Reviews “Proxima” is a beautifully moving story among the stars By: Sarah Gorr Eva Green stars as a female astronaut who overcomes sexism and her own doubts for a journey into the universe.
Reviews “Blood Vessel” nicely fills in that post-Halloween void By: Michael Snydel Writer-director Justin Dix pits WWII shipwreck survivors against monsters in a sometimes too restrained but fun horror adventure.
Features There’s plenty to admire, though little to love, in “The Loveless” Kathryn Bigelow’s directorial debut has its standout elements but is overall too detached for its own good.
Reviews “Operation Christmas Drop” pleasantly opens the holiday rom-com season By: Ashley Lara Based on a true story, Netflix's family friendly comedy is as warm & smooth as a cup of hot cocoa.
Reviews Star Trek Discovery Season 3 Episode 4 Recap: “Forget Me Not” By: Clint Worthington The Discovery crew recenters itself in this new future, and Adira connects to her new self and her lost love.
Features “Someone Has to Die” — but why must it be queer people? By: Eric Langberg Netflix's Spanish-language miniseries traffics in gorgeous costumes and delectable intrigue, but does so at the expense of its queer characters.
Columns P.S.H. I Love You: “The Party’s Over” captures election-era anxiety The sequel to 1992's The Last Party sees Philip Seymour Hoffman reflects the polarized politics of 2020 through the 2000 race.
Anniversaries “We’re going this way”: “To Live and Die in L.A.” at 35 Pegged upon release as a retread of previous work, William Friedkin's neo-noir is something altogether different.
Reviews “The Mandalorian” returns to team up with “The Marshal” By: Megan Sunday Timothy Olyphant smolders his way to a top-tier guest spot on Disney+'s flagship space adventure series.
Reviews Great British Baking Show Episode 6 Recap: “Japanese Week” By: Ashley Lara The bakers try their hand at an array of questionably-provenanced Japanese dishes.
Reviews “May the Devil Take You Too” offers stylish, overstuffed scares By: Michael Snydel Timo Tjahjanto brings his maximalist sensibilities to a followup that tries to be several different horror movies at once.
Podcasts Andrew Carroll on the psychedelic sounds of “Lodge 49” and his new EP The LA-based musician reminisces on his work on the idiosyncratic AMC dramedy, and how its psychedelic sounds reflect on his new solo work.
Reviews “Come Play,” but only for a little while By: Matt Cipolla Jacob Chase's new horror film balances eery scares with a human core before it starts to teeter off the rails by the end.
Columns Criterion Corner: “Claudine”, “Parasite” October's Criterion offerings include one of the most soulful depictions of Black life in the '70s, and Bong Joon-ho's Oscar-winning 2019 masterpiece.
Reviews “His House” mines assimilation for effective scares By: Jonah Koslofsky Remy Weekes' haunting debut elegantly balances bone-chilling atmosphere with more socially relevant scares.
Filmmaker of the Month “Spider-Man” swung us into the brightness of the modern superhero era Sam Raimi brought his camp sensibilities to Marvel's friendly neighborhood Spider-Man, launching a bright new era for superhero filmmaking.
Austin Film Festival 2020 Austin Film Festival: “The Book Keepers” is an emotional page-turner By: Lisa Laman A cross-country book tour is the backdrop for an engrossing doc about coping with the loss of a loved one.
Austin Film Festival 2020 Austin Film Fest: Say hello to great filmmaking in “Farewell Amor” By: Lisa Laman delivers an emotionally engrossing directorial debut.
Reviews Star Trek Discovery Season 3 Episode 3 Recap: You can’t go home By: Andrew Bloom Burnham and company adjust to Earth and the Federation's changes over the years, coping with the concept of home in the process.
Austin Film Festival 2020 Austin Film Festival: Good filmmaking dies in “Two Deaths of Henry Baker” By: Lisa Laman Director Felipe Mucci delivers a crime thriller that’s heavy on darkness but light on substance.
Austin Film Festival 2020 Austin Film Festival: “Death of a Telemarketer” puts thoughtful commentary on hold By: Lisa Laman While effective at first, Khaled Ridgeway's feature debut goes from dark comedy to conventional sappiness.