The Sundance Film Festival is a place where you can expect to feel like you’re a part of the film-making process. The late night screening and discussion of Wrong Cops, a work in progress by Quentin Dupieux, was no exception. Though the film is not yet complete, the first 45 minutes gave us at Sundance the unique opportunity for a preview and an intimate chat with the cast, director and producer. With a hilarious chapter in which Marilyn Manson plays an awkward teenager being harassed by a bored cop, this screening was one of those great Sundance experiences this year. Read on after the jump.

The Players:

• Director: Quentin Dupieux
• Screenwriter: Quentin Dupieux
  
• Producer: Grégory Bernard
• Cinematographer(s): Quentin Dupieux
• Starring: Mark Burnham, Marilyn Manson, Eric Judor, Steve Little, Arden Myrin
  

Synopsis:

Duke is a cop with too much time on his hands. In a city without any criminals to catch or crimes to solve, he spends his time finding inventive ways to sell drugs and harassing a teenager. The other cops in his department are equally bored, angry, and mischievous. Shot in chapters, this series follows the belligerent and ruthless deeds of enforcers when given nothing to enforce but their own egotism.

The Good:

The first chapter in which Marilyn Manson is a teenager, harassed and kidnapped by Duke because of his taste in music, is priceless. The film has the sensibility of Super Troopers without the cartoon-like quality. It’s grittier, humorous without being silly, and more perverted, all of which I liked. I left wanting to see more.

The Bad:

Because it is shot in brief chapters, the stops and starts don’t give it the feel of a feature, but more of a string of webisodes. In the Q&A, Mr. Dupieux explained that this was done to allow for immediate online release of the individual pieces as they were finished. But I myself being partial to feature films, would prefer to see it edited together to give it more coherence.

Overall:

I think Wrong Cops has the potential to have a great cult following, whether it be on the web or in late night screenings in theaters.  It’s easy to see how many actors and artists might want to be a part of a chapter or two. Marilyn Manson wanted to shoot something with Mr. Dupieux and this is what came out. It’s funny, disturbing, and unabashedly wrong.

Rating: 7.5/10

In his second feature film, director Kyle Patrick Alvarez brings to Sundance a film adaptation of C.O.G by David Sedaris. Based on Sedaris’ experiences as a young man rebelling against his bourgeois lifestyle and searching for a “real” experience, C.O.G. is a compelling and relatable story about naiveté and reality. With a spectacular breakout performance by Jonathan Groff, this film is a Sundance U.S. Dramatic Award waiting to happen.

The Players:

• Director: Kyle Patrick Alvarez
• Screenwriter(s): Kyle Patrick Alvarez, based on the story by David Sedaris
• Cinematographer(s): Jas Shelton
• Starring: Jonathan Groff, Denis O’Hare, Corey Stoll, Dean Stockwell, Casey Wilson, Troian Bellisario

Synopsis:

After grad school, David looks forward to working on an apple orchard in Oregon with his best friend Jennifer, but ends up working solo when she backs out on the trip. The young, witty, and over-educated traveler encounters some interesting characters along the way, all who impart on him life lessons that are somewhat harsher and less romantic than he had hoped.

The Good:

Jonathan Groff really nailed David Sedaris’ arrogant, oblivious and entitled character (who wasn’t arrogant at 24?). Groff will be someone to watch going forward. As a huge Sedaris fan, I was also pleased by the translation from text to film in this piece, which I think did proper justice to the sarcasm and wit Sedaris is known for. The film is also intensely emotional, easily drawing me in to invest in David’s predicament. I hope this film is a sign of what’s to come from both Sedaris (more film adaptations, please!) and from Groff.

The Bad:

Though I’m not of this opinion, I could see how some might be frustrated by the lack of open catharsis at the end of this story. David has his worldview torn apart, replaced with another, and torn apart again, and never has a moment of verbal retribution upon those who effectively betrayed him.

Overall:

Sedaris fans will be happy with this film. It does justice to the tone of the essay on which it is based and has excellent performances by Groff, Denis O’Hare, and the rest of the cast. It manages to be funny, scary, somber, and hopeful in a way that feels effortless. Sedaris is a natural storyteller – this film is an excellent reflection of that talent.

