Who in their right mind would want to see a prequel to Psycho? Sequels and remakes have been attempted, but have failed miserably recapturing the original’s magic. If Gus Van Sant can’t come out looking good when playing Alfred Hitchcock, then why even bother? A producer and writer from the show, Lost honcho Carlton Cuse, attended this year’s Southwest by Southwest to both tell us and show us why, premiering the show’s pilot to a few hundred people. It’s fair to say he answered the question of “who cares?” swiftly, mainly because of the prowess of Vera Farmiga, helping to bring real drama to the show’s key relationship. The pilot has a good deal of set up, but it still allows for smaller, more nuanced moments to tells us everything we need to know about Norman (Freddie Highmore) and his mother’s dynamic.

Joe Swanberg is one of a group of filmmakers who made their mark with movies that relied on improvisation more than script, 20 something ennui more than narrative and friends more than professional actors. This model works for some viewers, but it’s not designed to ever really appeal to the wider audiences. His latest film, Drinking Buddies, keeps the improv method, but it still manages to tell a cohesive and truly affecting story. A big reason for that is a cast of extremely talented actors with wicked good comedic timing in the lead roles. The four performers, along with a more assured Swanberg directing and editing, have crafted a story about heartbreak, temptation and friendship.

It’s not uncommon in this life to encounter a few strange people. There are strange people just about everywhere you go. Here at the South by Southwest Festival and Conference film, interactive, music, comedy, what have you you’ll always undoubtedly run into a few of humanity’s oddities. Much of which exists in the kingdom of geekdom. The throngs of the obsessed, often overwhelming in their need to tell you about their most passionate pursuits. It’s not hard to have a love/tolerate relationship with some of the most extreme examples. Because after all, everyone has their thing. In the past few years, with the rise of “geek” culture attributed to the democratization of information by the Internet, a number of documentaries have put lenses in front of some of these most impassioned members of society. One notable example would be the 2007 doc The King of Kong: A Fistful of Quarters. On his quest to find the nerdiest of classic arcade game fans, filmmaker Seth Gordon certainly found some interesting characters. Luckily, he also found a great rivalry story good guy vs. bad guy, the “normal” school teacher from suburban Washington who takes on the crazy evil empire. Such a find made that documentary simultaneously sweet and funny. It wasn’t a b-roll freak show of exploitation, making fun of the “nerds” and their “little video games.” It had heart, so much so that it has now found a passionate fan base of its own.

Joseph Gordon-Levitt made bold choices with his feature debut, Don Jon, previously titled as the misleading Don Jon’s Addiction. Sure, he made a crowd-pleaser out of a potentially dark concept – something we don’t see often from the indie film world – but, as a filmmaker, Levitt took some chances. Not only did go about doing so by shooting on 35mm, but also with a few broad, committed stylistic flourishes. We see the world through Jon’s eyes — who is a self-centered, narcissistic Jersey boy — so at first the film is shot like the most expensive, high-production value porno you’ve ever seen. Once the character’s journey comes to an end, gone is all the cheesy club music and camera whips. It’s a heightened aesthetic that lets an audience know exactly what Don Jon is from the beginning. We spoke with Levitt here about Don Jon‘s style, along with why he wanted to make a movie with a capital “m.”

So far one of the highlights of SXSW was the panel featuring director Danny Boyle. The enthusiasm he shared with us about the event was evident during his Q&A. Even when the nifty “Danny Boyle’s Filmography” montage Fox Searchlight cut together was playing we saw Boyle dancing to it. He was happy to be there, and so were we. While the Slumdog Millionaire director was there to promote Trance, Boyle discussed many of his films, and the lessons he learned from them. Unfortunately he didn’t have time to reminisce about all his movies, but what the director of Trance did talk about was noteworthy. That’s why we took notes:

The sweetly screaming figure with the word SLUT written prominently on her midriff has just grabbed an audience by the ears. As the last clash of cymbals falls, she tells the girls to come to the front to get away from the violently moshing boys. She then launches into the next hook-blooming, distortion happy song with a look of tortured bliss on her face. This is Kathleen Hanna, the songwriter and singer for Bikini Kill. She’s the one making all the noise. She’s also the subject of the new documentary The Punk Singer, which sees director Sini Anderson exploring the art, fame and activism of a proud feminist icon who had bigger balls than many of her male counterparts.

