Robert

You may remember a scene in the cult classic “Repo Man” in which, during a high-speed auto repossession, Emilio Estevez exclaims, “This is intense,” and Harry Dean Stanton laconically replies, “Repo man’s always intense.” Same goes for being a big city paramedic, and you might not even need the movies to tell you that. “Asphalt […]

Austin-based filmmaker Bob Byington never takes the easy road, even when he’s telling the stories about the same middle-aged sad sacks who’ve populated every indie dramedy under the sun. They’re mumblecore movies, but not really, mostly because they feel a lot more deliberate and snakier than the label tends to imply; he practically dares you

It can be fun to watch a gifted character chew scenery, especially when the performer has a good script and/or supportive collaborators. Caleb Landry Jones has neither in “Dogman,” a sweaty, listless crime drama about a handicapped dog shelter owner who’s also an amateur drag performer. Jones (“Nitram,” “Get Out”) plays Doug, a canine-loving misfit

It’s recess at a small school in Nigeria and the boys are kicking around an empty water bottle in an improvised game of soccer. Except for one. Anthony Madu on the far side of the playground, is performing a private ballet. One of his classmates asks, “Why is he dancing like a girl?” Anthony is

There’s nothing worse than watching a bio-doc about a revolutionary, unique, creative voice that reduces the life story of its subject to the basic beats, using standard techniques instead of embracing that which made this person’s story worth telling in the first place. Director Morgan Neville (“Won’t You Be My Neighbor?”) likely struggled with this

Based on Georgia Hunter’s novel of the same name, a fictionalization of a true story, Hulu’s “We Were the Lucky Ones” is a harrowing tale of resilience and family in the face of seemingly insurmountable odds. The improbable story concerns the Polish-Jewish Kurc family, who, beginning with Passover in 1937 until Passover in 1947, will

One of the most disturbing moments in a documentary filled with disturbing moments comes when it’s revealed at the height of the defamation suit against the loathsome Alex Jones that over one in five people didn’t, at the time, believe that there had been a massacre at Sandy Hook Elementary School. It can be tempting

A corporate video is not art, as much as its director might want it to be. And yet, the people who work on such projects are expected to display the slavish devotion of passionate and committed artists. Working 18 or 20 hours a day to produce commercial content isn’t worth it, that much is clear.

Is there any scenario in which “Late Night with the Devil” could have delivered on its promise? I’m not seeing it. Set in 1977, the movie envisions a nonexistent fourth commercial broadcast network (there were only three back then) and then imagines a competitor emerging to take down the reigning king of late night talk

Colin Burgess is having a bit of a moment with the buzzy success of the micro-indie “Dad & Step-Dad” and this week’s release of the truly funny and clever “Free Time,” a movie that uses Burgess’ on-screen energy perfectly. Ryan Martin Brown’s film jumps into the oft-visited waters of the quarter-life crisis but it does