Writer/Director Macon Blair is trying to bring back the chaotic road-trip comedy with The Shitheads. But does it work? I’m unsure. There are moments that land and genuine laughs sprinkled throughout, but it has left me wondering if the movie itself misses the mark or if I’ve simply outgrown this
Let’s talk about one of my favorite films to come out of SXSW, Edie Arnold is a Loser. The story is a coming-of-age indie film that channels teenage alienation through the raw energy of punk. The story follows the shy Catholic School dork, Edie Arnold, who is dragged against her will to a punk
"Edie Arnold is a Loser" is premiering at this year's SXSW in Austin, Texas. The comedy feature film is co-directed by Megan Rico and Kade Atwood. Ahead of it's debut here is the film's official trailer! Check it out below! ABOUT "EDIE ARNOLD IS A LOSER" Timid Catholic school dork Edie Arnold is
SXSW is where genre films go feral, indies get discovered, and at least one midnight screening turns into the movie everyone pretends they saw first. This year’s lineup feels aggressive in the best way. Big casts. Horror dominance. Streaming premieres are stacked next to theatrical plays. And more
With a little over a month until the yearly, much-anticipated festival, South by Southwest (SXSW) Conference and Festivals unveiled an additional wave of programming today for the upcoming 33rd edition of the Film & TV Festival, spanning March 12–18, 2026. As always, the lineup is packed, and
Onimusha: Way of the Sword is a franchise revival that feels like it understands what made the original games so much fun. The gameplay is fast, frantic, and often delightfully violent, while the game throws a surprisingly large number of systems and mechanics at you. Thankfully, most of them feel
"Universal Monsters: The Bride of Frankenstein Lives #1" is an intriguing start to the four-part story of the classic monster's origin.
For a film called All Of A Sudden, very little happens suddenly in Hamaguchi Ryusuke’s sensitive portrayal of friendship and care. The director (Drive My Car) has a particularly patient style of filmmaking that is not universally appealing, but it captures humanity in all its messy earnestness.