Rating: 8/10

Debuting at the 2012 Cannes Film Festival, British director Ben Wheatley’s Sighstseers is certainly a twist to your everyday romantic comedy. Sightseers will take you on a journey -via an Abbey Oxford Caravan- that will have you laughing, cringing, and probably doing both those things simultaneously. In its own genre described as “pitch-black comedy”, the film explores the boundaries of dark comedy and stood out at the 2013 Sundance Film Festival.

The Players:

• Director: Ben Wheatley
• Screenwriter(s): Alice Lowe, Steve Oram
• Cinematographer: Laurie Rose
• Starring: Alice Lowe, Steve Oram

Synopsis:

Chris is determined to take his sheltered girlfriend Tina under his wing and show her the world in his own notably unique way. They travel through the British Isles in Chris’ Abbey Oxford Caravan, but the nuisances of a road trip begin to take their tolls. Chris and Tina endure pre-booked caravan sites, litterers, the less than polite average citizen, and become a little less than tolerant as time goes on.

The Good:

This is gory, silly, and absurd. It does a great job of juxtaposing the humdrum, middle class, suburban lifestyle with the violent impulses that the stress of traveling can induce in all of us (not that we act on ours).  The characters are weird, but weird in a way that rings true, which makes it even more frightening. The result is a funny, cheeky exploration of kitsch tourist sites in the British Isles and a journey through the mind of an average English psychopath.

The Bad:

There are moments when Tina’s childish, high-pitched whining becomes (intentionally) irritating, and I could see how that could put some audience members off. Beyond that, my only other critique would be that as their trip becomes more beautiful and worthwhile, they become less pathetic. The jokes were funnier in the start of the movie, when their environment was drab and banal. Throwing someone off a misty crag is less funny than running over a fat guy with a caravan in a parking lot.

Overall:

I recommend this film to anyone who enjoys dark comedy à la Serial Mom. Be prepared for some pretty heinous gore and some moderately irritating whining. But overall, the film is smart, funny, and gross.

Rating: 7/10

Touchy Feely left me a little confused and frustrated. With a talented cast and some genuinely funny material, it seemed set up for success. The issue I had with it was that the story is largely about identity crisis, yet the personalities aren’t very well developed – it was difficult to pinpoint and accept their motivations. The characters also aren’t centrally involved with each others’ journeys, leaving their bonds tenuous when they should have been integral and deliberate.  Read on after the jump.

The Players:

• Director(s): Lynn Shelton
• Screenwriter(s): Lynn Shelton
• Cinematographer(s): Benjamin Kasulke
• Starring: Rosemarie DeWitt, Allison Janney, Ron Livingston, Scoot McNairy, Ellen Page, Josh Pais

Synopsis:

A family’s delicate balance is in jeopardy when Abby, a lighthearted massage therapist develops a strange aversion to human touch. Her brother Paul, a dentist who is usually stiff and curmudgeonly, begins to develop an affinity for human touch, boosting his business. Their family dynamic changes as both brother and sister find themselves on a journey of reevaluation and self-discover.

The Good:

I liked the idea that Abby has sort of retreated into her body in order to avoid the mental pain of a breakup, masking her psychological insecurities with an inflated sense of comfort in her own skin. Her brother has the opposite problem, stable and comfortable psychologically but disconnected from his body and from human touch. Though it didn’t pay out as I had hoped, I liked this dichotomy very much. I was also very impressed with the cast. Allison Janney and Josh Pais steal the show with a hilarious Reiki tutorial montage.

The Bad:

The characters were underdeveloped and difficult to empathize with. I kept stopping and thinking: “wait, why would he do that? wait, why is she upset now?” Their relationships with each other seemed rather stagnate as well, sort of trailing along after the plot in a non-responsive way. The catharsis at the end is touching but literally artificially induced, which is apropos.

Overall:

I had some issues with this film overall, but was pleased by the performances of the actors themselves. It has good production value and is well paced, but I was hoping for something more cohesive and deliberate in the writing of the characters.

Rating: 5.5/10

Shailene Woodley and Miles Teller shine in the coming of age, romantic, teen drama, The Spectacular Now. This film has everything you would expect from a high school love story, in which the popular party boy falls for the shy, nerdy girl. Its two protagonists, Woodley and Teller are believable, loveable, and endearing. I just wish they had been given something new to do, rather than the same story we’ve heard a million times, right down to the voice-over college admissions essay.

