ScreenCrave.com » Sundance

Sundance 2012: Chasing Ice – Movie Review

Christie Ko — Sat, 11 Feb 2012 16:22:53 +0000

The reality of climate change came to the big screen in an entrancing and devastating documentary at the Sundance Film Festival this year, Chasing Ice. National Geographic photographer, James Balog, and his team capture the disappearance of the planet’s Arctic glaciers through stunning time-lapse photography that is simultaneously beautiful and deeply depressing. It’s no wonder that this film won the Excellence in Cinematography for Documentary Films Award.

The Players:

Director/Cinematographer: Jeff Orlowski
Screenwriter: Mark Monroe

Synopsis:

In 2005, James Balog set out to perform the Extreme Ice Survey: a mission to deliver evidence of the severity of the changes to the earth’s climate. Traversing the globe, he and his team installed cameras on icy tundras and frozen mountain tops as a quasi surveillance system for glaciers, taking hundreds of thousands of photos over the course of many years. The result: time-lapse footage of a landscape changing faster than anyone could have imagined.

The Good:

Both people who are skeptics about climate change and those who are not should see this film. It brings home the reality of what is currently happening to the planet– things that have serious consequences for all of us no matter what we believe. The visuals are truly breathtaking and will keep you enthralled.

The Bad:

I’m not sure this should be a feature-length film. The most stunning imagery and the message could have been delivered in about half the time. The film goes into James Balog’s personal journey, which, though moving, wasn’t necessary to get the point across that we are running out of time with our planet.

In terms of this message getting out and doing the most good it can do, I wonder if a condensation of the most moving footage of the glaciers changing, shouldn’t be made available for free to the public. In that way, my guess is that it would be more likely to reach a broader audience, while also more easily informing the research and findings of climate change scientists.

Overall:

This is an important film with major implications both scientifically and socially. It delivers some ground-breaking evidence about the dire situation our planet is in, and I am sure that it will continue to inform the dialogue about climate change.

Rating: 7.5/10

Sundance 2012: End of Love – Movie Review

Christie Ko — Thu, 02 Feb 2012 15:09:47 +0000

Check out Mali’s take on The End of Love here!

I think I officially have my Sundance 2012 dramatic crush: Mark Webber. End of Love is a heartstring-pulling film with amazing performances and hilarious cameos. Built on the father-son relationship between Webber and his son (in real life) Isaac Love, this largely improvisational film captures with astounding realism a story of a struggling actor in LA, grieving, broke, and trying to be a father to his son.

The Players:

Director/Screenwriter: Mark Webber
Cast: Mark Webber, Shannyn Sossamon, Michael Cera, Jason Ritter, Amanda Seyfried, Frankie Shaw

Synopsis:

Mark is on the verge of losing everything. He’s an out-of-work actor at the end of his rope; exhausted and heart-broken. Down to his last dollars and begging his roommates for a little more time, he’s not unlike many Americans. But he is also grappling with the serious emotional trauma of losing the mother of his son. This film follows his desperation and humiliation as he tries to father his son, to find romantic and platonic emotional support, and to be a successful adult.

The Good:

It’s really unbelievable that this was improvisation. At the Q&A following the screening, Mark Webber explained that he never told Isaac what to say; that they let him say what he wanted to say, and he and the cast adjusted and followed his lead. It just worked out….AND HOW. There are moments when the dialogue and action between the father and son is so unbelievably perfect for the moment that it just breaks the heart.

There’s also a pretty amazing party scene with Michael Cera, Aubrey Plaza, Alia Shawkat, and a bunch of other actors I assume are his friends. It’s funny and whacky.

The Bad:

I was a little disappointed with the fact that the protagonist (Mark) doesn’t progress that much. He manages to take one step forward, and granted, it’s a big step, but I expected more from a feature like this. He also explained during the Q&A that the reason why he chose this topic and made this film was because he wanted to tell the story of what it’s like to be at the end of a relationship; that when a major relationship ends, it feels like a death (his actual ex and mother of his son, Frankie Shaw, is also in the movie as his dead wife). These things considered, I can see how some might find this film self-indulgent.

Overall:

The dynamic between father and son, and the sheer serendipity of how the dialogue and story progresses is really absorbing and worth watching. Sad, but enjoyable…

Rating: 7

Sundance 2012: Goats – Movie Review

Mali Elfman — Mon, 30 Jan 2012 00:57:36 +0000

I woke up early to catch a 9:00am screening of Goats at this year’s Sundance Film Festival. It’s hard to enjoy just about any film at that hour of the morning, get caught up in a not-so-fast-moving drama, or let alone laugh out loud at a odd concept, but somehow Goats managed it all and had me leaving the theater ready for more.

