A description of “Denis Villeneuve’s Arrival, but it’s a buddy-comedy adventure” may sound galling, but that’s ultimately what Project Hail Mary turns into with powerful results.
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In advance of its 2026 World Premiere at SXSW, Hyperreal Film Journal staff writer Ziah Grace sat down with writer/director Eric Jackowitz to talk about his giallo parody The Seeing Eye Dog Who Saw Too Much.
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Despite the difficult exterior, the film strives to look lovingly at New York City, knowing under the rough edges there’s a place full of beauty and unique magic, a victim itself of fraught leadership.
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This week in Austin screenings 3/13-3/19.
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Marty Supreme is a triumph because it serves as a pure extension of Josh Safdie's vision.
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Two packed weeks, very little sleep, and more films than our brains could probably process. Here is everything we caught at Sundance Film Festival.
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The arguments around both films are noticeably similar: do the films fully embrace the politics they portray? How radical can big-budget films released by major studios ever really be?
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Director Sam Green’s latest film, named after the Guinness World Record designation, follows several of the title holders of this ephemeral honor.
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Each year, our team of Hyperreal Film Journal writers takes to the streets (and movie theaters) of Austin to cover the SXSW Film Festival. Here’s what’s on our can’t-miss radar.
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This week in Austin screenings 3/6-3/12.
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Any merits of The Bride!, of which there are many, slam into a brick wall in the face of its biggest problem: undermining surreal storytelling with hyper-literal storytelling.
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Where the film stands out in the global coverage of the ongoing tragedy is that it is a docudrama: a narrative reenactment of the day surrounding the murder of five-year-old Palestinian Hind Rajab and her family by Israeli soldiers.
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In Sundance indie Ha-chan, Shake Your Booty! we watch as one woman tries to find her way back to herself through the deep and uncertain waters of grief.
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Barbara Forever serves as an essential work of preservation, documenting the life and work of lesbian icon Barbara Hammer with love and care.
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In Sundance documentary Public Access, from filmmaker David Shadrack Smith, we learn about the history of New York City’s Manhattan Cable Television.
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One of my notes reads, “Zoomer Inland Empire” and that is honestly not far off from the sensation you get from watching Prisoner of Love.
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James’ next pick: The VH1 original movie Man in the Mirror: a biopic about the King of Pop himself, Michael Jackson. I say “sort of” because the film did not have the rights to any of Jackson’s music.
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The average person would be primed, after three musicals in a row, for James to have continued on that track. And arguably he did, with Kenneth Anger’s short film Mouse Heaven.
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As a critic, as a movie watcher, as even just a guy whose livelihood depends in some capacity on my ability to communicate why a piece of art fascinates me, I don’t really know what to say.
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Homocula begins by establishing, first, that Dracula is real and lives in the Shetland Islands, and that Homoculas are a unique type of gay Dracula that drink cum instead of blood.
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