SXSW
Just when I thought coming-of-age fatigue is about to kick in, Booksmart overwhelms with its confident energy and wisdom.
The Highwaymen is a well-intentioned Western drama that takes a new perspective on the Bonnie & Clyde mythology, but it needs another run at tightening the runtime.
The Art of Self-Defense is not only a must-see, it’s an easy contender for the best film of the year so far.
The Day Shall Come is so cartoonish that it just doesn’t feel believable or possible, let alone historical fact.
A pleasant surprise, Long Shot is an absolute must-see if you are a fan of Charlize Theron and Seth Rogen.
Us embraces puzzling imagery and timing to evoke a sense of interpretative meaning, which leads to personal intimacy with the viewer.
Her Smell never overstays its welcome, thanks to a stellar ensemble, Alex Ross Perry’s solid script, and Elisabeth Moss’s powerhouse performance.
In our second review from SXSW 2019, Hazem Fahmy reviews The Beach Bum – a fantasy with no real-life application.
After an enormously successful debut with Get Out, Jordan Peele delivers another bold film with Us, and seems to be creating a whole new genre.
Jax Griffin was initially extremely sceptical of the possibilities of virtual reality, but as she explored the VR projects available during the SXSW VR expo and spoke with the creators, she soon changed her mind.
Field Guide to Evil will likely please genre aficionados and horror buffs, but on the whole, its lack of tonal cohesion will leave others underwhelmed.
We sat down with documentary producers Yvonne Huff Lee and Jason Delane Lee of the Lagralane Group and chatted about their journey into film finance, their favorite past productions, what they have coming up next.
It was absolutely inspiring to see so much strong female content at SXSW Conference and Festivals, and Family, the debut feature by Laura Steinel, was no exception.
We were able to talk with Marja-Lewis Ryan, Samantha Housman and Ross M. Dinerstein, the director and producers of the Netflix drama 6 Balloons.
Relying heavily on the personal over the historical, 1985 is a gripping reminder that the social drama need not be loud and tumultuous for it to be effective.