticized decade of the 1990s.
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Terrible and beautiful, grief is a kind of madness.
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Orlando, My Political Biography is a documentary-of-sorts, exploring Virginia Woolf’s Orlando through interviews with transgender folks and narration from Preciado in the form of a letter to Virginia Woolf. Each of the 26 subjects introduces themselves as “playing the role of Orlando,” Orlando becoming a stand-in for transgender subjectivity. As Preciado is Orlando, so is he, so is she, so are they. The title of the film is instructive: it is Preciado’s “political biography”–not an autobiography, but a tapestry of trans experiences united under the concept of Orlando.
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In Afternoons of Solitude, Serra’s first feature-length documentary in over a decade, the Spanish filmmaker sets his sights on one of his country’s longest-standing cultural institutions: bullfighting.
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This week in Austin screenings 7/4-7/10.
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Tornado is a welcome return from writer-director John Maclean. Hopefully, his next feature will not take another decade for its release.
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Life of Chuck is a movie that is full of heart and leaves you feeling warm and hopeful.
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Joseph Kosinski’s F1, a combination sports/coming-of-age/cool-aging-guy-still-has-it movie, has a lot that works. But for all of F1’s many virtues, it’s more interesting to think about than it is enjoyable.
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28 Years Later is both a strong revival and promising start to the new trilogy.
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On one hand, we can applaud Anderson for trying to distance himself from the titular Wes Anderson aesthetic, but on the other more cynical hand it feels he’s trying too hard to break out of the niche he’s curated for himself over the past 30 years.
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This week in Austin screenings 6/27-7/3.
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In this first edition of Hyperreal’s two-part coverage, we look at the first two films of the series, Bay of Angels and Boom!, and how these films populate the cinematic Mediterranean.
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All things being equal, not dealing with heavy cans of fragile film reels seems ideal for people in the business of showing movies. So who still does this and why?
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As a parody of the highly popular Cabbage Patch Kids, the series featured gross-out and absurdist caricatures with a striking, cheeky charm that made them a marketing hit. As a result of this success, Topps Company would go dumpster diving in Hollywood, resulting in the 1987 film adaptation The Garbage Pail Kids Movie.
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