Read More

[SXSW Review] Scarlett Road

Scarlett Road makes a compelling and compassionate argument in its portrait of Rachel Wotton, a mid-30s sex worker in New South Whales Australia, where her indu...

[SXSW Review] Crazy Eyes

There’s very little redemption in Crazy Eyes, a film that opens with the type of disclosure that appears buried in the end credits next to the copyright informa...

[SXSW Review] King Kelly

I would have never guessed Louisa Krause had it in her, front and center as a webcam girl in King Kelly, with an opening as she masturbates for her adoring fans...

[Review] The Kid With a Bike

Reality is a pretty easy thing to portray in a movie. We all have a pretty firm grip on the rules of the world, and the way that certain events will play out on...

[Review] Jeff, Who Lives At Home

There is a lot to love about Jeff, Who Lives At Home, the newest film by the writing/directing team of Mark and Jay Duplass. I could (and intend to) go on for p...

[SXSW Review] Electrick Children

Rebecca Thomas’ Electrick Children opens in an undefined time and like another film about a village, it is revealed what appears to be the past is present day. ...

[SXSW Review] In Our Nature

In Our Nature is a strong debut feature by Brian Savelson. There is a trend this year (and somewhat last year with Sophia Takal’s Green) of people in their late...

[Review] Casa de mi Padre

Breaking the fourth wall is a daring choice to do a few times in a film. The minds behind Casa de mi Padre show that they are beyond bold, simply going for it a...

[SXSW Review] Sinister

Scott Derrickson's previous film, the remake of The Day the Earth Stood Still, didn't live up to the promise he showed with The Exorcism of Emily Rose, an effec...
article placeholder

[SXSW Review] Somebody Up There Likes Me

Many a Whit Stillman character has pondered if people really change. In Barcelona it’s argued that you can’t change, but you can change your context. Somebody U...