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Film Festivals

Brooklyn Horror Film Fest photo
Brooklyn Horror Film Fest

NYC: Tickets available for first ever Brooklyn Horror Film Festival (October 14-16)


A showcase of independent horror
Sep 16
// Hubert Vigilla
Tickets are now on sale for the inaugural Brooklyn Horror Film Festival (BHFF), a showcase of independent horror movies taking place in North Brooklyn from October 14th through the 16th. The BHFF features world and regional p...
Women Texas Film Festival photo
Women Texas Film Festival

The first Women Texas Film Festival is coming (and worth paying attention to)


Also, I'm in it (just sayin')
Jul 29
// Alec Kubas-Meyer
It feels like, at any given moment, there are at least 25 film festivals going on that I'm supposed to be watching out for. There are big ones that everyone knows and small ones that no one will ever know and everything in be...

NYAFF Capsule Review: The Mermaid

Jul 27 // Alec Kubas-Meyer
[embed]220644:42996:0[/embed] The Mermaid  (美人鱼)Director: Stephen ChowRelease Date: February 8, 2016Rating: NR 
The Mermaid Review photo
I... don't understand
It's always fascinating to me to see blockbusters from other countries. The Mermaid is the highest grossing Chinese film of all time; that's a big flipping deal. Apparently the lead actress was chosen out of literally 100,000...

NYAFF Capsule Review: Maverick

Jul 03 // Alec Kubas-Meyer
[embed]220643:42980:0[/embed] Maverick (菜鳥)Director: Wen-tang ChengRating: NRCountry: Taiwan 
Maverick Review photo
Slow and steady wins the race
When you think of "Asian cop movie about systemic corruption" you likely get a very specific image in your head: fast-paced, action-packed thrill rides that keep you on the edge of your seat from start to finish. That's not t...


NYAFF Capsule Review: Twisted Justice

Jun 30 // Alec Kubas-Meyer
[embed]220637:42978:0[/embed] Twisted Justice (日本で一番悪い奴ら)Director: Kazuya ShiraishiRating: NRCountry: Japan 
Twisted Justice Review photo
Missing chapters
It's fascinating to watch a film about the police searching for criminal guns while living in a country where the ubiquity of guns is a constant national conversation. It's something I think about a lot while watching foreign...

NYAFF Capsule Review: Seoul Station

Jun 29 // Alec Kubas-Meyer
[embed]220639:42977:0[/embed] Seoul Station (서울역)Director: Yeon Sang-hoRating: NRCountry: South Korea 
Seoul Station photo
Hardcore animation is hard
At NYAFF 2012, I saw a movie called The King of Pigs. I wanted to like it, but I couldn't get over the atrociously bad translation. It ruined what should have been a very serious dramatic animated film. Seoul Station is ...

NYAFF 2016 photo
NYAFF 2016

The 2016 New York Asian Film Festival Is Almost Here


June 22 through July 9th
Jun 14
// Alec Kubas-Meyer
Is it really that time again already? Wow. Apparently it is. NYAFF time. For the past five years, we have been covering the latest and greatest Asian films as brought to us by the swell folks at Subway Cinema, and this year i...
New Directors/New Films photo
New Directors/New Films

NYC: New Directors/New Films starts next week (March 16-27)


A showcase for emerging filmmakers
Mar 08
// Hubert Vigilla
The 45th edition of New Directors/New Films starts next week in New York City. New Directors/New Films showcases emerging filmmakers from around the world, and screens some of the most talked about films on the festival circu...
DOC NYC 2015 photo
DOC NYC 2015

DOC NYC starts this week, runs November 12-19


The largest documentary fest in the US
Nov 09
// Hubert Vigilla
DOC NYC is one of my favorite film festivals in New York City. Each year, DOC NYC showcases some of the best non-fiction filmmaking from all over the world, including a number of Oscar winners and Oscar contenders. DOC NYC st...