The Players:

Director: Christopher Neil
Screenwriter: Mark Jude Poirier, based on his novel
Producer: Daniela Taplin Lundberg, Eric Kopeloff, Shannon Lail
Cast: Graham Phillips, David Duchovny, Vera Farmiga, Ty Burrell, Justin Kirk, Keri Russell

Sundance Synopsis:

Having a self-absorbed New Age mother and an estranged father means 15-year-old Ellis Whitman has grown up relying on an unconventional guardian: a goat-trekking, marijuana-growing sage called Goat Man. So when Ellis decides to leave the alternative ways of his desert homestead for a stuffy East Coast prep school, major changes are in store. But not in the way you’d think. Though often stoned, the exceedingly smart and capable Ellis effortlessly aces school and excels at track. As the year progresses, it’s his relationships with the adults in his life that test him, challenging his beliefs about responsibility and trustworthiness.

The Good:

The Supporting Cast: Vera Farmiga goes over, David Duchovney goes under, Justin Kirk wiggles through and all together they somehow manages to create a perfectly balanced, albeit insane cast.
The Goats: The meaning behind them and how they’re weaved into the story works perfectly. They are the perfect balance of purpose and comedic value that helps move the story forward while also decorating the scenery.
The Dynamics: In any good drama, the thing that sells it is the chemistry between the characters and this film has just that. With odd but realistic responses that seem completely appropriate in the situation provided and story-line that doesn’t take their audience for granted, the characters and the script really are what makes this film.

The Bad:

Lack of a Solid Ending: The ending is sweet and nice, but the film as a whole feels like it needed the stakes raised and the ending to have more purpose. This comment may have been the result of seeing too many films without a grand finale on the same day, but there was so much build up, that it was a shame to see it not add up to more.
No Emotional Release: Though Graham Phillips gives a solid performance in the lead role, it’s frustrating that his character never gets to release the tension that he’s caring with him throughout the entire film. Not that the film needed a cliched, over the top dramatic scene, but the fact that you’re so invested in his character makes you want to see him have his moment and allow him to release all the frustration that we, the audience, feel for him.

Overall:

It’s a nice, sweet comedy, with some fun moments at an interesting family dynamic. Much like all of the Sundance film this year, there’s nothing ground-breaking nor innovative about it, but it is an easy watch, and a very good representation of the dramedy genre.

Rating: 7/10

Sundance 2012: The End of Love – Movie Review

Mali Elfman — Sun, 29 Jan 2012 22:00:06 +0000

Check out Christie’s take on The End of Love here!

One of the most emotional and touching films of this year’s Sundance Film Festival is The End of Love. This is one of those films that sits with you long after you’ve left the theater and doesn’t let you go. It’s a beautiful representation of what a look at one mans story in a very simple way can be represented.

The Players:

Director: Mark Webber
Writer: Mark Webber
Producers: Mark Webber, Liz Destro, Matt Sprague
Cinematographer: Patrice Cochet
Cast: Mark Webber, Shannyn Sossamon, Michael Cera, Jason Ritter, Amanda Seyfried, Frankie Shaw

Sundance Synopsis:

Mark is a struggling actor stuck between the life he once knew and the one waiting for him. When the mother of his two-year-old son suddenly passes away, Mark is forced to confront his shortcomings. Their fates, now intertwined, hang in the balance as Mark grapples with his ability to grow up. When he meets Lydia, a young mother, he is no longer able to live in the comfort of denial.

The Good:

The Relationship: Webber and his son are beautiful to watch on screen together. There’s really no other way to show the true love between father and child than by showing just that. Using toddlers on set is one of the most difficult things in the world, but for this film, used in this way, it not only works for the film, it makes it.
The Simplicity: This is not an outwardly complicated story, the complications are in the natural drama that comes from human emotions. Because of simplicity, you’re able to focus on the minute which makes this film a truly beautiful experience all around, proving that you don’t need a giant spectacle to have an impact on audiences.
The Heart: This is something that you can’t manipulate out of a film, it’s just something that’s there or it’s not. This film is packed with heart and it emotes from the screen giving you everything you you could hope for in a drama.

The Bad:

Not really feeling anything.

Overall:

This is an amazingly simple and yet introspective film that is well worth settling into.