The Players:

• Director: James Ponsoldt
• Screenwriters: Scott Neustadter, Michael H. Weber, based on the novel by Tim Tharp
• Cinematographer: Jess Hall
• Starring: Miles Teller, Shailene Woodley, Brie Larson, Jennifer Jason Leigh, Mary Elizabeth Winstead, Kyle Chandler

Synopsis:

Sutter Keely gets dumped by his longtime girlfriend and takes interest in Aimee Finicky, not someone from his crowd of popular friends. Focused only on having a good time and living in the present, Sutter’s lack of concern for his future has led him to become  a self-destructive alcoholic. Aimee, on the other hand, has plenty of plans for her future but is being stifled by her present. As they get to know and learn from each other, they find themselves pushed outside of their comfort zones and ushered into adulthood.

The Good:

This film certainly scratches any itch you might have for a teen drama. It has strong characters, good performances, a love story, and some truly touching moments. I was also excited to see Andre Royo (better known as “Bubbles” from HBO’s The Wire) in a role as a teacher and mentor to Sutter.

The Bad:

I was hoping that this film would take this formulaic and familiar genre and make it new somehow. It has strong characters, good actors, and good writing, but seemingly no desire to push outside the boundaries of the expected. Why tell a story that someone else has already told if you’re not going to take it in a new direction?

Overall:

I was entertained by this movie because I have a soft spot for teen romances. I enjoyed the two main characters, who are convincing, earnest, and natural in their roles.  But I left wishing that their story had been a little less predictable.

Rating: 6/10

This film by writer/director Andrew Bujalski took me by surprise. I was expecting a relatively straight-forward reflection on a fictional, but realistic, 1980s computer science competition to develop a chess program that can beat a chess master.  I was shocked and delighted to discover that Computer Chess is much more like a mockumentary, in the tradition of Best in Show, with a strange, sci-fi element reminiscent of Primer. This film is intelligent to its core, testing its limitations with brave camera work and a Lynch-worthy meta-narrative.

The Players:

• Writer/Director: Andrew Bujalski
  
• Cinematographer: Matthias Grunsky
• Production Designer: Michael Bricker
• Starring: Patrick Riester, Myles Paige, James Curry, Robin Schwartz, Gerald Peary, Wiley Wiggins

Synopsis:

The 1980 computer chess competition brings together the best and brightest computer programmers to pit their programs against each other in the hopes of developing a program capable of beating a human chess master.  The eccentric competitors find themselves in awkward conversations and social situations that reveal their underlying similarities, as well as their essential differences of opinion about chess and life. Overlaid with an examination of technological innovation in the modern world,  Bujalski’s film is funny, poignant, and forward-thinking.

The Good:

This film is MY kind of weird. Its mixture of straight-faced humor and surrealist mini-vignettes manages to be both believable and fantastical. One thing that makes that possible is the look of the film, which takes a little getting used to. Shot using early PortoPak video techniques in [mostly] black and white and with an impeccably detail-oriented production, the work has a striking retro look that had me thinking it was found footage for the first five minutes. The combination of the aesthetic, the time period in which it is set, and the strangeness of the events manages a kind of equilibrium that wouldn’t have been possible had it been shot in high-def.

The Bad:

In general, the pace is steady and agreeable. However, there were some drawn out scenes that didn’t quite hit the mark, and the longer the shot lingered, the more that fact was reenforced. These were definitely in the minority, but when they did happen, I felt impatient and squirmy.

Overall:

This has been the best surprise I’ve had at Sundance so far; I walked in, was confused for a few minutes about what I was seeing, and then was positively swept away by the comedy and the strangeness that had me grinning from ear to ear, all the way through to the twisted ending.

Rating: 8/10

I always like to start the Sundance Film Festival with something fun, so I’m glad that my first screening this year was Austenland.  Screenplay writer Jerusha Hess‘s directorial debut, this film is a delightful mix of charm, satire, romance, and irreverence. Though it takes some time to find and establish its tone, the humor is saucy, witty, and brilliantly executed by its cast. This quirky dramatic comedy will have Austen aficionados tickled pink and Austen greenhorns equally entertained.

