Nathaniel Hendricks’s review published on Letterboxd:
The two highlights of this collection are the first, Speed of Light, and the last, Invasion of the Aluminum People (which I created a page for a while back because it deserves it).
The four shorts in between have a less arresting stylistic vision, but they've nonetheless got an energy that is wildly endearing - especially Fair Sisters, which of all six films feels the most timeless.
There is a binding element here, though I could very easily be projecting this without real evidence. Each film feels totally electric with a sense of discovery about the camera in the hands of the filmmaker. These shorts pre-date the supposed "film boom" Austin experienced post-Slacker. Texas Chainsaw Massacre and the works of Eagle Pennell must have seemed more like anomalies and not yet stitched into the fabric of the city itself. Making a movie wasn't yet something that people in Austin just do.
I imagine being a young Texan making a movie in the late 70s felt like a way to really stand apart from the landscape, a landscape that Brian Hansen watches over with radioactive distrust in Speed Of Light.
I think each one of these shorts are masterpieces in their own way - maybe just for existing at all, but especially for being a time capsule of sights and sounds (almost all of them have stellar punk/no wave soundtracks by overlapping bands) that few others would have wanted to preserve.