Rating: 7.5/10

Sundance 2012: About Face – Movie Review

Mali Elfman — Sun, 29 Jan 2012 17:22:11 +0000

About Face: The Supermodels, Then and Now is a new Sundance documentary that attempts to talk about the fashion through the eras. There are elements to this film that I want to love, but unfortunately it’s really more of a fluff piece featuring interviews with too many different models at once and no real in depth perspectives or new takes on the modeling industry. The models have low self-esteem, eating problems and different takes on Botox. It doesn’t take 80 minutes to realize this. So what was it trying to do…

The Players:

Director: Timothy Greenfield-Sanders
Producers: Timothy Greenfield-Sanders, Chad Thompson
Models: Christie Brinkley, Carmen Dell’Orefice, Jerry Hall, Beverly Johnson, Paulina Porizkova, Isabella Rossellini, Christy Turlington

Sundance Synopsis:

About Face: The Supermodels, Then and Now is a step back in time to a glamorous, yet complicated, era when drugs were rampant and women were routinely harassed and mistreated. The divergent attitudes among the women about everything from the business of modeling, to aging and plastic surgery, are fascinating and priceless. This insightful documentary celebrates the raw intelligence and staying power of these timeless icons

The Good:

The Models: They managed to get a great group of models from throughout the eras who all represented a change in time and how fashion effected women, civil rights, drugs, politics, medicine and issues around the world. It would have been nice to ask them more about these issues because they all seemed to have a lot more to say about it then was seen on screen… And botox is just not that interesting.

The Bad:

No Exploration: There are a few near reveals that capture your attention, but then they never explore the ideas brought up. The psychology behind some of the events that happened to these women are fascinating, it’s a shame not to look a bit deeper at them and really find out the effects of what living in the world of fashion does to a person.
Locations: The footage was basically just interviews with the models in one location, with a couple of photos of their previous work. There was no new footage of them working, nor anything from their lives now that would gives us any further insights to where they are now. This was simply one long interview with a handful of different voices.
Nothing New: Let’s break down the films reveals and see what we found out… Models in the 70′s did cocaine… a lot of cocaine. Models still do, have done and will do drugs. Models don’t eat. Models don’t ever feel pretty. Models are bitchy to other models. Models lie about being older to model when they’re too young and lie about their age later when they’re too old. Anything new here? Nope.

Rating: 4/10

Sundance Film Festival 2012 Award Winners

Mali Elfman — Sun, 29 Jan 2012 06:22:22 +0000

The 2012 Sundance Film Festival is officially over and the awards have been given. The fest presented 117 films, 45 of which were from first-time filmmakers, which is really something to boast about. Though our reviews are still coming in, we’ve covered nearly all of the award-winning films and will have coverage on the rest, coming to you soon.

The 2012 Sundance Film Festival Awards presented this evening were:

The Grand Jury Prize: Documentary was presented by Charles Ferguson to:

The House I Live In / U.S.A. (Director: Eugene Jarecki) — For over 40 years, the War on Drugs has accounted for 45 million arrests, made America the world’s largest jailer and damaged poor communities at home and abroad. Yet, drugs are cheaper, purer and more available today than ever. Where did we go wrong and what is the path toward healing?

The Grand Jury Prize: Dramatic was presented by Justin Lin to:

Beasts of the Southern Wild / U.S.A. (Director: Benh Zeitlin, Screenwriters: Benh Zeitlin, Lucy Alibar) — Waters gonna rise up, wild animals gonna return from the grave, and everything south of the levee is goin’ under, in this tale of a six year old named Hushpuppy, who lives with her daddy at the edge of the world. Cast: Quvenzhané Wallis, Dwight Henry.

The World Cinema Jury Prize: Documentary was presented by Nick Fraser to:

The Law in These Parts / Israel (Director: Ra’anan Alexandrowicz) — Israel’s 43-year-old military legal system in the Occupied Palestinian Territories unfolds through provocative interviews with the system’s architects and historical footage showing the enactment of these laws upon the Palestinian population.

The World Cinema Jury Prize: Dramatic was presented by Julia Ormond to:

Violeta Went to Heaven (Violeta se Fue a Los Cielos) / Chile, Argentina, Brazil, Spain (Director: Andrés Wood, Screenwriters: Eliseo Altunaga, Rodrigo Bazaes, Guillermo Calderón, Andrés Wood) — A portrait of famed Chilean singer and folklorist Violeta Parra filled with her musical work, her memories, her loves and her hopes. Cast: Francisca Gavilán, Thomas Durand, Luis Machín, Gabriela Aguilera, Roberto Farías.

