While the film proves to be a stylistically arresting experience, fans hoping for “Drive 2” are bound to be disappointed.

The first “Despicable Me” flick was a pleasant enough diversion, but the only thing that necessitated a sequel was the towering box office gross.

Sofia Coppola’s “The Bling Ring" is discouragingly one-note, far more interested in glamorizing the exploits of its titular Hollywood Hills burglars than the consequences of their actions.

With their previous works, “Superbad” and “Pineapple Express,” Seth Rogen and writing partner Evan Goldberg perfected the formula of the bromantic comedy.

“The Purge” is a philosophical argument in search of a film, and its thinly-plotted exploration of humanity’s dark nature comes across with the subtlety and nuance of a jackhammer.

The Daily Texan sat down with Marling at SXSW to talk about her new film.

To a degree, cinema has become standardized to a set of audience expectations, with many movies defined as superficial variations on something you’ve seen before, which means that films with the nerve to color outside the lines are often celebrated simply for being different.

Joseph Kosinski’s debut feature, “Tron: Legacy,” was a visual marvel with a script that failed to connect on any sort of logical or emotional level, rendering the film an empty exercise in image and sound.

Director Derek Cianfrance returns with the overly ambitious “The Place Beyond the Pines.”

When a film opens with a shot of a group of firefighters watching one of their own poop in the middle of a street while a car burns to a crisp in the background, you know that it’s going to operate on its own level of logic.

"Stoker" is a riveting, visually stunning coming-of-age story sure to please fans and curious newcomers alike.

Once you start to peel back the layers of the film’s neon-drenched aesthetic, “Spring Breakers” becomes a coyly disguised film about, among other things, responsibility, living a rewarding life and the corruptive power of Britney Spears.

"Grow Up Tony Phillips" weaves the tale of a teenager struggling to come to terms with how grown-up he really is. 

Alex Williams reviews Holy Ghost People, The Spectacular Now, and The Lords of Salem. 

Alex Williams gives a review of his first day of film viewing at the South by Southwest festival.

"21 & Over" — the booze-fueled buddy flick. 

Oscar pools are usually half-informed guesses mixed with eeny-meeny-miny-mo decisions on the more obscure categories, and we’ve put together a few tips to help you get ahead in this year’s Oscar season.

Three members of the Life and Arts staff have gathered their collective love experience to provide these movie selections based on where you and your partner — or lack thereof — are this Feb. 14. 

“Identity Thief” is the blandest possible version a movie seemingly assembled from bits and pieces of better films on some sort of production line for mediocre comedies.

Every time FX debuts a new series, it is worth taking notice. It’s rare for one of these series to be anything but male-driven and action-packed, but “The Americans” is a departure for FX in more ways than that.

When a horror film comes out in January, its quality is often a lot scarier than its content.

Few shows last year drew more insipid criticisms than Lena Dunham’s “Girls”. 

Surrealism is usually a cinematic touch that rubs me the wrong way; something about the level of self-indulgence and intentional audience disconnect is simply grating.

All of the best films are, in one way or another, “about something.”

“Life of Pi” may be too empty in the long run to fully satisfy, but it is still commendable for making something compelling out of a sparse premise and setting.

Steven Spielberg has made plenty of films about war, while “Lincoln” is his first film about making peace.

November is apparently the month of the alcoholism message movie.

“Wreck-It Ralph” is a surprisingly savvy, entertaining film with an unabashedly sweet, uplifting message and plenty of unexpectedly well-rounded twists on popular video game tropes.

David O. Russell is one of Hollywood’s most unpredictable working filmmakers.

The idea of an action franchise driven by Tyler Perry is nothing short of hilarious.

“Sinister” will not disappoint those looking for a few easy scares, but it’s a much smarter film than many will give it credit for.

Once upon a time, Luc Besson was the crown jewel of French action cinema.

Time travel is tricky. The intricacies of it, the endless possibilities for paradox and timeline diffusion, can wreak havoc on a narrative, and the most brilliant touch of Rian Johnson’s “Looper” is the way it quickly dismisses any in-depth delving into its own logic.

The filmmaker steps back for the first time in his career, and that’s the biggest disappointment the movie has to offer.

There is no film festival in the world quite like Fantastic Fest.

Netflix Friday movies include Haywire, The Grey, Battle Royale, Goon and Bronson.

It would be easy to call the film outrageous if its events weren’t so well-documented.

LeBeouf can be good in the right role, but he’s utterly unconvincing as a hard-ass bootlegger.

There are better films in theaters this weekend, but “The Watch” is innocuous, entertaining and downright funny.

