Movie ReviewsSeen a lot of movies, got a lot of opinions.
Let’s get Lily Gladstone her Oscar.
“Project Hail Mary”’s Head is Lost in the Stars
Project Hail Mary is trying to be both weighty and a bouncy popcorn flick, but that’s a difficult scale to balance.
SXSW ’26: “Seekers of Infinite Love” is a Winding Road
Seekers of Infinite Love has amassed a smart collection of comedians who are unafraid to push the scene to the extreme. When they’re unleashed, the film soars, but it’s often bogged down by one too many stops along the way.
SXSW ’26: “Basic” is a Riotous Look at Modern Dating Insecurities
Basic is an ode to the mess we carry around inside of us and how, sometimes, the most unexpected person can help us tidy up.
SXSW '26: A Safe Distance Intertwines Intimacy and Survival
A Safe Distance is about what happens when we get too close, both physically and emotionally, and how liberation can confine those it seeks to free.
SXSW '26: Forbidden Fruits isn't Tart Enough to Have Bite
Forbidden Fruits has the pieces of a cult classic, they just belong to different puzzles.
SXSW ’26: Mallory’s Ghost is a Haunted House Flick By Way of an Ex-Lover
Mallory’s Ghost is a movie built on fears, but one that sees the good that can come from facing them.
SXSW ’26: Let “Brian” Break Your Heart and Tickle Your Funny Bone
Brian is an instant classic filled to the brim with comedy, heart, and love for this one life of ours.
SXSW ’26: “Their Town” is Teenage “Before Sunrise” Magic
Their Town is an affirmation of existence for all of us, no matter what age.
SXSW ’26: “Cornbread Mafia” Sets the Law Ablaze
Cornbread Mafia is a story about a community. The mantra that The Godfather of Grass lives by is “mind your own business, treat people good, and don’t tell nobody.”
SXSW '26: Amazing Live Sea Monkeys Opens the Packet on the Toy's Legacy
Amazing Live Sea Monkeys does a fantastic job of chronicling Yolanda’s fight to reclaim this company and its legacy, but shies away from the larger conversation of what it means to remember someone for everything that they are.
SXSW '26: Adam's Apple Beautifully Captures a Life in Transition
Adam’s Apple is an attempt to capture life’s beautiful fleeting nature and the changes we all go through to find ourselves.
SXSW '26: Edie Arnold is a Loser is an Underdog Winner
Edie Arnold might be a loser, but Edie Arnold Is a Loser is a real winner.
SXSW ’26: “Hokum” Abandons Specificity for Generic Witchcraft”
Hokum doesn’t have sharp teeth, which makes it difficult to sustain a feeling of tension or fear. Without that, there’s not much left in the world of horror movies, and Hokum feels vaguely empty-handed.
SXSW ’26: “The Snake” Has Heart in its Bite
The Snake may seem like a rambunctious odyssey across Prince Edward Island, but that skin is quickly shed to reveal something much more emotionally resonant.
SXSW ’26: “Ready or Not 2: Here I Come” is Ready to Play
Ready or Not 2: Here I Come builds on the bloody mess its predecessor created to make a sweet, gnarly little popcorn flick about saving the world by making amends with your sister.
SXSW ’26: “Summer 2000: The X-Cetra Story” is an Ode to the Weirdo Girlies
Summer 2000: The X-Cetra manages to capture both the strangeness of virality online and how much it means for a pre-teen girl to be taken seriously. Long live X-Cetra.
SXSW '26: Your Attention Please is a Mighty Call to Action
Your Attention Please isn’t hiding the fact that it wants your focus, but in doing so, it wants to give you back your life.
SXSW ’26: Is it Suicide or Murder at the heart of “Kill Me”
Part murder mystery, part comedy, Kill Me is a wholly unique beast, much like mental illness.
SXSW ’26: I Loved “I Love Boosters”
I Love Boosters is hard to contain, and that makes for a hell of a ride for the viewer. Big, bold, and truly visionary, Riley has given himself, his cast, and his crew a playground on which to make a film so rooted in madness that it effortlessly captures the absurdity of our world.
“The Bride!” Leaves its Titular Character Voiceless
In The Bride!, there’s enough interesting scaffolding to believe that another version of this movie exists, and that it could capture the distinct feminine rage of feeling voiceless.