The Players:

• Director: Jerusha Hess
• Screenwriter(s): Jerusha Hess, Shannon Hale
• Cinematographer(s): Larry Smith
• Starring: Keri Russell, JJ Feild, Bret McKenzie, Jennifer Coolidge, Georgia King, James Callis, Jane Seymour

Synopsis:

Jane (Russell), happier in her Jane Austen daydreams than in her real life, has barely enough money to pay for her ultimate fantasy: a one week vacation to Austenland, where guests spend a week as a Regency era character living immersed in Austen’s world, complete with actors drawing each guest into a make-believe love affair (no touching!). Her limited funds relegate her to a lower social class than her fellow guests, but she catches the eye of both a curmudgeonly nobleman and a handsome footman; but only one of them is being paid to be her romantic interest. Whom can she trust?

The Good:

This film is great fun, thanks to some stellar performances.  Keri Russell’s character struggling to move a hay bale and Georgia King’s character attempting period-correct parlance were close to perfection. Bret McKenzie is silly and adorable, per usual. JJ Feild is a convincing and sincere Darcy. Jane Seymour delivers as the prim and proper lady of the house. Finally, I have to applaud James Callis’ Monty-Python worthy comedic performance. His over-the-top, expertly timed parody of the 19th century romantic gentleman gave me more laugh-out-loud moments than I’ve had in a long time.

The Bad:

There are parts of this film that are untidy. In the rush to get Russell’s character to Austenland, her back story and motivations were blundered through. I was confused about what kind of film it was, as it tries to be dramatic and sentimental (especially in the beginning) when its clear strength is in its comedy. A good example of this is the collection of montages, which vary from serious (in the beginning) to slapstick (toward the end). I wish the film had dropped the serious pretexts and been consistently humorous and self-deprecating throughout.

Overall:

The shortcomings are forgivable in exchange for the performances, which are fabulous. And for those of us who love period dramas, we get beautiful costumes, elaborate sets, and a satisfactory fairytale ending.

Rating: 7/10

The thermometer may read 0 degrees Fahrenheit in Park City, Utah, but things are about to start heating up. The countdown to the 2013 Sundance Film Festival has begun and my dance card is filling up fast. I’m packing my warmest clothes and ploughing through synopses, cast-lists, and an onslaught of press invitations currently clogging my email inbox. As with every year, there are far more films I want to see than films I will have time to see, but here are the 5 Films and performances I’m most looking forward to:

5. Austenland – Director Jerusha Hess

I cannot wait to see what  Bret McKenzie (Flight of the Concords), Jennifer Coolidge (American Pie), and Keri Russell (Running Wilde), bring to this comedy. McKenzie and Coolidge are masters of gut-tickling timing, so I know I’m in for some fun. I’ll be watching Russell, whom I don’t necessarily associate with this kind of humor (though I did enjoy the short-lived Running Wilde with Will Arnett), to see if she can keep up with her champion cast-mates.  Based on the novel, the film follows an Jane Austen-obsessed, hopeless romantic (Russell) on a quest to find her Mr. Darcy at an Austen-themed retreat.

Showtimes:

• 1/18/2013 12:15 pm Eccles Theatre, Park City
• 1/19/2013 8:30 am Egyptian Theatre, Park City
• 1/21/2013 6:30 pm Peery’s Egyptian Theatre, Ogden
• 1/22/2013 8:30 pm The MARC, Park City
• 1/24/2013 12 noon Egyptian Theatre, Park City
• 1/26/2013 3:30 pm Rose Wagner Performing Arts Center, Salt Lake City

More Film and Ticket Info (Sundance website)

 4. C.O.G – Director Kyle Patrick Alvarez

David Sedaris‘ short story, C.O.G., will be his first piece to make it to the silver screen, and hopefully not his last. Jonathan Groff, known to many as Jesse St. James from Glee, portrays Sedaris as a naive young man working on an apple orchard for a summer. I’m looking forward to seeing how Groff, well-known for his musical performances on Broadway and off, tackles Sedaris’ sarcasm and moxie. Can he nail this part without breaking into song?

