Ultimately, The Unexpecteds is about people trying their best to navigate a system that is designed to make sure they never win.
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This week in Austin screenings 11/14-11/20.
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Jensen reunites with regular actors Nikolaj Lie Kaas and Mads Mikkelsen for a crime tale about two brothers attempting to retrieve heist money in The Last Viking (2025).
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Where SISU 2 shines is taking every element from the first movie and ramping it all up tenfold.
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Hot, sweaty, and filled with dread, Sirāt goes there and takes you alongside it whether you wanted that or not.
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It’s interesting that we don’t really get movies about monkeys very often, let alone horror movies about how scary monkeys are.
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The Carpenter’s Son doesn’t want to be the kind of film I was expecting it to be.
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Like the other two movies in the series, Now You See Me: Now You Don’t is convoluted, preposterous, and often downright silly. In other words, it’s what basically any mainstream American caper of the last few decades has been.
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Benoit Blanc (Daniel Craig) is back as the iconic, deeply Southern, master detective for the third installment of the Knives Out Franchise in writer/director Rian Johnson’s Wake Up Dead Man, but this time, something feels different.
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In a world where there is no such thing as job security, No Other Choice resonates as an apt satire-thriller of employment anxiety.
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This week in Austin screenings 11/7-11/13.
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The Black Phone left far more questions than answers. And given how Black Phone 2 plays out, maybe those questions should’ve stayed unresolved.
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This year’s Austin Film Festival witnessed a true full-circle moment for filmmaker Austin Kolodney. In 2022, he premiered his short film Two Chairs, Not One at AFF; in 2025, he came back to screen his feature debut Dead’s Man Wire, directed by Gus Van Sant, following its world premiere at the Venice International Film Festival.
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From the supernatural ghosts, ghouls, zombies, and demons, to the more cold-blooded reality of violent murderers and devious psychopaths, there are more than enough options to chill a viewer to the core. Despite all of these more traditional horrors, nothing affects me quite so much as the very real fear of simply losing my grasp on reality without any kind of warning, and at its core, this is what Gaspar Noe’s Climax is all about.
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Gothic is a fascinating watch, to be sure, especially with a packed Weird Wednesday crowd on a well-preserved 35mm print. That said, it depends entirely on the viewer as to whether or not this is a brilliant, hallucinogenic trip into madness, or the equivalent of showing up to a party where all your friends have already taken their substances of choice while you choose to remain sober and watch over them to make sure nothing too stupid happens.
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“To suck is to be human,” as director and star Louise Weard puts it in her director’s statement for Castration Movie, and her depiction of trans life in all its bare-assed, 4am trailer park glory transcends the sad oppression saga the premise of the films may imply.
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At its heart, the 1958 British film The Horse’s Mouth directed by Ronald Neame is a movie about art. More specifically, it's a movie about the Art Life.
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This week in Austin screenings 10/31-11/6
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What begins as a seemingly straightforward documentary about a popular show and its known controversies evolves into a complex examination of the show’s cultural affect, bound inextricably with Osit’s personal experiences.
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Linklater is seen as a figurehead for independent cinema, and one of the biggest reasons for this title is the excitement that his films carry. They are rebellious and staunchly against popular films of their time. However, this excitement is not the sum of perfectly precise plotting with never-coulda-seen-it-coming twists—it instead comes from a distinct abandonment of these elements.
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