Review: Shrew's Nest

Nov 04 // Alec Kubas-Meyer
[embed]220097:42685:0[/embed] Shrew's Nest (Musarañas)Directors: Juan Fernando Andrés and Esteban Roel Rating: NRCountry: Spain  The term "slow burn" gets thrown around a lot. I know I've used it more than once. Sometimes it's a useful term to describe how a film functions; other times it's a way to say something is boring without having to use that language. Sometimes people think things are a slow burn when they're really not. Shrew's Nest isn't a slow burn, though I know of others who say it is. Those people are either accidentally ignorant or willfully ignorant, but either way they're wrong. They're wrong, because the sequence of events that ultimately lead to the narrative boiling over aren't slow at all. They're very deliberate, placed perfectly in order to ratchet up the tension while also revealing the multiple facets of each character. At first, we see characters effectively through their own eyes, how they try to present themselves to the world. Then we see them through the eyes of others, where some of those seams start to show. Ultimately, we see them for who they truly are. And, not unexpectedly, what we find there isn't pretty. Montse is confined to the house. Not by some external force but an internal one. She can make it to the door, but she'll never go past it. Her sister, who she refers to as niña (translated as "the girl"), can go out. The girl goes to work during the day, and Montse stays home. She cooks and cleans and makes sure that her sister stays away from men. Because men are bad people who do bad things. (Note that it's clear almost immediately what happened to Montse, but that doesn't make the ultimate reveal any less painful, nor does it really prepare you for what follows.) One day, a man basically falls into her lap. As Carlos tries to leave his apartment (a floor above the girls'), he falls down the stairs, breaking his leg and hitting his head. After asking for her help, he faints. She brings him inside, binds his leg, and puts him in her bed. What follows, of course, is misery. Also, Misery. From the outset you know that Montse is unhinged, but the question is how far she'll go to keep Carlos there. The answer: Really Fucking Far. But in order to get to that point, we need context. Montse is viscous, something we learn early on, but seeing how her madness manifests itself is crucial to making the violence feel justified. Violence for the sake of violence can be fine, but there's something disquietingly realistic about characters in Shrew's Nest. Montse has had a rough time of it, and her psyche has been shaped accordingly. The girl is a little afraid of her sister, but the relationship is at the point where that's generally fine, until Carlos comes into the picture. Carlos isn't particularly concerned, particularly since Montse is so kind to him, but he doesn't understand the situation. He believes her when she says she had a doctor visit, but we know she's lying. Each time a character makes a decision, even if they make the wrong one, it felt fair. Characters do stupid things, but so do people. And characters don't do certain stupid things that they would be expected to do in a horror movie. Shrew's Nest is not particularly scary, but it is consistently unsettling. It's also claustrophobic, taking place entirely in a single apartment building (two apartments and the stairwell between them). That's good both for both budgetary and narrative reasons. The world never really feels larger than the one building, even as people other than the leads come in and out. That's important, because Shrew's Nest takes place in a place where other people live. Misery was in the middle of nowhere, but Montse doesn't have that sort of luxury, and neither do the filmmakers. This building – and really just the one apartment – needs to feel like the entire world, and it succeeds in that respect.  In fact, it succeeds in pretty much every respect. The minor issues I had ultimately don't matter, and as I think back on it, I barely even remember what they were. Only the good things stick in my brain, and there are a whole lot of good things. It's well crafted, well acted, well concepted, and well executed. There are some moments that are truly grotesque in the absolute best way, and there are images I'm not going to be able to scrub from my mind for quite some time. With a film like this, that's really all you can want. And Shrew's Nest delivers that and a whole lot more. 
Shrew's Nest Review photo
Shrew's Company
When I was in middle school, we'd periodically have a writer, Jon Land, come and talk to us. He'd talk about writing and life and whatever else. (Honestly, I don't really remember what most of those talks were about, but what...

