SXSW 2019
Alice is a film that should enlighten anybody, because it’s about society as much as it is about Alice herself.
The Curse of La Llorona is not original enough to stand on its own, relying too intently on jumpscares and with not enough focus on the characters around them.
In his latest dispatch from SXSW, Kevin Lee reviews Darlin’, The Girl on the Third Floor and Snatchers.
Pet Sematary, in this critic’s opinion, is a constant battle between excessive production and exceptional performances.
In his latest dispatch from SXSW, Kevin Lee reviews Apollo 11, from director Todd Douglas Miller, and Aquarela, by Victor Kossakovsky.
Yes, God, Yes is a film you’d want to hug, where its authentic nature, lovable lead, and gentle director can win over anybody.
Good Boys is not for everyone, for it is messy and repetitive in what it’s doing, but it is also exceptionally funny, charming, and thoughtful.
SXSW 2019 featured some excellent horror films, like Us and Little Monsters, but also lesser ones like Tales from the Lodge and Tone-Deaf.
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.