The Dallas-based director's short is inscrutable, arty, and part of the excellent anthology ‘The Year of the Everlasting Storm.’
Dallas’s mercurial pop phenom writes and stars in this loosely autobiographical satire that raises questions it doesn’t deign to answer.
Dallas-based director David Lowery’s ‘The Green Knight’ goes medieval on a hoary romance of King Arthur and Camelot.
Megan Fox and Bruce Willis star in the thriller, which is very loosely based on an infamous Texas serial killer.
Texas filmmaker Will Bakke’s latest movie offers only a glimpse of the joys and pains of young adulthood.
Each blue VHS box was a transmission from another planet that promised there were others like me somewhere.
In her latest documentary, the Dallas-raised singer bravely confronts her demons.
With Dallas-born Jesse Plemons as a villainous FBI agent, the historical drama tells how informant William O’Neal’s betrayal led to the assassination of Black Panther Fred Hampton.
Did Melissa Lucio, the First Hispanic Woman on Death Row in Texas, Kill Her Daughter? An Uneven New Documentary Raises More Questions Than Answers.
‘The State of Texas vs. Melissa’ creates empathy for Lucio, but the film lacks a clear and balanced exposition of the deeply troubling facts of the case.
Houston native Justin Simien's bloody second film has a social message, but it's at its best when it embraces absurdity and camp.
A new documentary urges viewers to see McCorvey’s essential humanity, not just her role as a symbol in the abortion wars.
The Austin director’s war film is notable for its near-total absence of politics.
Watching Carroll Shelby and Ken Miles take on their bosses feels prescient.
Andrew Patterson’s small-town science fiction standout was filmed in Whitney, Texas.
The Latin American folk tale has frightened generations, but its big-screen adaptation relies too heavily on repetitive scares.
The film, directed by Longview native John Lee Hancock, focuses on the legend of Texas’s most famous bank robbers—and our collective fascination with them.
The micro-budget feature launched a number of A-list careers.
“Two men, both alpha males, from vastly different cultures, are about to collide. . . HARD.”
YOU COULD HEAR A GASP from the audience when Clint Eastwood suddenly appeared on the screen. It was just a preview of his new movie, Unforgiven, but there he was in a long, dark slicker, his face in profile, staring menacingly from beneath a dark hat with a flat rim:
LUIS BUNUEL’S THE DISCREET CHARM of the Bourgeoisie is a deliciously pungent concoction by the 72-year-old filmmaker and his young co-scenarist, Jean-Claude Carriere, that will set your spirits soaring and your mind aglow. Never before has this always fascinating artist been quite so tantalizing, so tongue-in-cheek and so deft in