Showtimes:

• 1/20/2013 8:30 pm Library Center Theatre, Park City
• 1/22/2013 11:30 am Library Center Theatre, Park City
• 1/23/2013 9:00 pm Salt Lake City Library Theatre, Salt Lake City
• 1/25/2013 12 noon Eccles Theatre, Park City
• 1/26/2013 9:00 am Temple Theatre, Park City

More Film and Ticket Info (Sundance website)

3. Touchy Feely – Director Lynn Shelton

Rosemarie DeWitt (United States of Tara) portrays a free-spirited masseuse having an identity crisis. The synopsis hints of some ethereal transformation that shifts her family’s roles in a more sophisticated “Freaky Friday” type scenario. The cast also includes the delights of Ellen Page, Ron Livingston, Allison Janney, Scoot McNairy, and Josh Pais. What I am hoping for is a quirky, meaningful film with DeWitt bringing to it a nice balance of humor and genuine pathos.

Showtimes:

• 1/19/2013 12:00 noon Eccles Theatre, Park City
• 1/19/2013 9:30 pm Rose Wagner Performing Arts Center, Salt Lake City
• 1/20/2013 6:00 pm Sundance Resort Screening Room, Sundance Resort
• 1/21/2013 9:00 am Egyptian Theatre, Park City
• 1/23/2013 5:30 pm The MARC, Park City
• 1/24/2013 8:45 pm Library Center Theatre, Park City

More Film and Ticket Info (Sundance website)

2. Before Midnight – Director Richard Linklater

Before Sunrise, Before Sunset, and now Before Midnight, we get to witness the delicious chemistry of Ethan Hawke and Julie Delpy as their characters, Celine and Jess, meet up again after almost a decade. I fell in love with Delpy as a writer and director when I saw 2 Days in Paris, so I’m thrilled to see her back in this third installment of Linklater’s story. Will she be as enchanting as ever?

Showtimes:

• 1/20/2013 9:45 pm Eccles Theater, Park City
• 1/21/2013 8:30 am The MARC, Park City
• 1/23/2013 6:30 pm Peery’s Egyptian Theater, Ogden
• 1/24/2013 9:00 pm Salt Lake City Library Theatre, Salt Lake City
• 1/25/2013 12 noon Sundance Resort Screening Room, Sundance Resort
• 1/26/2013 8:30 am The MARC, Park City

More Film and Ticket Info (Sundance website)

1. Stoker – Director Chan-wook Park

It may seem odd to have this film in the same list as Austenland, but I’m a lady of many parts.  As a big fan of Park’s Vengeance Trilogy, Stoker is the film I am most excited to see this year for a number of reasons, not least Nicole Kidman. Kidman, I know, is equally adept as both terrified and terrifying, and I can’t wait to see her slam this suspense/thriller out of the Park (pun-intended).

Showtimes:

• 1/20/2013 6:30 pm Eccles Theatre, Park City
• 1/21/2013 9:00 am Eccles Theatre, Park City
• 1/23/2013 9:00 pm Sundance Resort Screening Room, Sundance Resort
• 1/25/2013 6:30 pm Rose Wagner Performing Arts Center, Salt Lake City
• 1/26/2013 6:30 pm Peery’s Egyptian Theater, Ogden

More Film and Ticket Info (Sundance website)

What performances are you most looking forward to at Sundance this year?

Ever wonder what Robert Redford thinks about the Sundance Film Festival’s 2013 competitors and the future of independent film? Well, this year you can live-stream the Sundance Day-One Press Conference and get the pre-festival run down from the head honchos themselves (founder and President of Sundance Institute Robert Redford, Sundance Institute Executive Director Keri Putnam, and Sundance Film Festival Director John Cooper). Read on after the jump for more info.

Sundance Film Festival Day-One Press Conference details:

• When: Thursday, January 17, 1:00PM (Mountain Time Zone)
• Where: The Sundance website
  

What it involves:

The press conference will include a panel moderated by Sean P. Means, film critic and columnist for Salt Lake Tribune. Panelists Redford, Putnam, and Cooper will discuss the upcoming festival, the current state of the Sundance Institute, and then take questions from the media. In years past, they have tackled major topics like the overall vision for the Sundance Institute, the importance of independent film, and industry trends. They’ve also covered more logistical developments of the festival, like the number of theaters participating and seats available; details that seem minuscule, but have major repercussions for the festival.

Why it’s important:

Each year’s set of films brings with it a new collection of challenges, goals, and themes. The Day-One Press Conference is a great opportunity to get a sense of the festival’s 30,000 foot outlook. The fact that this event is being live-streamed is a milestone for the festival because it allows access to a part of the conversation that had up to this point been limited to the media.

