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SXSW Film Festival

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    SXSW '12 Review: 'Bad Brains: A Band In DC' A Kinetic, Frenetic & Long Overdue Tribute To The Legendary Hardcore Band

    As Henry Rollins states early on in "Bad Brains: A Band in DC," a definitive documentary on the legendary hardcore band is long overdue. "Legendary" is even understating it a bit, as Bad Brains helped to invent what we know as American hardcore, taking inspiration from the Sex Pi...

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    SXSW '12 Review: 'Somebody Up There Likes Me' A Surprisingly Ambitious Deadpan Charmer

    Bob Byington’s "Somebody Up There Likes Me" is about a guy who doesn’t grow up. In fact, he doesn’t even age over the film’s span of about three decades in his life. It may have something to do with a mysterious briefcase, the origins of which are only ever suggested by animated cloud interludes and...

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    SXSW '12 Review: 'Monsieur Lazhar' A Meek & Restrained Crowd Pleaser

    When "A Separation" won the Academy Award for best foreign language film last month, I was thrilled -- Asghar Farhadi's splendid domestic drama is one of the best things I've seen in the past few years. But it also came as a genuine surprise, because I was convinced the Canadian fi...

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    SXSW '12 Interview: 'Frankie Go Boom' Director Jordan Roberts On The Inspiration Behind Putting Ron Perlman In A Dress

    We weren't sure what to expect of "Frankie Go Boom," the sophomore directorial feature from director Jordan Roberts. There were the helmer's diverse previous credits, from directing ensemble dramedy "Around The Bend," which starred Christopher Walken, Michael Caine and Josh Lucas, to writing the nar...

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    SXSW '12 Interview: Matthew McConaughey & Tracy Letts Talk Working With William Friedkin & NC-17 Rating For 'Killer Joe'

    "Killer Joe" is a film primed to mark a comeback for its director and star. Not only has William Friedkin made his best movie in decades with the sordid Texan crime tale, but Matthew McConaughey continues to add to his recent renaissance of fascinating work that has seen him team with with filmmaker...

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    SXSW '12 Review: Weird & Sometimes Confusing 'John Dies At The End' Is Still An Odd & Engaging Genre Treat

    The problem addressing fans of “Midnight” films and wacky horror can succinctly be found in the opening of Don Coscarelli's “John Dies At The End.” It involves axe handles, zombies, mutant leeches, axe heads, hardware store trips and answering a dead man as to whether or not the axe in question is t...

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    SXSW '12 Review: The Duplass Brothers' 'Do-Deca Pentathlon' Is A Minor Effort That Should Have Remained Buried

    It’s always important to keep in mind, while reading reviews, that interpreting art is a deeply personal experience. What might speak to someone on a visceral, emotional level will slide right over another’s head. Or anger them. Or bore them to tears. The third option was the experience of this writ...

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    SXSW '12 Review: HBO Series 'Girls' Solidifies Lena Dunham's Place As A Bold New Voice in American Comedy

    As far as young independent filmmakers go, writer/director Lena Dunham has been the subject of an excessive amount of conversation and handwringing, even by the admittedly loose standards of the ever-chatty Internet age. Her first feature, "Creative Nonfiction," was accepted to South by Southwest an...

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    SXSW '12 Review: 'Beast' A Lean & Surreal Portrait Of An Extreme Relationship That Doesn't Quite Go Far Enough

    "Beast" is a lean, surreal portrait of a marriage in its extremes from Danish director Christoffer Boe, who's probably still best known for his 2003 feature debut "Reconstruction." The film's focus keeps almost exclusively to Bruno (Nicolas Bro) and Maxine (Marijana Janko...

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    Scott Rudin & Sony To Remake SXSW Chess Documentary 'Brooklyn Castle'

    It seems producer Scott Rudin has had a thing for documentaries lately. Back in January at Sundance, the acclaimed, Oscar winning producer picked up the remake rights to the buzzed about video game documentary "Indie Game: The Movie," and now at SXSW, he's swooped in on another doc hop...

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