NYKFF 2015 photo
NYKFF 2015

The 2015 New York Korean Film Festival is coming


Runs November 6-11 at the MoMI
Oct 26
// Alec Kubas-Meyer
My favorite New York-based film festival of the year is the New York Asian Film Festival. It has a special place in my heart for a lot of reasons. Among the smaller, more tightly-focused festivals, though, the New York Korean...

NYAFF Capsule Review: Partners in Crime

Jul 23 // Alec Kubas-Meyer
[embed]219686:42500:0[/embed] Partners in Crime (共犯)Director:Country: Taiwan  
Partners in Crime photo
Jungle of breadcrumbs
Partners in Crime is the reason I love the New York Asian Film Festival. It's the reason I love film festivals in general. It's the sort of gem that you will likely never see outside of a festival. I have always been imp...

Japan Cuts Capsule Review: Pieta in the Toilet

Jul 23 // Alec Kubas-Meyer
[embed]219688:42498:0[/embed] Pieta in the Toilet (Toire No Pieta | トイレのピエタ)Director: Daishi MatsunagaCountry: Japan 
Pieta in the Toilet photo
Don't let the name fool you
Pieta in The Toilet is done a disservice by its name. From the country that brought us Zombie Ass: Toilet of the Dead, there are certain expectations that come with a name of that sort. And the use of such a well-known religi...

Japan Cuts Capsule Review: Strayer's Chronicle

Jul 22 // Alec Kubas-Meyer
[embed]219670:42496:0[/embed] Strayer's Chronicle (Sutoreiyazu Kuronikuru | ストレイヤーズ・クロニクル)Director: Takahisa ZezeCountry: Japan 
Strayer's Chronicle photo
X-Men for nihilists
It's hard to make a rip-off of X-Men without hundreds of millions of dollars to back up the production. With a relatively minimal budget, any version of the mutants with superpowers who have to fight other mutants with (bette...

NYAFF Capsule Review: Kabukicho Love Hotel

Jul 22 // Alec Kubas-Meyer
[embed]219626:42495:0[/embed] Kabukicho Love Hotel (Sayonara Kabukicho | さよなら歌舞伎町)Director: Ryuichi HirokiCountry: Japan 
Kabukicho Love Hotel photo
No hope for the hopeless
When director Ryuichi Hiroki came out to introduce Kabukicho Love Hotel, he said something to the effect of, “Please stay through the credits. After the credits, you will see some hope.” It wasn’t really adv...

Japan Cuts Capsule Review: I Alone

Jul 21 // Alec Kubas-Meyer
[embed]219665:42490:0[/embed] I Alone (この世で俺/僕だけ | Kono yo de ore/Boku dake)Director: Sho TsukikawaCountry: Japan 
I Alone Review photo
Save the baby
I Alone is a film about a lot of things. It's about political corruption and kidnapping, sure, but it's also about responsibility and staying true to one's own beliefs. It's about fighting until the bitter end, because i...

NYAFF Capsule Review: Revivre

Jul 14 // Alec Kubas-Meyer
[embed]219609:42489:0[/embed] RevivreDirector: Im Kwon-TaekCountry: South Korea 
Revivre Review photo
The End
Revivre is director Im Kwon-Taek’s 102nd film. Think about that. Really, really think about what that means. Even if most of his early films were essentially throwaways created to entertain the unwashed masses, this man...

NYAFF Capsule Review: Coin Locker Girl

Jul 14 // Alec Kubas-Meyer
[embed]219612:42486:0[/embed] Coin Locker Girl (Chinatown | 차이나타운)Director: Han Jun-HeeCountry: South Korea 
Coin Locker Girl photo
Family values
Director Han Jun-Hee introduced Coin Locker Girl as a "fun" film. He said that he doesn't joke much but he made a fun movie and hoped we would have fun with it. And either his translator really missed the point of his in...