The Audience Award: U.S. Documentary, Presented by Acura, was presented by Mike Birbiglia to:

The Invisible War / U.S.A. (Director: Kirby Dick) — An investigative and powerfully emotional examination of the epidemic of rape of soldiers within the U.S. military, the institutions that cover up its existence and the profound personal and social consequences that arise from it.

The Audience Award: U.S. Dramatic, Presented by Acura, was presented by Mike Birbiglia to:

The Surrogate / U.S.A. (Director and screenwriter: Ben Lewin) — Mark O’Brien, a 36-year-old poet and journalist in an iron lung, decides he no longer wishes to be a virgin. With the help of his therapist and the guidance of his priest, he contacts a professional sex surrogate to take him on a journey to manhood. Cast: John Hawkes, Helen Hunt, William H. Macy.

The World Cinema Audience Award: Documentary was presented by Edward James Olmos to:

SEARCHING FOR SUGAR MAN / Sweden, United Kingdom (Director: Malik Bendjelloul) — Rodriguez was the greatest ‘70s US rock icon who never was. Hailed as the greatest recording artist of his generation he disappeared into oblivion – rising again from the ashes in a completely different context many miles away.

The World Cinema Audience Award: Dramatic was presented by Edward James Olmos to:

Valley of Saints / India, U.S.A. (Director and screenwriter: Musa Syeed) — Gulzar plans to run away from the war and poverty surrounding his village in Kashmir with his best friend, but a beautiful young woman researching the dying lake leads him to contemplate a different future Cast: Gulzar Ahmad Bhat, Mohammed Afzal Sofi, Neelofar Hamid.

The Best of NEXTAudience Award, Presented by Adobe Systems Incorporated, was presented by Tim Heidecker to:

Sleepwalk With Me / U.S.A. (Director: Mike Birbiglia, Screenwriters: Mike Birbiglia, Ira Glass, Joe Birbiglia, Seth Barrish) — Reluctant to confront his fears of love, honesty, and growing up, a budding standup comedian has both a hilarious and intense struggle with sleepwalking. Cast: Mike Birbiglia, Lauren Ambrose, Carol Kane, James Rebhorn, Cristin Milioti.

The U.S. Directing Award: Documentary was presented by Fenton Bailey to:

The Queen of Versailles / U.S.A. (Director: Lauren Greenfield) — Jackie and David were triumphantly constructing the biggest house in America – a sprawling, 90,000-square-foot palace inspired by Versailles – when their timeshare empire falters due to the economic crisis. Their story reveals the innate virtues and flaws of the American Dream.

The U.S. Directing Award: Dramatic was presented by Lynn Shelton to:

Middle Of Nowhere / U.S.A. (Director and screenwriter: Ava DuVernay) — When her husband is incarcerated, an African-American woman struggles to maintain her marriage and her identity. Cast: Emayatzy Corinealdi, David Oyelowo, Omari Hardwick, Lorraine Touissaint, Edwina Findley.

The World Cinema Directing Award: Documentary was presented by Jean-Marie Teno to:

5 Broken Cameras / Palestine, Israel, France (Directors: Emad Burnat, Guy Davidi) — A Palestinian journalist chronicles his village’s resistance to a separation barrier being erected on their land and in the process captures his young son’s lens on the world.

The World Cinema Directing Award: Dramatic was presented by Alexei Popogrebsky to:

Teddy Bear / Denmark (Director: Mads Matthiesen, Screenwriters: Mads Matthiesen, Martin Pieter Zandvliet) — Dennis, a painfully shy 38-year-old bodybuilder who lives with his mother, sets off to Thailand in search of love. Cast: Kim Kold, Elsebeth Steentoft, Lamaiporn Sangmanee Hougaard, David Winters, Allan Mogensen.

The Waldo Salt Screenwriting Award was presented by Anthony Mackie to:

Safety Not Guaranteed / U.S.A. (Director: Colin Trevorrow, Screenwriter: Derek Connolly) — A trio of magazine employees investigate a classified ad seeking a partner for time travel. One employee develops feelings for the paranoid but compelling loner and seeks to discover what he’s really up to. Cast: Aubrey Plaza, Mark Duplass, Jake Johnson, Karan Soni.