William Shakespeare has had more film adaptations of his work than any other writer by a wide margin, and that trend shows no sign of stopping anytime soon. The reasons for this are varied and exhaustive, but few would argue it’s not a great thing to see. While most filmmakers maintain the Bard’s language and historical settings, some move the action and wordplay into the present with varying degrees of success. The latest director to do so, and one of the few to do so brilliantly, is Joss Whedon. Yes, that Joss Whedon. His Much Ado About Nothing is updated to modern Los Angeles with limousines, semiautomatic pistols and men in suits, but he keeps Shakespeare’s language intact. The tale takes place almost entirely at the compound of a government official named Leonato (Clark Gregg) who’s visited by fellow dignitary Don Pedro (Reed Diamond) and his two immediate officers, Benedick (Alexis Desinof) and Claudio (Fran Kranz). The latter falls in love with Leonato’s daughter Hero (Jillian Morgese), while the former has a friction-filled and antagonistic past with the man’s niece Beatrice (Amy Acker). It’s not all foreplay and country matters, though, as Don Pedro’s manipulative brother, Don John (Sean Maher), is intent on disrupting political relations by destroying relationships.

Somewhere amidst the mess that was a cool, stormy night last night in downtown Austin, Texas, a man could have found himself on the corner of 4th and Brazos Street, hurriedly working his way toward the Austin Convention Center, dodging frantic pedicab drivers and their mostly soaked clientele. It was a scene that might cause a man to wonder, perhaps not aloud, but wonder all the same: is winter coming? That man was most certainly not yours truly, as this writer was at home staring at a pile of Game of Thrones posters purchased on borrowed money from the Mondo Gallery show opening two days prior. But there’s no doubt that someone had the experience described above. A notion born out of Austin’s unexpectedly apocalyptic late-night weather and the fact that HBO’s mighty series has invaded the streets of Austin. The latter of which has been the subject of great fun for South by Southwest attendees. 

“Movie Houses of Worship” is a regular feature spotlighting our favorite movie theaters around the world, those that are like temples of cinema catering to the most religious-like film geeks. If you’d like to suggest or submit a place you regularly worship at the altar of cinema, please email our weekend editor. It’s time to remember the Alamo. The Alamo Drafthouse Cinema, that is. Every week, we showcase another movie theater from around the world as a “Movie House of Worship,” and we tend to save certain cinemas to feature during certain film festivals they’re affiliated with. Naturally, with SXSW going on this week, an Alamo location is necessary. But which one? Normally I’d go with the Alamo South Lamar, but that’s out of commission this year. Also, Brian recently wrote up a great tribute to the theater on the eve of its temporary closing. And who is best to assign an entry on an Alamo theater? I would do it, but I’m not a local and there are plenty of people who know the brand and locations better. I decided the best way to go this week is more open. Invite all you readers to share your experience with any Alamo Drafthouse theater. Answer the usual questions of why you worship there, what is your take on the food and what’s a recent (or not recent even) screening of note. Are you a year-long regular or a visitor who only sees the inside of an Alamo during SXSW or Fantastic Fest

Assimilation seems to be the order of the day. One of the arguments leveled against the “It Gets Better” campaign is that while it pushes for self-acceptance among queer kids, the “better” part actually seems to mean “normal.” That is, all the images it puts forth of a happy gay life after the misery of high school bullying are images of an assimilated life. If that’s true, it means the bullies haven’t been left behind at all — they’ve been internalized. But if we want to support the kids who can’t look forward to becoming “normal” somewhere down the line, we’d better start checking our archives. History is full of the stories of bullied outsiders who learned to love themselves and went on to become strong icons. While maybe not the most kid-friendly, Divine was one of the biggest, most outrageous, proudly outsider and dangerously different gay cultural icons we have. And just as the forces of assimilation seem to be taking control of our memory, too, documentary filmmaker Jeffry Schwartz comes to the rescue with the release of his definitive Divine biographical documentary, I Am Divine, richly evoking the world of vibrant outsiders that Divine came to define.

