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[Review] Need for Speed

I suspect you’re going to hear quite a bit about the irresponsible and reckless depictions of street racing in Scott Waugh’s Need for Speed once the movie opens...

[SXSW Review] The Great Invisible

Margaret Brown’s The Great Invisible is often a frank reminder of what George W. Bush once said: “America is addicted to oil.” Exploring the event and aftermath...

[Review] Le Week-End

Children are our legacy—our immortality. We sacrifice everything to raise them in our image, hoping for the best until they're set free as fully formed adults r...

[Review] Enemy

When one reads a synopsis for the late Nobel Prize-winning author José Saramago’s The Double you’ll find a very straightforward tale of doppelgangers. There’s t...

[SXSW Review] Faults

With Sound of My Voice, Martha Marcy May Marlene, The Master, and more, filmmakers' fascination with cults seems to have hit a surge as of late, particularly ex...

[SXSW Review] Housebound

Housebound takes the sealed bottle horror genre and waltzes right up to it, telling it that everything you expect, the characters expect as well, and lets thing...

[Review] The Den

Nothing indicates the evolution of independent found footage horror more than the camera. In 1999, the sub-genre's granddaddy, Blair Witch Project, was shot wit...

[SXSW Review] Neighbors

Feeling refreshed and shocked are durable signs that a comedy has delivered, but most of all, one wants laughs. As subjective as that factor may be, director Ni...

[SXSW Review] Honeymoon

Honeymoon is a kind of Trojan horse; going in cold and not knowing that its playing in the “Midnighters” section of SXSW, you’d think you were in just another f...