The World Cinema Screenwriting Award was presented by Richard Pena to:

Young & Wild / Chile (Director: Marialy Rivas, Screenwriters: Marialy Rivas, Camila Gutiérrez, Pedro Peirano, Sebastián Sepúlveda) — 17-year-old Daniela, raised in the bosom of a strict Evangelical family and recently unmasked as a fornicator by her shocked parents, struggles to find her own path to spiritual harmony. Cast: Alicia Rodríguez, Aline Kuppenheim, María Gracia Omegna, Felipe Pinto.

The U.S. Documentary Editing Award was presented by Kim Roberts to:

DETROPIA / U.S.A. (Directors: Heidi Ewing, Rachel Grady) — The woes of Detroit are emblematic of the collapse of the U.S. manufacturing base. This is the dramatic story of a city and its people who refuse to leave the building, even as the flames are rising.

The World Cinema Documentary Editing Award was presented by Clara Kim to:

Indie Game: The Movie / Canada (Directors: Lisanne Pajot, James Swirsky) — Follow the dramatic journeys of indie game developers as they create games and release those works, and themselves, to the world.

The Excellence in Cinematography Award: U.S. Documentary was presented by Tia Lessin to:

Chasing Ice / U.S.A. (Director: Jeff Orlowski) — Science, spectacle and human passion mix in this stunningly cinematic portrait as National Geographic photographer James Balog captures time-lapse photography of glaciers over several years providing tangible visual evidence of climate change.

The Excellence in Cinematography Award: U.S. Dramatic was presented by Amy Vincent to:

Beasts of the Southern Wild / U.S.A. (Director: Benh Zeitlin, Screenwriters: Benh Zeitlin, Lucy Alibar) — Waters gonna rise up, wild animals gonna rerun from the grave, and everything south of the levee is goin’ under, in this tale of a six year old named Hushpuppy, who lives with her daddy at the edge of the world. Cast: Quvenzhané Wallis, Dwight Henry.

The World Cinema Cinematography Award: Documentary was presented by Jean-Marie Teno to:

Putin’s Kiss / Denmark (Director: Lise Birk Pedersen) — 19-year-old Marsha is a model spokesperson in a strongly nationalistic Russian youth movement that aims to protect the country from its enemies. When she starts recognizing the organization’s flaws, she must take a stand for or against it.

The World Cinema Cinematography Award: Dramatic was presented by Alexei Popogrebsky to:

My Brother the Devil / United Kingdom (Director and screenwriter: Sally El Hosaini) — A pair of British Arab brothers trying to get by in gangland London learn the extraordinary courage it takes to be yourself. Cast: James Floyd, Saïd Taghmaoui, Fady Elsayed.

A U.S. Documentary Special Jury Prize for an Agent of Change was presented by Heather Croall to:

Love Free or Die / U.S.A. (Director: Macky Alston) — One man whose two defining passions are in conflict: An openly gay bishop refuses to leave the Church or the man he loves.

A U.S. Documentary Special Jury Prize for Spirit of Defiance was presented by Heather Croall to:

Ai Weiwei: Never Sorry / U.S.A., China (Director: Alison Klayman) — Renowned Chinese artist and activist Ai Weiwei has garnered international attention as much for his ambitious artwork as his political provocations and increasingly public clashes with the Chinese government.

A U.S. Dramatic Special Jury Prize for Excellence in Independent Film Producing was presented by Cliff Martinez to:

Andrea Sperling and Jonathan Schwartz for Smashed and Nobody Walks

Smashed / U.S.A. (Director: James Ponsoldt, Screenwriters: Susan Burke, James Ponsoldt) — Kate and Charlie are a young married couple whose bond is built on a mutual love of music, laughter and… drinking. When Kate decides to get sober, her new lifestyle brings troubling issues to the surface and calls into question her relationship with Charlie. Cast: Mary Elizabeth Winstead, Aaron Paul, Octavia Spencer, Nick Offerman, Megan Mullally.
Nobody Walks / U.S.A. (Director: Ry Russo-Young, Screenwriters: Lena Dunham, Ry Russo-Young) — Martine, a young artist from New York, is invited into the home of a hip, liberal LA family for a week. Her presence unravels the family’s carefully maintained status quo, and a mess of sexual and emotional entanglements ensues. Cast: John Krasinski, Olivia Thirlby, Rosemarie DeWitt, India Ennenga, Justin Kirk.

A U.S. Dramatic Special Jury Prize for Ensemble Acting was presented by Cliff Martinez to:

A World Cinema Dramatic Special Jury Prize for Artistic Vision was presented by Clara Kim to:

Can / Turkey (Director and screenwriter: Rasit Celikezer) — A young married couple live happily in Istanbul, but their decision to illegally procure a child threatens their future together. Cast: Selen Uçer, Serdar Orçin, Berkan Demirbag, Erkan Avci.