NYAFF Capsule Review: Chasuke's Journey

Jul 13 // Alec Kubas-Meyer
[embed]219663:42484:0[/embed] Chasuke's Journey (天の茶助 | Ten no Chasuke)Director: SabuCountry: Japan 
Chasuke's Journey photo
Mr. Angel's Screenwriting Workshop
Chasuke’s Journey is an indictment of dramatic shortcuts in writing. The head tea server in heaven works among the screenwriters who decide the fates of everyone below, but their stories are trite. The immortal one who ...

NYAFF Capsule Review: Nowhere Girl

Jul 13 // Alec Kubas-Meyer
[embed]219660:42485:0[/embed] Nowhere Girl (Tōkyō Mukokuseki Shōjo | 東京無国籍少女)Director: Mamoru OshiiCountry: Japan 
Nowhere Girl Review photo
Whup whup whup whup
New York Asian Film Festival co-programmer Samuel Jamier has a tendency to describe films as “interesting,” and he will sometimes say the word five times in half as many minutes when introducing them. He didn&rsqu...

NYAFF Review: Tokyo Tribe

Jul 07 // Alec Kubas-Meyer
[embed]219610:42463:0[/embed] Tokyo TribeDirector: Sion SonoRating: NRCountry: Japan  If you asked a small child to describe to you what they thought when they heard the phrase "rap battle," you'd probably get something like Tokyo Tribe. This isn't a film about a few MCs spittin' some ill beats in order to prove themselves and ultimately win the respect of their peers; it's a film about a city ravaged by rap-related crime and the ultimate gang war that breaks out. And much of the dialogue spoken between the characters flows against the thumping beats that back the entire film. It's a rap musical; it's a martial arts action film; and it's a sardonic comedy eviscerating systemic issues with Japanese culture. It's everything you could possibly want it to be and a whole lot more shoved into just two hours of screentime. (It's also a manga adaptation. Shocker, that.) I honestly wonder who will find the music more grating: people who hate rap, or those who love it. It's pretty obvious why the former would hate it, but the latter is the more interesting thing to discuss. This is a film that clearly has reverence for rap music, but more often than not it makes a pretty poor case for the genre. Rapping is hard. (I should know. My dream is to be a white rapper some day, but I'm terrible at it, and it definitely won't happen.) I get the impression that a lot of people don't appreciate the linguistic ability and agility required to really get some funky fresh rhymes going. Unfortunately, those are things the general cast of Tokyo Tribe lack. When the credits rolled, a couple of Japanese names (written in Japanese letters) were followed by "Young Dais." I'd been expecting something like that, because I knew right off the bat that Kai, the head of the Peace and Love gang, was actually a rapper. Everyone else had an awkwardness to their rhythm that Kai had on point from start to finish. Everyone else was amateur by comparison. And yeah, of course they were. They're actors, and he's a rapper for one of Japan's various boy bands. It was a good casting choice, but it made me wish that there were more rappers and fewer actors. (There were some others that were clearly rappers as well (I particularly liked the heads of the female gang), but they weren't crucial to the story and didn't get much screentime.) Sion Sono has played up style at the expense of substance in the past, but never so dramatically as here. Tokyo Tribes oozes more character from an average frame than most films in their runtime. Whether it’s the ridiculous and elaborate sets or the bizarre image distortions and lens flares (or a combination of the two), this is a movie that is distinctive and memorable. Love it or hate it, you cannot deny it. You don’t forget that you’ve seen a movie like Tokyo Tribes. You can’t, unless you legitimately have a memory disorder. And if you do… well, you’ll get to see it for the first time all over again, and there’s something magical about that too.  