Any fan of playwright/screenwrtier/filmmaker Neil LaBute‘s honest depictions of cringe-inducing narcissism will be pleased by Some Girl(s). LaBute’s last few films – The Wickerman, Death at a Funeral, and Lakeview Terrace – have shown him going outside his comfort zone with varying results. Some Girl(s), which LaBute scripted (but didn’t direct) from his play of the same name, marks the theatrical return of the LaBute we love. His greatest works often resemble a car crash in motion with the driver smiling through every ding, bone crush, and bump while the victims are left with serious pain. The driver here is simply credited as “Man” and played by Adam Brody. The victims are a few of Man’s ex-girlfriends, all of whom feature distinct personalities and past issues with him. There is the older woman (Emily Watson) he had an affair with, a young girl (Zoe Kazan) he took advantage of, the High School girlfriend (Jennifer Morrison), the tattooed Chicago girl (Mia Maestro) who made him feel cool and the final girl is played by Kristen Bell. He’s doing all this to right any wrongs before marrying his newest girl.

Danny Madden‘s Euphonia is a love story between a boy and his digital recorder. It’s an experimental work with plot momentum that intensifies imagery through pristine, almost violently clear sound design. With moments of zen-like beauty and maddening disorientation, it might just be the most inventive coming of age story since Never Let Me Go. In the film, a high schooler (Will Madden) is desperately bored, crawling through his suburban existence and hating every minute of it. He trades clever notes with a cute classmate (Maria DeCortis), laments the lack of a good radio station and passes dull days with his friend (Benjamin Papac). On a whim, he starts recording everything with a digital mic, and while it lets him appreciate the smallest wonders in life, it also places a barrier between him and truly experiencing the world.

One event that was a must-attend at this year’s SXSW was Danny Boyle‘s panel, which happened this morning. Besides the fact Boyle is behind some of the most acclaimed films of the past 20 years – Slumdog Millionare, Millions, 28 Days Later, Sunshine – his personality is as invigorating as his movies. Boyle, as one can hopefully tell from our conversation with him, is drenched in enthusiasm when it comes to film. He’s one of the few filmmakers out there who mainly discusses the joys of filmmaking, not the pitfalls. Whether he is talking about his own movies or someone else’s, he usually has a big smile on his face. If you missed his panel at the Vimeo theater or are unfortunately not in Austin right now, make sure to catch it when it inevitably appears on youtube. When it comes to Boyle’s latest film, Trance, he’s made what has been described as “a trippy, noirish thriller.” Boyle is back to full-on genre, where he can twist expectations, give us a monstrous James McAvoy, and, as he tells us, the power of a good Scottish accent.

Calling it “excellent coverage” before it’s even begun might be a bit forward, but we here at Film School Rejects have been doing this South by Southwest Film Festival thing for a number of years now, so we’re feeling rather confident. This year sees the return of our crack staff, consisting of yours truly, critic Rob Hunter and interviewer Jack Giroux. We’re armed with bags full of electronic recording equipment and Clif Bars, ready to take on the packed streets of Austin, Texas. Assuming we can fight our way through the throngs of hipsters, we should be able to see a few movies. If you’re not coming to Austin for South by, as the regulars call it, you may want to follow along with our coverage. We’ll be bringing you reviews, reports on the who, what, where and how much from the film festival and conference, and some chats with people who make movies. It will be quite similar to being there, only you won’t have to take as much Prilosec OTC. If that sounds like good fun, here’s a little guide to where you can follow all of our Award Winning* coverage of South by Southwest 2013.

SXSW 2013 begins in a couple days, and we couldn’t be more excited. By “we,” I mean FSR founder, publisher and beard-model Neil Miller, professional interviewer and lanky ladies man Jack Giroux, and myself. We’ll be descending on Austin this Friday to take in as much festival film-going, socializing and Alamo Drafthouse food as we possibly can. Of course we’re excited to see movies too. A lot of movies. And to give you an idea of what we’re most looking forward to film-wise the three of us have each listed our five most anticipated films of SXSW 2013 below.

