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‘Road House’ Remake & More

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The 2024 SXSW Film Festival kicked off March 8 in Austin with the opening-night world premiere screening of Doug Liman’s Road House remake starring Jake Gyllenhaal and Conor McGregor. It started nine days of debuts including for movies starring Rooney Mara, Isabelle Huppert, Gael García Bernal, Kristen Stewart and more. The Anne Hathaway romantic dramedy The Idea of You from SXSW stalwart Michael Showalter will close the fest.

SXSW runs through March 16 in the Texas capital.

Keep checking back below as Deadline reviews the best and buzziest movies of the festival. Click on the titles to read the full reviews.

3 Body Problem

‘3 Body Problem’

Netflix

Section: TV Premiere
Director: Derek Tsang
Cast: Jovan Adepo, John Bradley, Rosalind Chao, Liam Cunningham, Eiza González, Jess Hong, Marlo Kelly, Alex Sharp, Sea Shimooka, Zine Tseng, Saamer Usmani, Benedict Wong, Jonathan Pryce
Deadline’s takeaway: 3 Body Problem’s biggest existential threats are just how redundant it all seems, and how every plot development can be seen from a galaxy away, like Omar Sharif coming over the desert on horseback in Lawrence of Arabia.

My Dead Friend Zoe

From left: Ed Harris, Natalie Morales and Sonequa Martin-Green in ‘My Dead Friend Zoe’

SXSW Film Festival

Section: Narrative Spotlight
Director: Kyle Hausmann-Stokes
Cast: Sonequa Martin-Green, Natalie Morales, Utkarsh Ambudkar, Ed Harris, Gloria Reuben, and Morgan Freeman
Deadline’s takeaway: While the film occasionally falters in its pacing, My Dead Friend Zoe is a powerful testament to the resilience of the human spirit and the imperative to provide better support for our veterans. It challenges its audience to reflect on the collective responsibility to ensure their well-being long after their service has ended.

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Road House

Conor McGregor and Jake Gyllenhaal in ‘Road House’

Prime Video

Section: Headliners
Director: Doug Liman
Cast: Jake Gyllenhaal, Daniela Melchior, Billy Magnussen, Jessica Williams, Joaquim de Almeida, Conor McGregor, Lukas Gage, Arturo Castro, B.K. Cannon, Beau Knapp, Darren Barnet, Dominique Columbus, Bob Menery, Catfish Jean, Kevin Carroll, Travis Van Winkle, Hannah Lanier
Deadline’s takeaway: In spite of a few flashes of technical brilliance in its action sequences and a few tries made by its cast, this rebuilt Road House stands as a testament to just how difficult it is to capture lightning in a bottle.

Timestalker

Aneurin Barnard and Alice Lowe in ‘Timestalker’

Aneurin Barnard and Alice Lowe in ‘Timestalker’

Ludovic Robert/HanWay

Section: Narrative Spotlight
Director: Alice Lowe
Cast: Alice Lowe, Jacob Anderson, Aneurin Barnard, Tanya Reynolds, Nick Frost
Deadline’s takeaway: The ambitious film recalls classic Monty Python — it’s often very, very stupid and the same time very, very clever — but most of all, it’s an idea of what might have been if that all-male team had ever had a woman or two in its core lineup. Somehow, Alice Lowe has the wide-eyed innocence to carry it all off, a very subversive gift indeed.

We Were Dangerous

‘We Were Dangerous’

From left: Nathalie Morris, Manaia Hall and Erana James in ‘We Were Dangerous’

SXSW

Section: Narrative Feature
Director: Josephine Stewart-Te Whiu
Cast: Rima Te Wiata, Erana James, Nathalie Morris, Manaia Hall
Deadline’s takeaway: We Were Dangerous never quite comes together as the wry, subversive coming-of-age movie that it might have been, but the performances are powerful enough in Josephine Stewart-Te Whiu’s debut that its emotional heft is surprisingly indelible.

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Y2K

Y2K

From left: Jaeden Martell, Rachel Zegler and Julian Dennison in ‘Y2K’

SXSW

Section: Narrative Feature
Director: Kyle Mooney
Cast: Jaeden Martell, Rachel Zegler, Julian Dennison, Daniel Zolghadri, Lachlan Watson, Kyle Mooney, Eduardo Franco, Alicia Silverstone, Fred Durst
Deadline’s takeaway: What sets Y2K apart is its nuanced approach to nostalgia. In a cinematic landscape often saturated with attempts to capitalize on the past. The stands out for its authenticity and restraint. Ultimately, it’s a testament to Kyle Mooney’s vision and a promising start to his directorial career.



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