But, of course, form can overtake function, and that undoubtedly happens here. During the film’s final confrontation, one of the characters raps The Point of the movie, and I nearly said (out loud), “Oh! So it’s a film with a message.” It wasn’t funny then, and it’s not funny now, but up until that moment the film wasn’t building up to anything other than a battle. I mean, there’s a “Good vs. Evil” thing in the sense that the bad guys hate Kai's gang because of the peace and love thing, but that never feels like more than a way to artificially build conflict. And there’s nothing inherently wrong with that, but to pretend at the 11th hour that this was all in service of something? Come on.  The only time when style gets away from the film is in the moments of pathetically poor CGI. There are a few moments where it’s so blatantly fake that the veracity of the moment is ruined. You have to suspend a whole lot of disbelief in order to get into this movie, but there’s still a limit. A tank that looks like something a child would make in a My First AutoCAD class is that limit. And it’s not just that tank, though that’s the most obvious example of it. What’s worse is the blood. In the past, Sion Sono films have been horrifyingly bloody, but the blood was real. It felt like a thing that existed in the film. My only real problem with Why Don’t You Play in Hell? was that it took the easy way out on occasion (and lower-budget Asian cinema clearly hasn’t figured out digital blood sprays yet (come on guys, Fincher had this shit down in 2007)). But here it's worse, because even if the initial spray in his previous film was sometimes faked, at least the blood staining the floors and the people after the fact were real. The moment could be forgiven in service of the greater good. Not so here. The film verges on being bloodless, because the red stuff has no feel to it. It's just an effect lazily thrown onto the screen a few times and then forgotten about. But those are all relatively minor in the grand scheme of things. People have said that Tokyo Tribes is too much of a good thing, and I don't think that's quite accurate. It's not too much of a good thing, because it's too many things to be too much of any one of them This film throws the proverbial kitchen sink at the screen and does so with an ungodly amount of technical flair. When you get sick of rapping, it turns into a (fantastic) action movie. The punches may not always land, and the wirework is very clearly wirework, but ya know what? It's freaking awesome. And then there's more rapping. And then there's some rapping and fighting. And it's all awesome. A plausible argument could be made that there's just too much movie, that it could have been cut down by 20 or 30 minutes without much narrative impact. But to what end? The content of the film is nothing if not excessive. Why shouldn't the film itself embody that as well?
Tokyo Tribe Review photo
Well then.
My favorite film to play at last year's New York Asian Film Festival was Sion Sono's cinematic love-letter/masterpiece Why Don't You Play in Hell?. It's a spectacular film, and now that it's seen a domestic release, y'all hav...

