Alex Williams

The opening night of Fantastic Fest is always a memorable event, and this year proved to be no exception.

To call “Lucy” science fiction is a bit of a stretch, since the film’s basic premise — a woman is given a special drug that allows her to access 100 percent of her brain, rather than the usual 10 percent — is based on a profoundly stupid platitude.

The Daily Texan talked to Zach Braff, actor and director of “Garden State,” about his new release, “Wish I Was Here” and the personal touches he adds to his films.

Writer/director John Carney’s latest film, “Once,” felt like a miracle — an intimate little film whose shaggy story and grainy visuals were held together by the sheer power of its music and performances.

All good science fiction really needs is a great hook, and “Snowpiercer’s” setting is just that: in a post-apocalyptic icescape, a train holding the last scraps of humanity circles the globe in a never-ending loop.

Celebrated film actor and Longhorn Eli Wallach died Tuesday night at the age of 98.

The Daily Texan has put together a short list of screenings this week that are worth checking out.

Two years after “The Avengers” made over $600 million dollars, audiences are starting to feel the repercussions.

Sequels always have a high bar to clear: living up to the promise of their predecessors as they make the continued story of their characters feel natural.

“The Raid” was both a stone-cold classic and an ode to narrative simplicity, executing its tried-and-true concept with bone-crunching efficiency. The sequel isn’t content to rehash the first film, and ups the stakes across the board.

While the headliners are the most anticipated films at SXSW, many of the festival's best surprises are under the radar. 

The raging guitar of a heavy metal song blasts as fire crackles in a burning pickup truck. 

“Devil’s Due” is neither a hit nor a miss, playing in well-established territory, but still packing in enough clever, disconcerting moments and likable characters to keep its brisk 89-minute runtime from lagging.

2013 was a year brimming with fantastic films that both entertained and resonated with audiences — so much so that the films of this year couldn’t be limited to a traditional top 10 list; a list of 10 simply won’t even scratch the surface.

As soon as “The Hunger Games” books attained massive popularity, it was inevitable that they would be adapted into an equally popular film series, and the first film certainly made a big impression on the box office.

There’s no better procrastination tool than Netflix.

“12 Years a Slave” is not the sweeping historical epic the trailers are selling, and it certainly isn’t the world-changing, Oscar-destined cinematic revolution the early reviewers declared it after its premiere at Telluride Film Festival.

Two of the most faithful book-to-film adaptations in recent memory are “The Road” and “No Country for Old Men,” both based on works by Cormac McCarthy, whose writing style is so inherently cinematic that very little had to be changed to fit the big screen.

In fall 2010, as many of the events that comprise “The Fifth Estate” were occurring, Aaron Sorkin and David Fincher were receiving high praise for “The Social Network,” their adaptation of a similar story.

The Daily Texan interviewed Jim Mickle at this year’s Fantastic Fest, where his remake of “We Are What We Are” screened.

From his very first film, UT alumnus Robert Rodriguez has had an eye for franchises.

For movie buffs, the month of October means one thing: 31 days of horror movies. With tons of horror flicks to choose from, The Daily Texan is going to be providing a daily horror recommendation.

“Don Jon” is a surprisingly frank directorial debut for Joseph Gordon-Levitt, who wrote, directed and stars in the sex comedy, released this weekend.

A normal weekend at the Alamo Drafthouse might include a movie quote-along, but Fantastic Fest brought horror, sci-fi and fantasy films from all over the world to North Austin.

Every September, Fantastic Fest brings some of the most offbeat, violent and generally oddball films of the year to the screens of the Alamo Drafthouse

Their attempt to continue the story is somewhat lethargic, with a scatterbrained screenplay that makes many of the same mistakes as the “Saw” sequels.

The usual fare that plays at Fantastic Fest is hilariously brutal, pushing audience members to the limits of what they can reasonably handle, which makes it all the more interesting that the relatively bloodless “I Declare War” won the Audience Award at last year’s festival. The film portrays children’s games in a truly fantastical, wildly entertaining story about the dynamics of childhood and friendship.

The fall movie season is one of the most reliably inconsistent as audiences have to contend with the wasteland of September before ramping up into the awards-season onslaught of November and December. While there are plenty of great films in theaters now (“You’re Next,” “Ain’t Them Bodies Saints,” “The World’s End” and “The Spectacular Now” chief among them), The Daily Texan has put together a list of upcoming releases to keep an eye out for in the unreasonably warm winter months.