“Extraterrestrial” is a flawed but entertaining mixture of science fiction and romantic comedy.

There’s nothing quite like Oliver Stone's new film in theaters right now: It’s brash, bold and bloody.

“The Amazing Spider-Man” is an unoriginal but entertaining superhero film that will satisfy audiences.

Uniquely American film offers respectful view of President Lincoln; supporting cast and increasing silliness do little for film however.

It’s been one week since the fifth season finale of “Mad Men” and we’ve pulled together our experts in a roundtable postmortem on Matthew Weiner’s acclaimed ‘60s drama. Spoilers ahead.

Anderson’s latest film takes steps toward breaking his singular voice and directorial persona into a more accessible, grounded, but still whimsical and flighty sensibility.

“God Bless America” is a passionate, energetic, deeply felt critique of American society, filled with anger and regret.

“Sound of My Voice” screened at last year’s South By Southwest Film Festival, and The Daily Texan sat down with Marling after the film showing.

“The Five-Year Engagement” remains watchable and entertaining throughout.

The Daily Texan participated in a roundtable interview with Jack Black during last month’s SXSW Film Festival.

This documentary on bullying highlights the prevalence of child cruelty, a theme often ignored in school systems.

When it tries for laughs, the film almost always fails, but when it lets its cast play off of one another, it’s hard not to smile.

No one was really asking for a sequel to 2010’s “Clash of the Titans.” After all, that film was an absolute mess.

We worked through the first four seasons of AMC’s hit drama and found five essential episodes for catching up.

The Daily Texan had a round table interview with Hill and Tatum in regards to their new film 21 Jumpstreet.

Take a look at a few films being shown, including "Sleepwalk With Me," "Searching for Sugar Man," and "The Aggression Scale."

Take a look at a few films being shown, including "The Do-Deca Penthalon," "The Raid: Redemption," and "V/H/S."

Know nothing. Avoid the trailers, avoid plot details, but go see it when it releases.

Every year, the Super Secret Screening is one of the most anticipated and discussed events of SXSW and this year is no different.

The idea of Moverman re-teaming with Harrelson for an examination of LAPD corruption is a compelling one.

The Oscars have become about studio politics instead about the awarding the content of movies.

Drafthouse Films made a smart move in picking up the eventual Best Foreign Language Film Oscar nominee.

“Journey 2” won’t win any fans over to the franchise, because as a narrative, it’s a poorly constructed, laughably terrible failure.

Testing the boundaries of what a found-footage film can be.

It's a brutal, unexpectedly touching survival film that’s a far cry from the goofy escapism Neeson has been starring in recently.  

"Red Tails" has potential to be a landmark film, but undercuts itself at every turn.

Film accomplishes its goals yet is standard, slight, and easily forgettable

 The Daily Texan relases the second part of the series of movies, music, books, and tv shows to look forward too this year.

“Justified’s” most appealing feature has always been its deep-fried Southern setting.

It’s no surprise that many of this year’s filmmakers took it upon themselves to look back to better days.

Michel Hazanavicius’ ode to silent cinema is both a front-runner for the Oscars and a creative, textured film history lesson.

Martin Scorcese’s “Hugo” is almost like two films in one: half family-oriented adventure film and half Scorcese film lesson.

Challenging his image with this new role, Clooney gives a performance that’s nothing less than fantastic.

“The Muppets” never fails to put a big, goofy grin on the faces of its audience members.

What is a “Twilight” film without sparkling vampires and camp performances? Boring.

Realistic portrayals of  adult relationships are harder to get right, and only a few films have managed to do so.

Olsen: Watching that movie also gave me an understanding of how nudity could be used in a way to further tell a story.

Like numerous heist films before it, “Tower Heist” relies strongly on the chemistry of its cast, and the Stiller-led ensemble doesn’t disappoint.

Director Roland Emmerich takes a turn from disaster to dramatic.

The film places its characters in awkward situations but ultimately makes for a satisfying moviegoing experience.

The real strength in “Butter” lies in the character details.

Part three finds young versions of sisters Katie and Kristi being terrorized by the demon, and predictable haunted house shenanigans ensue.

“Footloose” is fighting an uphill battle to live up to the reputation of a classic and win fans over. 

Craig Brewer’s fourth feature film, a remake of the 1984 classic, continues the director’s tradition of southern-set films

Fantastic Fest is arguably the best week of the year to be a film fan in Austin. 

Don't miss out on all the highlights of Austin's ongoing film festival

Secret screenings and epic night parties aren't the only reason Fantastic Fest is the best week of the year to be a film fan in Austin.

