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SXSW Review: MoviePass, MovieCrash is a Comprehensive but Dry Exploration of a Glorious Year of Moviegoing
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It is possible that one day an excellent narrative feature in the vein of The Big Short, BlackBerry, Dumb Money or Margin Call will be made about MoviePass, a company built––and destroyed––by several larger-than-life figures. For now, we have Muta’Ali’s...
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Berlinale 2024 Review: THE EMPIRE Merges Cosmic Conflicts with Rural Quirks
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Bruno Dumont's latest work is not just another 'Star Wars' parody. [Read the whole post on screenanarchy.com...]
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Sound And Vision: Johan Renck
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In the article series Sound and Vision we take a look at music videos from notable directors. This week we look at several music videos by director Johan Renck. Johan Renck's new film Spaceman, is only his second feature, after...
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SXSW 2024: Roleplay, Gasoline Rainbow, Grand Theft Hamlet
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Documentaries have always held a prominent position at the SXSW Film Festival, and the best of the non-fiction form here in Austin feel like they encourage personal expression. It’s a festival (and a city really) that’s built around artists and...
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A Great Movie Year Deserved a Better Oscars
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When judging whether a particular year’s Oscars are “good” or “bad,” you should break down your response into separate criteria. Were you happy with what won? Did you like the speeches? Were there memorable unscripted moments? How was the host?...
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SXSW 2024 Review: RESYNATOR, Revelatory Musical History Turns Surprisingly Personal
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Alison Tavel's terrific film documents a remarkable inventor who just happens to be her father. [Read the whole post on screenanarchy.com...]
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THE HOBBY
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(For its 31st edition, the SXSW Film & TV Festival will host nine days of screenings from March 8-16, 2024. Check out Chris Reed’s The Hobby movie review. Seen it? Join the conversation with HtN on our Letterboxd Page.) Board games are a delight. They...
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SXSW 2024 Review: THE MOOGAI, An Examination Of Indigenous Trauma Let Down By Flaccid Script
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An Aboriginal demon steps in for the real-life enduring trauma of Australia’s “Stolen Generations” in Jon Bell’s debut feature, The Moogai. Government sponsored assimilation programs ripped tens of thousands of Aboriginal children from their families to be placed with white...
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SXSW Film Festival 2024: Babes, My Dead Friend Zoe, Y2K
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The first full day of features at the Paramount (after Opening night premieres of “Road House” and Netflix’s “3 Body Problem—and an AM preview of new episodes of “Hacks”) felt like a purposeful attempt by the programmers to offer escape....
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True/False 2024: Coming Home Again
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True/False is a rare gem. As a critic based in Chicago—whether it’s Cannes, Karlovy Vary, Sundance, SXSW, NYFF, or TIFF—I’m always venturing out of the Midwest to a festival in another region or another country. But no matter who I’ve...
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