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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Scream for Help is a sleazy, over-the-top, laugh-out-loud film that the Alamo Drafthouse programmer must’ve found at a VHS convention.
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A '70s low-budget vanity project from an aging cabaret performer sounds like something interminable and slack, released on 500 copies by some foreign VHS label, never to be seen again until showing up on Youtube in some smeary, unwatchable way. Remarkably, that's not at all what happened.
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It’s summer in Texas, so we all need something to do after we’ve been forced inside by the sun’s ultraviolet laser beams.
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This week in Austin screenings 6/20-6/26.
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Does the release of 28 Years Later have you itching to revisit the undead hits of yesteryear? Here’s 5 zombie movies you probably haven't seen yet.
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Karate Kid: Legends doesn’t live up to the hype created by its predecessors; however it’s still a decent watch for Karate Kid fans, especially those with children they’ve introduced to the franchise.
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Agent of Happiness (2024), which screened at Indie Meme Fest 2025 takes place in Bhutan, a beautiful, small country with a unique policy: collecting and analyzing data on the happiness of its people.
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What does it mean that the industry of death photography is itself dying? Madan and Lahiri offer a wonderfully Asian response: Absolutely nothing.
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Into the Gallnerverse
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Sad Letters of an Imaginary Woman is a psychological horror at the level of identity, and part of a powerful wave of tense, feminist indie horror in South Asian cinema.
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This week in Austin screenings 6/13-6/19.
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Dangerous Animals is director Sean Byrne’s newest film, coming ten years after his sophomore feature The Devil’s Candy.
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In her follow-up to Past Lives, Celine Song crafts a visually polished rom-com that questions modern dating, ambition, and emotional connection—but struggles to ground its characters in real change.
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Neither movies or love are straightforward, which is why these kinds of romantic comedies tend to hit the hardest for me.
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In particular, Murray’s 1976 music criticism masterpiece, Stomping the Blues, makes the case for the syncretic spiritual power of the blues in a way that Coogler appears anxious to make: That there is a magic, a power, an incontrovertible life-giving energy to the blues not only as music but as a way of life.
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Pan’s Labyrinth is a movie to get lost in.
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Egoyan’s Exotica is fundamentally a story about grief, loneliness, and obsession. Although enduring loss is a universal experience, it is emotionally isolating.
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This week in Austin screenings 6/6-6/12.
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