Premiering next month in the New Visions section at the SXSW Film Festival, Junya Sakino‘s Sake-Bomb takes the old road trip formula and adds in some extra-special ingredients – like unrequited love, mismatched family members, and cultural clashes. And you thought simply traveling to Disneyland with your family in a minivan was tough, amirite? The film centers on young Sebastian, “a bitter, self-hating wannabe Internet star from Los Angeles” (which is, incidentally, my favorite character description of the year so far), who has just been dropped by his lady love. He’s soon joined by his quiet Japanese cousin, Naoto, who needs Sebastian’s help to find his own ex-girlfriend in Northern California. Cue road trip, misunderstanding, and probably more than one breakdown (and not just of the vehicular variety). Sake-Bomb will have its world premiere at SXSW on Friday, March 8, with three additional screenings to follow later in the festival. Until then, enjoy our exclusive poster from the film, featuring both Sebastian and Naoto looking none too pleased with each other. Ah, family.

Editor’s Note: This review originally ran during the 2012 SXSW Film Festival (when the film was titled Jeff), but we’re re-running it now as the film opens in limited theatrical release. Documentary director Chris James Thompson would like us to remember that even serial killers have neighbors, or ride the bus, or go the pharmacy. Of course, they also kill and maim and even eat their victims or get caught, but they still have some of the same needs as everyone else. In Thompson’s Jeffrey Dahmer documentary, The Jeffrey Dahmer Files, the filmmaker attempts to take us inside the mind of both Dahmer and a handful of those who surrounded him during his crimes and their aftermath. Unfortunately, the film lacks any sort of suitable or satisfying entry point for the uninitiated, and might still prove to be a bit obtuse even for those who know what they’re getting into.

The main lineup at this year’s SXSW Film Festival was announced last week, and while it features a ton of great-looking content it wasn’t complete. The list was missing the dozens of shorts that will be playing next month, but more importantly it was absent any hint of the Midnighters that some of us look forward to all year long. That changes today. SXSW have revealed the films from both categories, and the nine Midnighters look to be a fun and exciting mix of established names and interesting newcomers. One of the stand-outs is the highly praised and long-delayed You’re Next from Adam Wingard and Simon Barrett, which I’m hoping lives up to the hype and the wait. We’re also getting two Sundance holdovers with The Rambler and S-VHS (curiously called V/H/S 2 here). Rob Zombie’s The Lords of Salem will be making an appearance too, but more exciting are the presence of new films from Vincenzo Natali (Cube, Splice) and Dennis Iliadis (The Last House on the Left remake). SXSW 2013 runs March 8th-16th, and the complete list of shorts and Midnighters can be found below.

SXSW runs March 8th to the 16th this year, and as always FSR will be on hand to cover the fest and enjoy the hell out of some movies. Organizers have just announced the line-up, minus the Midnighters which will be released on February 6th, and as expected there is a ton of great content within. Some of the smaller titles we’re excited to see include I Give It a Year, Grow Up Tony Phillips, Scenic Route and Milo, but there are also a handful of theater-bound films including Evil Dead, Joss Whedon’s Much Ado About Nothing and Spring Breakers. There are even some of our favorites from Sundance making an encore appearance too including Before Midnight, Mud, Prince Avalanche, Sound City and Upstream Color. Check out the full list of films scheduled for this year’s SXSW below.

I’m currently just four days away from attending my very first Sundance Film Festival, and I’m understandably excited (and nervous about the cold). But just because my upcoming affections will be directed towards this frigid newcomer doesn’t mean I’ve forgotten the one that broke my festival cherry. That honor belongs to Austin’s SXSW in March of 2009. SXSW remains one of the preeminent film festivals for movie lovers, and FSR is still covering it better than anyone else. 2013 will be no different thanks to what looks like another fantastic line-up of films and events. The first few titles have just been announced, and they include a mix of the hotly anticipated and the interesting unknowns. The opening night film is The Incredible Burt Wonderstone starring Steve Carell and Jim Carrey, and we’ll also be seeing the scary as f*ck-looking remake of Evil Dead, a new Joe Swanberg film potentially made bearable thanks to its immensely appealing cast, Harmony Korine‘s unabashedly sexy and strange Spring Breakers, and more. Keep reading to see what other films are being teased at this year’s SXSW, and check back with us when the full slate is announced January 31st through February 6th.