So if you’ve always wondered how the media sausage is made, are interested in independent film and film festivals, or are just a big Robert Redford fan, be sure to check it out.

Will you be watching the press conference?

On the surgery table about to have a vasectomy, Uriel explains in detail to no one in particular his reasons for having the procedure.Women all want to get too serious with him. Life is too risky. He already has children and doesn’t want to start over. He seems confident enough in his decision, until Gloria shows up later that day and makes him rethink his hand. Director Daniel Burman’s well-executed romantic comedy, All In, is no bluff.

The Players:

• Director: Daniel Burman
• Screenplay: Daniel Burman, Sergio Dubcovsky
• Producer: Diego Dubcovsky
• Composer: Nico Cota
• Primary Cast: Jorge Drexler, Valeria Bertuccelli, Norma Aleandro, Gabriel Schultz, Luis Brandoni, Paloma Alvarez Maldonado, Lucciano Pizzichini

Tribeca Synopsis:

Happy with developing his online gambling business, being single, and raising his two sweet kids, Uriel takes a gamble and decides to have a vasectomy. But just as he embarks on his new life of freedom, he runs into his old pre-marriage flame, Gloria, newly arrived in Buenos Aires after years abroad.

Making his acting debut, Oscar-winning songwriter Jorge Drexler leaps off the screen in his charming portrayal of Uriel, while Valeria Bertuccelli’s (XXY) Gloria is the ultimate modern woman, balancing a world-weariness with the need for love. Colorful supporting characters fill out this bright, honest portrait about learning that in life one’s poker face may not always be the key to hitting the jackpot.

The Good:

This year’s winner of the Tribeca Film Festivals Award for Best Screenplay, it’s no wonder that this story is tight, very well-paced, and has nicely developed characters. It doesn’t drag or ramble. The humor is intelligent, playful, and translates well. Actors Jorge Drexler and Valeria Bertuccelli have good chemistry and a very believable relationship. This straight-up romantic comedy delivers exactly what you would expect.

The Bad:

The metaphor about life being like a game of poker was the least entertaining part of this film, and unfortunately, there’s a lot of it. It was just too simple of a connection to be worthwhile.  The story could have stood on its own without the repeated connection between risks and choices in life and risks and choices in cards. The film is well-written, but it’s heavy-handed with its central metaphor and lacks subtlety.

Overall:

Well-written, well-shot, and well-performed, I think many people will enjoy it. But for me, through no fault of its cast, it lacked dimensionality and felt flat. Bottom line: entertaining, but not forward-thinking or inventive.

Rating: 5/10

Myles Kane and Josh Koury follow Troy Bernier and Eric Swain, delightfully nerdy scientists obsessed with retro science fiction films, on a journey from obscurity to slightly less obscurity. For all who have tried their hand at film making in the garage with a shaky handheld, this is a fun, honest portrayal of two amateur filmmakers trying to bring their hobby to the next level.

The Players:

• Director: Myles Kane and Josh Koury
• Producer: Trisha Barkman
• Composer: Jonah Rapino
• Cast: Troy Bernier, Eric Swain

Tribeca Synopsis:

By day, Eric Swain and Troy Bernier are just a couple of mild-mannered, nerdy Florida scientists, but after hours their real passion comes alive in the form of the fantastical and sometimes inadvertently hilarious science fiction films the two lovingly craft with only the help of an enthusiastic amateur cast, a basement green-screen, and some inspired lo-fi effects. While Eric views their efforts as a fun hobby, Troy believes the films could lead to the big time, and so with very different agendas the two undertake their most ambitious project yet, an epic short known simply as Planet X.

Myles Kane and Josh Koury’s affectionate and funny documentary follows this dynamic duo as they pull out all the stops to realize their unique vision on the big screen. And whether the end result is unintentionally funny or a testament to the boundless potential of DIY achievement, Eric and Troy embody the true filmmakers’ spirit, and Journey to Planet X stands as a paean to the democratization of creativity and a celebration of artistic expression in all its forms.

The Good:

This is a skillfully done, hilarious, and inspiring documentary serving to remind us that the joys of film making can belong to anyone. Eric and Troy are a quirky creative duo whose relationship in some ways reflects the basic conflict between the childish love of “play” and the grown-up desire for success and validation in anything that requires time and money. Myles Kane and Josh Koury are remarkably skilled at capturing the interplay between these two elements in an effortless and sincerely humorous way.

