No one knows the name BT Meza, but after his feature debut, which he wrote and directed, everyone is going to have some Affection for him. The film is an unsettling nightmare that no one ever wants to experience. Whenever… Read More ›
In Theaters
“Flush” is an entertaining comedy thriller for those who can stomach it. [The Overlook Film Festival]
There is something about potty humor and potty horror that, if done right, works, and if it misses it by the slightest of margins, it becomes something irredeemable. Somehow, director Grégory Morin (Ultimate Zombie Feast) and screenwriter David Neiss (Noir… Read More ›
Yûta Shimotsu’s sophomore film, cosmic horror “New Group,” challenges the meaning of “one of us.” [The Overlook Film Festival]
Muno (Yo, right), he’s tall and friendly Foofa (Oh, hehehehehe), she’s pink and happy Brobee (Woah), the little green one Toodee (Yeah, woo), she likes to have fun Plex (Woah), a magic robot Let’s all come and play with DJ… Read More ›
Just a “Normal” nefariously good time. [The Overlook Film Festival]
“Yea, and if some god shall wreck me in the wine-dark deep, even so I will endure… For already have I suffered full much, and much have I toiled in perils of waves and war. Let this be added to… Read More ›
Hot Contents: dark-tinged crime comedy “Chili Finger” may scald parents young and old. [The Overlook Film Festival]
There are many weird things regarding the rules of storytelling and one of them is tied to the concept of reality. Unless one is dealing with space wizards and laser swords, orcs and elves, a certain adherence to what is… Read More ›
Taratoa Stappard’s Māori gothic horror “Mārama” offers retribution and reclamation without making space for false righteousness. [The Overlook Film Festival]
“Kia whakatōmuri te haere whakamua (I walk backwards into the future with my eyes fixed on the past).” – A Māori proverb. There’s this strange belief coursing through some in the United States that European culture is being threatened by… Read More ›
“Hamlet” is a fun shadow play of its own ambition.
Times are so tough that even Hamlet no longer dreams of shadows. Instead, as Riz Ahmed (Sound of Metal; Bait) says of the Prince he dreamt his whole life of playing “Hamlet is someone who is grieving the illusion that… Read More ›
“Seekers of Infinite Love” provides little payoff for enduring a road trip with an estranged family of adults. [SXSW]
What were to happen if someone took the concept of losing a loved one, made it a road trip family drama comedy about deprogramming them, and applied it to a suicide cult? Well, for starters, it would be a cringe-inducing… Read More ›
“The Man with the Big Hat” mirrors the style of its focal point, Steven Fromholz. [SXSW]
Documentarian Austin Sayre’s The Man with the Big Hat reintroduces audiences to the independent legend of country music, Steven Fromholz, name that, for many, has lived just outside the mainstream despite a songwriting legacy that quietly shaped the genre. Having… Read More ›
“The Yeti” brings perfect creature feature excitement and personality for an entertaining venture.
The Yeti feels like a lost midnight movie discovered in a vault and somehow rebuilt for modern audiences without losing any of the raw, unpredictable energy that made grindhouse creature features so memorable in the first place. It plays like… Read More ›
Caleb Phillips’s sci-fi thriller “Imposters” demonstrates the cost of living an inauthentic life. [SXSW]
“Victims; aren’t we all?” – Eric Draven (Brandon Lee) in The Crow (1990) The beauty and horror of life is that there’re many different ways to look at a situation. Because of this, whether it’s a massive life event or… Read More ›
“Watching Mr. Pearson” tenderly illustrates the struggles of living with dementia, while reminding us of the importance of finding joy in life.
Death is the inevitable end we’re all going to experience at some point. If you’re lucky, you will live to an old age and have the opportunity to live a longer and more fulfilling life. But with old age comes… Read More ›
High school drama “Dead Deer High” misplaces its focus in examining the wake of school violence. [SXSW]
Trigger Warning: The subject matter within Dead Deer High centers on the aftermath of a school shooting. While a great deal of care is given to ensuring little feels melodramatic, the material may still be difficult for sensitive viewers. As… Read More ›
“Pizza Movie” satisfies as the next generational stoner comedy. [SXSW]
Every generation needs a stoner comedy that is so outlandishly insane and dumb yet brilliant that it stands the test of time by being ridiculous and entertaining. The early 2000s had both Dude, Where’s My Car? (2000) and Harold and… Read More ›
“Mallory’s Ghost” fails to take full form past the trope of a haunting past. [SXSW]
There’re plenty of ideas and concepts that are intriguing and thought provoking in Mallory’s Ghost, having its world premiere in the Competition section of SXSW Film & TV Festival 2026, but not all of them land. Nick Canellakis (Talent Has… Read More ›
Jonás Cuarón’s novel adaptation “Campeón Gabacho” exalts the power of hope and community at a time we need it most. [SXSW]
Despite all the arguments for America First ideology as a way to preserve the United States with the ideology formed on a basis of Christian Nationalism, it’s a belief system that cannot stand in the wake of actual data and… Read More ›
“Sinner Supper Club” delivers exactly what it promises. [SXSW]
The logline for Sinner Supper Club gives a rough idea for the movie. It’s “an improvised gay mumblecore ghost story shot on an iPhone in six days,” and I think that prepares audiences for exactly what they’re getting themselves into…. Read More ›
“Heritage” utilizes creativity in the found-footage genre to create an atmospheric experience. [Unnamed Footage Festival]
Heritage is a strong example of how found-footage filmmaking can still feel fresh when handled with restraint and intention. From its opening moments, the film carries a quiet confidence that immediately recalls the tonal playbook of the Coen Brothers, not in… Read More ›
“Crash Land” embraces the messy improv of life. [SXSW]
Crash Land can easily be pitched as Jackass with a ton of heart, but that shorthand barely scratches the surface of what makes the film resonate. Beneath its chaotic, stunt-driven exterior lies a surprisingly tender coming-of-age story that uses absurdity,… Read More ›
“Forbidden Fruits” tempts and delivers on thrills, comedy, and horror.
With two Gen Z female leads, the archetypes of Mean Girls (2004), similar plot points as The Craft (1996), and is not as sexually driven as Jennifer’s Body (2009), Forbidden Fruits is a powder keg ready to explode in epic… Read More ›