The best coming-of-age films have a distinctly personal stamp, and “The Spectacular Now” shines for the authenticity director James Ponsoldt employs. Ponsoldt visited Austin to host a Q-and-A at a screening of “The Spectacular Now,” and The Daily Texan sat down with him to discuss the film. 

Of all the films one would expect to launch a franchise, “V/H/S” is both one of the most unlikely and the most surprisingly sequel-friendly. “V/H/S/2” ups the ante in every way, with a much-improved roster of reputable horror directors delivering a veritable Baskin Robbins of terror.

“Pacific Rim” blends massive spectacle and dense concepts with a distinctly human edge, and could easily emerge as the most purely entertaining film of the summer.

Many films are enhanced and emotionally boosted by a musical score, but few have the ability to do the same using silence.

Of all the films coming out this summer, “World War Z” has the most potential to be a disaster.

Documentaries often focus on social issues in dire need of change or stunning depictions of nature, but it takes true fortitude for a filmmaker to make a documentary about themself.

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.

We at The Daily Texan know all about those lazy afternoons spent trying to figure out what Netflix title is most appealing, and we’ve put together a list of films for couch-surfing.

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

As our government continues to fight a War on Drugs, HBO has quietly figured out the science of the televised equivalent of crack cocaine, and it’s called it “Game of Thrones.”

"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.

After 10 hours of “Die Hard,” you certainly know how to spot a “Die Hard” film, and “A Good Day to Die Hard” is the furthest thing from it.

Soderbergh has threatened to retire after “Side Effects,” but the riveting, surprising thriller proves that his voice is as strong as ever.

“Warm Bodies,” the new film from director Jonathan Levine, is commendable for doing something that no zombie film has done before — trying to imbue the undead with personalities, and mostly succeeding. 

It’s no secret that the voting members of the Academy of Motion Picture Arts and Sciences skew toward the elderly, which makes it something of a surprise that they nominated “Amour,” a glaring reminder of human mortality, for five Oscars earlier this month.

“Zero Dark Thirty” is fascinatingly single-minded, wonderfully acted and directed with passion and intelligence, all of it making for a film that’s unambiguously essential viewing.

An extremely rewarding year of cinema unfurled across big screens in dark, crowded rooms.

Horror films have to choose a style and stick with it.

Universal Soldier: Day of Reckoning” appears to be totally unrelated to the other films in the franchise.

“Twilight” is the kind of franchise whose success simultaneously makes zero sense and all the sense in the world.

Fifty years after the iconic secret agent ordered his first martini, shaken, not stirred, we find the Bond franchise at an impasse.

It would be easy for “Flight” to become a one-man show, but the supporting cast is far too engaging to allow that to happen.

“Cloud Atlas” isn’t a film that can be assessed on any sort of traditional scale.

Any Austin film fan should make sure to attend for an experience equally entertaining, illuminating and just plain Texan.

The Daily Texan participated in a roundtable interview with Derrickson and Cargill at Fantastic Fest.

At this point in his career, any avid moviegoer is actually looking forward to Ben Affleck’s films.

Every year around this time, the Austin film scene wakes up with stomachs full of pizza and beer as well as minds weary from the injection of cinematic insanity that is Fantastic Fest.

Alex Williams reviews Fantastic Fest Day 2 films shown on Saturday, September, 22, 2012.

The great thing about film is its subjectivity: the variety of ways to view a movie depending on the personal lens you bring to it.

It may not be especially memorablel, but its all-or-nothing approach keep things from ever becoming boring

It is the crest of the dramatic arc, that brief moment where everything appears to be going well for our hero before a dramatic reversal of fortune.

the success of last year’s “Bridesmaids” proved there is just as much potential for a quality comedy dominated by female leads. “For a Good Time, Call ...” continues that trend with its affecting examination of female friendship.

When the pieces of David Cronenberg’s adaptation of Don DeLillo’s “Cosmopolis” began to fall into place, the biggest question mark was always Robert Pattinson, who plays billionaire Eric Packer.

William Friedkin’s latest film wears its NC-17 rating like a badge of honor.

The film is an epic conclusion that beautifully contrasts crushing despair and unyielding optimism.

The film suffers from a lack of momentum here and there, but is hypnotizing nonetheless.

