• The Menu

    The Menu


    Half genuinely toothy satire, half Funny or Die sketch.

  • Hellraiser: Hellworld

    Hellraiser: Hellworld


    I have now watched (in order) Hellraiser, Hellraiser (2022), and Hellraiser: Hellworld, which means I somehow know less about Hellraiser canon than I did before I started.

  • Don't Worry Darling

    Don't Worry Darling


    This review may contain spoilers. I can handle the truth.

    Harry Styles, Incel, is not something I had on my Don’t Worry Darling bingo card.

  • The Banshees of Inisherin

    The Banshees of Inisherin


    Somehow my mental health is both Brendan Gleason and Colin Farrell. Inside you there are two Irishmen, the one you feed, etc.

  • RRR



    Watching RRR amidst the sepia-tone nightmare of modern Hollywood blockbusters made me feel like Joan Allen in Pleasantville.

  • Medieval



    “When Medieval focuses on swordplay and stagecraft, the film belongs in the mix alongside Black Death and Outlaw King as overlooked period action titles of varying self-importance. Its brutality is often refreshing, and director Petr Jákl and cinematographer Jesper Tøffner balance sweeping aerial shots with chaotic and brutal fight sequences – Foster’s character fights with a maul, and Medieval does not skimp on the facial deconstructions.”

    Read the full review at the Austin Chronicle

  • Montana Story

    Montana Story


    “Perhaps Montana Story is part of a new wave of films that herald the death of the Western – movies that see the genre through to its modern, natural conclusion.”

    Read the full review at the Austin Chronicle

  • Lightyear



    “It is wild that Lightyear should find itself in common thematic territory with a science-fiction classic like Deep Space Nine and botch the landing so thoroughly. Pixar is not usually one to fall short when it reaches for the stars.”

    Read the full review at the Austin Chronicle

  • Jurassic World Dominion

    Jurassic World Dominion


    “There’s an emptiness to Jurassic World Dominion that is made evident by the recent success of Top Gun: Maverick, another legacy sequel that used its narrative callbacks as an excuse for self-examination.”

    Read the full review at the Austin Chronicle

  • Escape the Field

    Escape the Field


    “Writer/director Emerson Moore is smart enough not to do too much, instead letting the half-baked puzzles and vague gestures at worldbuilding give the film its foundation. This is a film about turning limitations into strengths: start with a cornfield that obscures the need for complicated production design, throw in a few moments of gore, and let the Redbox dollars pretty much mint themselves.”

    Read the full review at the Austin Chronicle.

  • Jethica



    “When the time comes to write the definitive history of mumblegore – the offshoot of mumblecore that favors naturalistic indie horror – we may just need to save a seat for Jethica.”

    Read more at The Playlist

  • Deadstream



    "Given the use of physical comedy and deadite-inspired creature design, Deadstream will earn endless comparisons to the Evil Dead franchise. But the true brilliance of the film – and what earns it serious consideration as an Evil Dead successor – is the character of Shawn Ruddy."

    Read the full Austin Chronicle review here: www.austinchronicle.com/daily/sxsw/2022-03-12/sxsw-film-review-deadstream/