Fantasia 2015 photo
Fantasia 2015

Full 2015 Fantasia Film Festival lineup unveiled


Festival season keeps going strong
Jul 07
// Alec Kubas-Meyer
Although we've just kicked off coverage of one film festival and will soon be covering another, this seems like as good a time as any to let you know that there is a third pretty awesome festival that happens every July: the ...

NYAFF Review: Meeting Dr. Sun

Jul 01 // Alec Kubas-Meyer
[embed]219608:42457:0[/embed] Meeting Dr. Sun (Xingdong daihao: Sun Zongshan)Director: Chih-yen Yee Rating: NRCountry: Taiwan  Everyone knows the rule of threes. You can do a joke three times before it becomes grating. If done well, that repetition can make it amazing, but going beyond that just becomes frustrating. I don't know who who it came from, but I've heard it said that the trick to Family Guy's humor is that things become funny again after you've done them for the 27th time. It's funny, funny, funny, not funny, not funny, infuriating... kinda funny, funny, amazing. And that's kind of accurate. I'm sure there's something in our brains, probably a fear response, that tells us that eventually this thing that is making us uncomfortable with its repetition is actually something to be laughed at (again), lest we drive ourselves actually crazy. Whatever it is, it works. Sometimes. Meeting Dr. Sun really wants that to be true. Or at least, its editor does. Because apparently he left the editing bay after he put together his rough cut and someone walked by and shouted, "It's perfect!" Every single scene is too long. Every. Damn. One. You could cut at least 10 seconds from the end of every sequence in the film and it would only benefit the film. Most shots go on too long, and every joke definitely goes on too long, but sometimes they become funny again. Meeting Dr. Sun is a heist movie, of sorts. Some kinds can't afford to pay their class fees, so they decide to steal a statue and sell it for scrap. But they have to steal it. But because they're children (end of middle school/beginning of high school (or the Taiwanese equivalent of that), if I had to guess), everything is inherently very silly. As it's presented, there are no great stakes, and there are no serious dangers. It's not even really clear what it would mean if the kids didn't pay their class fees. (Here my American ignorance is probably at issue, though the film's dialogue makes it seem like it's not a necessity to get through the year.) The whole thing feels appropriately childish, and on some level the humor actually works like that as well.  Some years ago, I was having dinner with a friend and his extended family. His very young cousin wanted to be the center of attention, and so he said to said to his dad, "Hi mommy!" and everyone laughed. And then he went to every single person around the table (nearly a dozen of us) and said, "Hi mommy!" to all the men and "Hi daddy!" to the women. The first couple of times, it was adorable. By the time he got to me? It was infuriating. But the kid thought he was the cat's pajamas, and he kept doing it until his dad (thankfully) stopped him. He would have done another round of the table, I'm sure, because he didn't understand what actually made it funny, just that other people were laughing. And that's what the humor in Meeting Mr. Sun is like. I laughed pretty hard on multiple occasions, and some of the people around me laughed so hard I literally (not figuratively) thought they were going to die, but then once I'd moved on, the young kids onscreen wanted to keep doing the joke. They keep pantomiming or dancing or talking or moving or doing any of those other things that kids do, because... they're kids. What else are they gonna do?  That said, there's a weird, dark undercurrent about issues of socioeconomic class structures throughout the film. And while it's always there, it doesn't come up explicitly until the end, when it hits in a fascinating, mood-wrecking kind of way. And thinking back on the film through that lens, it's actually pretty seriously depressing; a (very) long sequence involving two characters trying to prove that their family is worse off is played for humor, sort of, but it's really very sad. At the time, that was in the back of my mind, but it didn't snap into focus until that moment near the end. But this theme seems so at odds with the comedic intentions of the film. Director Yee wanted us to laugh. But here was this grand theme about poverty and what it forces people to do, even on a small scale. And... we were supposed to laugh at it? I mean, I definitely did. I'm just not sure how I feel about having done so.
Meeting Dr. Sun Review photo
Child's play
In the two hours leading up to the US premiere of Meeting Dr. Sun, I saw director Chih-yen Yee speak twice. First was at a reception hosted by New York Taipei Economic and Cultural Office. The second was just minute...

NYAFF 2015 photo
NYAFF 2015

The 2015 New York Asian Film Festival lineup and schedule are here


My favorite festival of the year returns
Jun 08
// Alec Kubas-Meyer
The New York Asian Film Festival is very near and dear to my heart. When I started at Flixist in 2011, I was a news writer. I wasn't supposed to be writing reviews or doing any of that high-minded stuff. But then my girlfrie...
Japan Cuts 2015 photo
Japan Cuts 2015

2015 Japan Cuts Film Festival lineup unveiled


And it's pretty flipping cool
Jun 05
// Alec Kubas-Meyer
One of the best parts about being an Asian film lover in New York is the late-June-through-mid-July run of Asian-centric festivals. The second half of that time is taken up by the Japan Cuts Film Festival, a showcase at the N...

