Beware the overreactions coming from SXSW film critics right now. The Austin-based festival is known to have an abundance of overpraised films during its 10-day event only for those same films to fall flat once they are actually released in theaters.
I see “Linoleum” is getting some praise (not really deserved). “X” had a lot of buzz, but it’s really just an entertaining-as-it-goes slasher flick. Meanwhile, top prize winner “I Love My Dad” may be the most cringe-inducing movie I’ve seen in years.
Safe for the big studio world premieres, SXSW tends to show films with mid-range to low production values. Nothing wrong with that, plenty of great filmmakers started off making these sorta films. SXSW has also kickstarted the careers of a handful of prominent directors. However, it’s always been, to my eyes at least, the festival that would screen films that just weren’t good enough for Sundance.
I have seen around a dozen films from this year’s Austin-based festival. None particularly stand out as “great.” The one competition title many seem to be raving about is the familiar alcoholism drama “To Leslie,” starring Andrea Riseborough.
Based on a viral true story, Leslie actually won $169,000 in the lottery before wasting it all on irresponsible expenses, Michael Morris’ drama seeks deeper emotions than its pedestrian screenplay can afford to produce. Despite a strong first half, the film gets bogged down by the appearance of Podcaster Marc Maron as Leslie’s saviour/love interest.
I’ll have much more to say about the other stuff I screened when they eventually get released, but, far and away, the best film I saw from SXSW 2022 is Richard Linklater’s “Apollo 10 1/2.” It’s not even close.
Theres a reason why I stopped attending SXSW a few years ago, the movies just aren’t worth the trek. You go for the vibes of beautiful Austin, the wonderful people and the marvelous food.