Troy and Eric, true fans and emulators of retro science fiction (and equally retro special effects), take their work seriously. Their films, like themselves, are completely earnest and unabashed about what they are; without pretense and without irony. And yes, there is a level of discomfort at laughing when the crew of scantily clad women flying the spacecraft, poorly simulate space turbulence against a green screen, because you know it’s meant to be taken seriously. But it’s still hilarious.

The Bad:

Myles and Josh, in a Q & A following the screening explained that Troy and Eric, though they take their work seriously, are just happy that people are entertained by what they’ve made. If people laugh in unexpected scenes, they said, Eric and Troy take it in stride and are motivated to try harder next time to get people to react in a different way, but they are still pleased that people are enjoying their film.

I think the documentary tried to show this in a few scenes, but it was a little unclear specifically how Troy and Eric felt about this miscommunication between themselves and the audience, which is crucial to understanding them as people and as film makers. The explanation in the Q & A gave me much more respect for Troy and Eric then I would have had just viewing the film, so they could have spent a little more time on that.

Overall:

If you liked Jeff Malmberg’s Marwencol (which was fantastic), you’ll like this film. Yes, the tone, subject, and artistic aesthetic are very different, but it has the same honest, brave quality to it that that documentary had. It’s entertaining, funny, and inspiring. It’s well shot, well paced, and has a great score.

Also, if you’ve worked in film at all or have an interest in film production, you’ll find this stupidly funny.

Rating: 8/10

Ever wonder how men really feel about their body hair? Or about the difference between shampoo and shower gel? What do Will Arnett and Jason Bateman talk about when they go to the spa together? Is it okay for men to be as conscious of and careful about their bodily upkeep as women? Does the manicure make the man? Get some shocking and hilarious answers to these questions in Morgan Spurlock‘s new documentary, Mansome.

Check out our review…

The Players:

• Director: Morgan Spurlock
• Screenwriter: Jeremy Chilnick, Morgan Spurlock
• Producer(s): Jeremy Chilnick, Meri Haitkin, Morgan Spurlock, Michael Ruchton
• Cast: Morgan Spurlock, Zach Galifianakis, Will Arnett, Paul Rudd, Jason Bateman, Judd Apatow

Tribeca Synopsis:

These days, men are getting just as many spa treatments as women. And with a slew of products aiming to freshen and sculpt their manly parts, does this newfound grooming challenge the age-old question of what it means to be masculine? Or have dudes just finally succumbed to human hygiene? Oscar nominee Morgan Spurlock (Super Size Me) and executive producers Ben Silverman, Will Arnett, and Jason Bateman present a delightfully entertaining documentary exploring the current state of Mandom in America and beyond.

Traveling to traditional barbershops, trend-savvy salons, and even an international beard contest in Austria, Spurlock shows us the art of being a man has been taken to hilarious heights. Complete with candid interviews from Arnett, Bateman, Paul Rudd, Zach Galifianakis, and lots of everyday people. Spurlock sets out to uncover the true secrets of being “Mansome.”

The Good:

• Arrested Development fans will be thrilled to see Bateman and Arnett banter about personal hygiene, grooming, and masculinity as they enjoy a boys’ day at the spa. Galifianakis, Rudd, and Judd Apatow offer equally hilarious insights into their own experiences with body hair, manscaping, and what it means to feel attractive. You will definitely laugh.

The Bad:

• This is a “documentary” in very loose terms. Some parts feel true, while others feel like sketch comedy bits that are loosely tied to the topic. The combination is a little confusing. Of course, I was expecting some humor, but I was also looking for a more developed message to take me through a journey. This piece doesn’t have a fully formed thesis or revelation, so it was difficult to stay interested for the full 84 minutes.

Overall:

I think Morgan Spurlock started this project with a good idea, but it devolved into a joke for many of its subjects. Luckily, the people being interviewed are some of the funniest on the planet, so the jokes came out great!

I enjoyed the more serious examination of metro-sexuality, and I was interested to learn about the psychology behind that. But I didn’t feel the individual stories built on each other to produce an overarching message from the film.

This female writer might hazard a guess that this documentary ended up a comedy because men get uncomfortable talking about personal hygiene and receding hairlines. But that might be a little too harsh…

Rating: 3/10