Tribeca Review: Maggie

May 08 // Hubert Vigilla
[embed]219246:42343:0[/embed] MaggieDirector: Henry HobsonRelease Date: May 8, 2015 (limited)Rating: PG-13 Wade (Schwarzenegger) brings his daughter Maggie home from the city after she's attacked by a zombie. Bite victims slowly turn. Symptoms include necrosis, cataracts, dizzy spells, respiratory problems, and a heightened sense of smell. It's only a matter of time before Maggie will need to be killed or sent to a quarantine center, and the latter may be a worse fate. At certain points of Maggie, I was struck by how Schwarzenegger has aged in an interesting way. The texture of his face is like tree bark from certain angles and in certain light. More than that, the expressiveness of his brow and his eyes has increased. Same goes for his mouth, as if the stoic straight line we're accustomed to from his blockbusters is able to communicate more with age. It's not just a one-liner dispenser, and his scowls seem layered. Patiently holding a shot on Schwarzenegger has the potential to reveal his inner emotional machinery. This unexpected depth in Schwarzengger's performance comes mostly from the film's quiet moments. In one scene, like something out of a Terrence Malick film or an Andrew Wyeth painting, Wade wanders a field introspectively. His silhouette from behind has a heftier grimness in the dimming light. It's impossible to forget he's Arnold Schwarzenegger, and yet maybe the moment works better than it would otherwise because it's Arnold Schwarzenegger trying to negate his own Arnold-Schwarzenegger-ness for the sake of the story. Maggie is at its best when it uses zombie-ism to explore the impending loss of a loved one to a terminal illness. In Maggie's case, it's about coming to terms with the inevitability of death. Had Schwarzenegger not been cast, the film would have been billed as a showcase for Breslin. She carries at least half of the film. (She's the title character, after all.) When not succumbing to fits of dread, Maggie tries to live just like a teenager. There's a normalcy about living with her condition. In a brief sidetrip from the farmhouse, we see Maggie with her friends being carefree before going back to high school in the fall. Infected or not, to them, at least for now, she's still Maggie. The film's handful of missteps have less to do with the performances than the occasional saccharine note in the script. Bits here and there feel a little too much like "father and daughter bonding" beats in a movie. Breslin and Schwarzenegger perform them well, but the actors seem more natural when exchanging small looks and little lines together throughout the film rather than dedicating a full scene to semi-expository bonding. An accretion of affection is almost always preferable to a tenderness dump. For a film that's propelled more by its quiet moments, the wind down of Maggie features an overbearing bombast in the sound design and David Wingo's otherwise low-key score. It undermines some of the control that Hobson maintains for the film, and I wonder how much better a scene or two would play if they were muted. This might be one of the few times that anyone's called for an even quieter and more delicate finale to a movie featuring Arnold Schwarzenegger, but in Maggie, the performances are able to do the emotional heavy lifting on their own.
Maggie Review photo
I know now why you cry
Maggie is one of the last things you'd expect out of Arnold Schwarzenegger. Abigail Breslin, who plays the title character? Okay. Joely Richardson, who plays Maggie's stepmother? Sure. But not Arnie. Though Maggie's a post-ap...

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Tribeca Film Festival tickets go on sale March 31st


The New York City festival will feature appearances by George Lucas, Monty Python, Jon Stewart, Stephen Colbert, Mary J. Blige, Christopher Nolan, and maybe movies
Mar 27
// Hubert Vigilla
The Tribeca Film Festival will run from April 15th-26th here in New York City. American Express holders can order festival tickets on March 31st, and the general public can order tickets starting April 6th. The festival will ...
Kung Fu Fest NYC photo
Kung Fu Fest NYC

NYC's Old School Kung Fu Fest 2015 has so many ninjas


You don't even know
Mar 24
// Alec Kubas-Meyer
The folks over at Subway Cinema head up the annual New York Asian Film Festival, my favorite of all the year's festivals, and I'm always excited to see what else they cook up. Last month, we brought news of their efforts to f...
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Help fund The Old School Kung Fu Fest 2015 in NYC


There will be ninjas this year--NINJAS!
Feb 24
// Hubert Vigilla
We here at Flixist love the people at Subway Cinema. Not only do they put on the New York Asian Film Festival (NYAFF) and the New York Korean Film Festival, they also hold a great showcase of classic martial arts movies here ...
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SXSW 2015 film lineup released


Let's get this party started
Feb 03
// Matthew Razak
SXSW is my favorite festival to cover and one of the few I do regularly. I won't be able to attend this year because of the impending birth of my first child, but it looks like I'll be missing out on some great stuff. Plenty ...

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