This week in Austin screenings 12/19-1/8.
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Brooks politically neuters the movie to the point of inanity in his attempt to show that a pure heart can win
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The rhythm of devotion is what drives The Testament of Ann Lee, the latest film from director Mona Fastvold.
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Hello Out There’s comic moments click. Its dramatic moments stick. It’s as incisive in its study of Minnie and Rex’s foibles as it is gentle in its treatment of their navigating their lives.
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Ann Marie Allison’s You’re Dating a Narcissist! whiplashes between being an effective and affecting exploration of parenting after your children reach adulthood at its best and too-broad and surprisingly poorly made at its worst. And Daniel Roebuck’s Tuesday’s Flu, a well-acted crime story and character study that never rises above “ok.”
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This week in Austin screenings 12/12-12/18.
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The Wasps feels like a comedy that the sickos have been yearning for: a truly absurdist film that places comedy above all else.
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Today we sat down with Jake Binstock, Parker Rouse, and Andrew Caplan, the co-directors and producers of The Wasps.
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Yeon Sang-ho’s quietest horror is his most human.
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All told, Is This Thing On? is a darn well-made film that serves two excellent performances from two great actors. It’s well worth seeing.
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We sat down to talk to Julian Castronovo, the star, writer, and director of the film Debut, or, Objects of the Field of Debris as Currently Catalogued. One of the most standout and spectacular films I have seen this year, perhaps even in the last decade.
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We sat down to talk to Jinho Myung about the film Softshell, an intimate and stunning feature debut. Softshell tells the story of Thai American siblings navigating living in Queens after the death of their mother. In this interview we talk about instant intimacy, the verisimilitude of New York, and the power of food movies.
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Eleanor the Great gives June Squibb the spotlight she deserves.
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This week in Austin screenings 12/05-12/11.
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Good Luck, Have Fun, Don’t Die is a movie you should see, even if just to support a director who still deserves to be a household name.
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Springsteen: Deliver Me From Nowhere attempts to paint Bruce’s life with the same romantic flourishes that define his work, but rather than capturing the truth or transcending it, the film struggles to figure out what to do with it.
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Set in small-town America and exploring themes of capitalism, exploitation, corporate culture and conspiracy, Bugonia is jaw-dropping, edge of your seat goodness.
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With the Edgar Wright-directed The Running Man, Powell uses his face in a new way, putting it through the wringer as his angry, angry hero Ben Richards does his damndest to survive the entire continental United States hunting him. It’s Powell’s expression work, coupled with a committed physical performance (which he shares with stunt double Danny Downey), that gives The Running Man a compelling, magnetic core. Powell is the reason to see The Running Man.
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George Clooney Anchors a Superb Cast as Jay Kelly, but Doesn’t Get Much to Do Himself
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Do No Harm is a tense, tightly crafted little thriller that expertly draws audiences into the high stakes world of people who work in healthcare and how top down decisions about staffing and funding can cause catastrophic outcomes for people who are just trying to do their best and get the care they need.
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