All times are subject to change!! Please check them beforehand!


Friday at 7pm
AFS at The Marchesa
6226 Middle Fiskville Rd.
Friday at 7:05pm at 10:05pm
Alamo Drafthouse South Lamar
Fifty Shades of Grey
Fri. & Sat. at 7pm & 10:30pm
Alamo Drafthouse Ritz
Sing- Along
Friday at 10:05pm
Alamo Drafthouse Lakeline

Big Screen Classics:
Saturday at 4pm
Tuesday at 7pm
Alamo Drafthouse South Lamar
Saturday at 10:20pm
Alamo Drafthouse Slaughter
Jersey Boys Croon Into Austin Print E-mail
Thursday, 26 March 2015 14:14

By Katie Stotts

Ready to make it big? Jersey Boys is at Bass Concert Hall through March 29th, and it's a show you don't want to miss. Jersey Boys is based off the true story of Frankie Valli and the Four Seasons. Frankie and his friend Tommy were just a couple of young boys from Jersey who got their excitement from "knocking over" jewelry stores.

Even though Tommy was in and out of jail, he noticed Frankie's unique vocal talent and wanted to create a star. A band slowly began to form, but not without a lot of work and a huge helping of Jersey attitude. But as fame hit, and the hits kept coming, the band's problems back home got as big as they did.

This production is chock-full of the hits that made the Four Seasons famous, including: Big Girls Don't Cry, Sherry, Earth Angel, and Walk Like a Man. Jersey Boys is a throwback hits good time, with a helping of campy humor and drama that will give you a new appreciation for how four Jersey Boys became the Four Seasons. Big girls don't cry, so get your tickets now and you won't have to!

For more information, call (512) 471-4454 of to buy tickets, click here!


Photo from Jeremy Daniel, (pictured left to right) Drew Seeley, Matthew Dailey, Hayden Milanes and Keith Hines

SXSW: Love & Mercy Print E-mail
Sunday, 22 March 2015 22:55

By: JJ Pollack


Love & Mercy is producer-turned-director Bill Pohlad’s take on the tumultuous, if ultimately redemptive life of Beach Boys leader Brian Wilson. Split between the start of Wilson’s mental health problems while recording the groundbreaking 1966 album Pet Sounds, and his later relationship to the tyrannical and exploitative psychologist Eugene Landy during the 1980s, the biopic treads new ground in its genre without resorting to fabricating, or even exaggerating, facts from Wilson’s life.


While the movie takes some time to establish its experimental structure, and distinguish itself from the typical ‘hardship turns to fame turns to excess’ format of so many recent biopics, Love & Mercy teaches a valuable lesson for filmmakers; choose an inherently interesting story over inherently famous one. The relative obscurity of Wilson’s story and hardship may in fact be where its impact comes from, as it’s hard to believe that such a star could fall so far. The film does nothing, if not to peel back the veneer of celebrity to reveal the fragile psyche beneath, an attribute surely more common in artists than the cult of personality would have us believe.


Paul Dano gives a nuanced, slowly-crumbling performance as young Brian, and John Cusack’s awkward charm has never been more perfectly suited than to play the vulnerable suitor of old Brian. It can’t be said that Love & Mercy was a particularly uplifting movie, as Paul Giamatti is ever in his stride pulling the strings as the manipulative Landy. But the movie, as Wilson’s present state it would seem, ends on a positive note, and does so without feeling disingenuous. Love & Mercy forgoes the satisfying lie to present us with the reality of mental illness, celebrity exploitation, and as hard as it is to believe, true genius.


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