Sundance Journal: ‘Austenland’
The Hess sense of humor has always eluded me. I still can’t understand what people see in ‘Napoleon Dynamite‘ or ‘Nacho Libre’. ‘Austenland’, however, is the Hesses most commercial film. I...
The Hess sense of humor has always eluded me. I still can’t understand what people see in ‘Napoleon Dynamite‘ or ‘Nacho Libre’. ‘Austenland’, however, is the Hesses most commercial film. I...
Rick Rowley’s ‘Dity Wars’ was the best documentary I saw at Sundance this year. I wish that I would’ve seen more, but this one is an on-point condemnation of the abuse of military powers. The movie follows ...
A lesbian housewife is conked in the head by a softball. She’s never the same.
I didn’t have much luck with documentaries at Sundance this year. Usually, I see a handful of great docs at the festival, but the ones I saw this year were less than stellar. That includes ‘Who Is Dayani Cristal?’...
Besides ‘Escape from Tomorrow‘, the other hot ticket at Sundance this year was a little movie in the U.S. Dramatic Competition called ‘Fruitvale’. It’s the cinematic equivalent of getting punched in t...
Out of all the movies that I saw during Sundance this year, a little title called ‘Blue Caprice’ was the most affecting. There were other movies I liked more, but in terms of a film’s ability to elicit deep emoti...
Every year at Sundance, one movie bursts out of obscurity to become the hottest ticket of the festival. Last year, that was ‘Beasts of the Southern Wild‘. A year before that, it was ‘Catfish’. This yearR...
There’s been a lot of porn at Sundance this year, for whatever reason. Joseph Gordon-Levitt’s directorial debut centers on a ‘Jersey Shore’ type who’s addicted to watching it.
‘Primer’ director Shane Carruth’s ‘Upstream Color’ is a puzzling array of stunning images, pieced together with limited dialogue, and collectively glued by one of the most immersive soundscapes I̵...
‘Mud’ picked up a lot of buzz when it was previously screened at Cannes. Well, it turns out that the buzz was well-founded.
The movie I had been most excited to see at Sundance this year turns out to be one of the best films that the festival has to offer.
Was there any doubt that Korean director Park Chan-wook would create a stunningly attractive yet creepy movie for his first English language picture? No. Was I expecting as much of a Hitchcock homage that I got? Most certainly not...