SXSW
Despite a few stumbles along the way, I Will Make You Mine is a deeply nuanced directorial debut and character study that will leave audiences satisfied.
The Carnivores is an effective psychological foray that may be divisive among some, but is worth biting into, to really appreciate the talent within.
Good Ol Girl succeeds in bringing attention where attention is due, and providing an understanding to the changes Texas ranchers must embrace if they are to survive.
Lovebites trusts its audience to make the connections, the empathy, and the call to action.
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.