"Magic Mike" a worthy addition to director Steven Soderbergh's filmography; examines seedy profession with smarts.

The film is exaggerated and blown out to accommodate the requirements of the R rating, and anyone hoping for more will be disappointed.

The film operates in several genres at once and juggles the ensuing demands of its narrative marvelously.

There is a certain breed of film that’s never sat well with me, and “Beyond the Black Rainbow” is, unfortunately, one of these films.

"High School" is a flawed but worthwhile alternative to the explosion-heavy summer fare.

Brit Marling manages to sell Maggie as engaging and magnetic, exactly the sort of person who would be able to amass followers easily.

Marvel Studios had to launch four separate franchises and establish four superheroes worth caring about in the process.

Inspired by an article in Texas Monthly, “Bernie” tells the story of Carthage, Texas’ most beloved resident, Bernie Tiede (Jack Black).

The film’s plot is a mishmash of staples from almost every genre shoehorned into your standard high school melodrama.

“The Cabin in the Woods” is a movie best seen with little to no knowledge of its contents going in.

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.

Daily Texan staffers Alex Williams and Katie Stroh discuss the most recent Mad Men episode.

“The Raid” blew the roof off the Paramount Theatre with its barrage of punches, explosions and general awesomeness.

With any book-to-film adaptation, there’s bound to be lots of disappointed grumbling about how the film doesn’t live up to the book.

Check out Day 7 of the Film portion of SXSW.

Some films rule their genres while other fall flat.

An inside look at a few of the movies showing during SXSW: "Girls against Boys," "Killer Joe," "The Last Fall," and "Safety Not Guaranteed."

Here are a few of the big tickets at this year’s festival you should seek out.

The movie has a rotten center but an exterior so funny and charming that it’s hard not to like.

When “Comin’ at Ya!” was released back in 1981, its 3D presentation probably left something to be desired.

Old characters return in what promises to be seven last episodes of uproarious hilarity.

Many of the problems in “This Means War” can be traced back to its screenplay.

While not a terrible film, "Safe House" is still predictable with a weak, silly ending.

Evil-little-boy genre is a tried and true offshoot of horror cinema.

This year's Oscars are shaping up to be a bit blander than years before as the Academy remains inside the box.

Daldry's interpretation of Foer's novel seems to toe the line of effective drama. 

At a brisk 79 minutes, “Carnage” never stops to take a break, always throwing its characters into new conflicts with each other.

As the third season continues, the show remains full of inappropriate gut-busting jokes and star voice talent.

Life & Arts columnist Alex Williams counts down to the best movie of 2011.

The spy thriller is expertly cast and Gary Oldman leads a pack of wonderful performances with his quiet, intense acting.

Hopefully, next year's “This Means War” can balance its spy and romantic comedy angles as well as its funny, propulsive trailer does.

“My Week With Marilyn” more or less hinges on Michelle Williams’ performance as American sex symbol Marilyn Monroe. 

Shailene Woodley performance  in “The Descendants” promises to redirect the 20-year-old actress’ career path.

While von Trier often goes to great lengths to punish his lead, Dunst manages to escape much of his notorious wrath.

“The Skin I Live In” inhabits a very dark and depraved corner of the horror genre.

The Daily Texan spoke with Todd Strauss-Schulson, who directed the third film in the franchise as his first feature project.

This chilling, paranoid drama stormed Sundance with an amazing performance by the stars.

The 3D third installment has made the characters grow up a little, while staying as immature as possible and significantly less socially relevant.

A final twist can't save this Shakespearean tale from a muddled and boring screenplay.

The main appeal is most certainly its cast, cribbed together with notable supporting actors from TV's best dramas.

A film by UT alumni, "Austin High" suffers from occasional weak spots but is overall likeable at Austin Film Festival.

Here are five films The Daily Texan is looking forward to at this year’s festival.Austin

“Weekend” is an example of a romantic interlude in two lives that happen to bump into each other at the right time.

George Clooney’s first directorial effort since 2008 returns to a socially conscious theme.

By no means is it a stretch to call director Jonathan Levine’s career troubled.

Follow @AlexWilliamsDT for more of our continuing Fantastic Fest 2011 coverage.

Follow @AlexWilliamsDT for more of our continuing Fantastic Fest 2011 coverage.

Every scene is designed to make the viewer as uncomfortable as possible and there’s not a relatable character in this amoral film.

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.