“Drive” is a step up on every level. It’s a film that is absolutely immersed in style — a masterful exercise in perching an audience firmly on the edge of their seats.

Awww yeah — a list of serious Oscar candidates, big-name actors taking serious roles, drama and history in one sweet package — this year in cinema will be a big one.

There is no reason for “Bucky Larson: Born to be a Star” to exist. It has one good joke in its entire run time.

While not the Oscar player it could have been, "The Debt" is a relatively well-paced, fairly intense thriller that makes for a good distraction for a couple of hours.

From the sharp-toothed beasts to the quietly damaged child, the film feels right at home with del Toro’s “The Devil’s Backbone” or “Pan’s Labyrinth.”

Eisenberg: I had to do a lot of crossword puzzles to get up to speed [with Aziz Ansari] before we shot the movie.

Easily one of the worst films of the summer, the plot is about as complex as your average restaurant menu.

“Cowboys & Aliens” is the last big blockbuster of summer, and its fresh twist on the sci-fi genre makes it an entertaining ride.

“Attack the Block” blends the adventurous teens-versus-aliens feel of “Super 8” with the rough edges and hard living of “8 Mile” to create what will almost certainly be a cult classic.

“Captain America” is not only one of the best films of the summer, but it’s a benchmark for the superhero genre as a whole.

The Daily Texan talks with Azazel Jacobs about his sixth movie, "Terri."

“The Trip” may work better as a BBC miniseries than as a feature-length film.

Featuring the quietly devastating acting duet, odds it will be forgotten by the time awards season rolls around, and that’s truly a shame.

The series third installment, “Transformers: Dark of the Moon," is the most epic film of the summer so far.

"Bad Teacher" skirts a typically redemptive ending, Cameron Diaz shines in the female-driven comedy.

Stunning performances and a poignant, engaging story line make "Beginners" a must-see summer film.

It’s very rare that two films so completely identical are released on the same day — “The Art of Getting By” and “Submarine” are virtually indistinguishable from one another.

Because of the director’s rigid film-a-year production schedule, some of Woody's films come out desperately in need of a rewrite or two, and some come out just right. Thankfully, “Midnight in Paris” is one of the latter.

Canadian filmmakers have never made much of a mark on the cinematic landscape. Thankfully, they can now refer curious would-be cinephiles to Denis Villeneuve’s bold, disturbing “Incendies,” which was recently nominated for Best Foreign Language Film at the Oscars.

The first “Hangover” film was one of the most successful films of summer 2009. It's guaranteed that its sequel, “The Hangover: Part II,” will follow suit.

“Hobo With A Shotgun” bucks the trend, delivering a gleefully violent and entertaining film that more than lives up to the promise of its trailer.

The Daily Texan interviewed director Susanne Bier about "In a Better World."

Morgan Spurlock has a habit of making light, funny documentaries that tackle subject matter ranging from disgusting (“Super Size Me”) to potentially inflammatory (“Where in the World is Osama Bin Laden?”)

David Gordon Green’s recent reinvention of his career has been nothing short of fascinating to watch. After creating a name for himself making glacially paced, poetically written indies such as “Snow Angels” and “All the Real Girls,” Green did a complete 180 and began making uproarious stoner comedies such as 2008’s “Pineapple Express” and now the absolutely ridiculous and hysterical “Your Highness.”

“I Am Number Four” is a frustrating film. There are elements of a good film in there. The underused Timothy Olyphant is always a pleasure to watch, and the film’s action scenes are fantastically directed by D.J. Caruso. Unfortunately, entirely too much of the film can easily be described in one word: silly.

For the past decade, cable networks such as HBO, FX , AMC and Showtime have been embroiled in a competitive struggle to produce the best programming. HBO continues to produce strong dramas, and AMC’s “Mad Men” and “Breaking Bad” are among the best shows on TV. However, FX remains on top in terms of consistent quality, especially with its new boxing drama “Lights Out” and its Southern crime show “Justified,” which has just entered its second season.

On paper, “Morning Glory” sounds like a movie that would be easy to hate.

Dreamworks Animation, more or less built on the mediocre “Shrek” franchise, has been staging something of a renaissance since those films wrapped up. First, 2008’s “Kung Fu Panda” was a charming comeback for the studio, and this year’s “How To Train Your Dragon” and now, “Megamind,” have solidified them as a legitimate opponent to the animation powerhouse that is Pixar Animation Studios.

An outrageously dark comedy, “Four Lions” makes light of one of today’s most prominent and pervasive cultural phobias: Islamic suicide bombers.