A World Cinema Documentary Special Jury Prize for its Celebration of the Artistic Spirit was presented by Richard Pena to:

The inaugural Short Film Audience Award, Presented by Yahoo!, based on online voting for nine short films that premiered at the Festival and are currently featured on Yahoo! Screen, was presented to:

The Debutante Hunters (Director: Maria White) — In the Lowcountry of South Carolina a group of true Southern belles reveal their more rugged side, providing a glimpse into what drives them to hunt in the wild.

The following awards were presented at separate ceremonies at the Festival:

The Jury Prize in Short Filmmaking was awarded to: FISHING WITHOUT NETS / U.S.A. (Director: Cutter Hodierne, Screenwriters: Cutter Hodierne, John Hibey). The Jury Prize in Short Film, U.S. Fiction was presented to: The Black Balloon / U.S.A. (Directors: Benny Safdie, Josh Safdie). The Jury Prize in Short Film, International Fiction was presented to: The Return (Kthimi) / Kosovo (Director: Blerta Zeqiri, Screenwriter: Shefqet Gjocaj). The Jury Prize in Short Film, Non-Fiction was presented to: The Tsunami and the Cherry Blossom / U.S.A. (Director: Lucy Walker). The Jury Prize in Animated Short Film was presented to: A Morning Stroll / United Kingdom (Director: Grant Orchard). A Special Jury Award for Comedic Storytelling was presented to: The Arm / U.S.A. (Directors and screenwriters: Brie Larson, Sarah Ramos, Jessie Ennis). A Special Jury Award for Animation Direction was presented to: Robots of Brixton / United Kingdom (Director: Kibwe Tavares).

The winning directors and projects of the Sundance Institute | Mahindra Global Filmmaking Award, in recognition and support of emerging independent filmmakers from around the world, are: Etienne Kallos / Vrystaat (Free State) (South Africa); Ariel Kleiman / Partisan (Australia); Dominga Sotomayor / Tarde Para Morir Joven (Late To Die Young) (Chile); and Shonali Bose / Margarita. With a Straw (India).

Jurors were: U.S. Documentary Competition: Fenton Bailey, Heather Croall, Charles Ferguson, Tia Lessin, Kim Roberts; U.S. Dramatic Competition: Justin Lin, Anthony Mackie, Cliff Martinez, Lynn Shelton, Amy Vincent; World Cinema Documentary Competition: Nick Fraser, Clara Kim, Jean-Marie Teno; World Cinema Dramatic Competition: Julia Ormond, Richard Pena, Alexei Popogrebsky; Alfred P. Sloan Award: Tracy Day, Helen Fisher, Dr. Robert J. Full, Gwyn Lurie, Alex Rivera; Short Film Competition: Mike Judge, Dee Rees, Shane Smith.

Sundance 2012: Smashed – Movie Review

Mali Elfman — Fri, 27 Jan 2012 21:50:28 +0000

Another solid film coming out of Sundance, Smashed is one of those films that may seem like “just another Sundance film” but has enough twists and interesting dynamics that is seperates it from the pack. And though Mary Elizabeth Winstead steals the movie with one of her best performances to date, the film’s strong supporting cast and a number of surprising and fun moments are really what make it a success.

The Players:

Director: James Ponsoldt
Producers: Jonathan Schwartz, Andrea Sperling, Jennifer Cochis
Writer: Susan Burke, James Ponsoldt
Cinematographer: Tobias Datum
Cast: Mary Elizabeth Winstead, Aaron Paul, Octavia Spencer, Nick Offerman, Megan Mullally, Mary Kay Place

Sundance Synopsis:

Kate and Charlie like to have a good time. Their marriage thrives on a shared fondness for music, laughter . . . and getting smashed. When Kate’s partying spirals into hard-core asocial behavior, compromising her job as an elementary schoolteacher, something’s got to give. But change isn’t exactly a cakewalk. Sobriety means she will have to confront the lies she’s been spinning at work, her troubling relationship with her mother, and the nature of her bond with Charlie.

The Good:

Mary Elizabeth Winstead: It’s wonderful to see her leading a powerful drama and doing it brilliantly. It’s also great to see her running around with no make-up, in horrible clothing and being completely comfortable in letting herself indulge in this extremely rich, off the wall, non-cliched role. She’s made splashes before, but this is really a film that will hopefully bring her career to another level.
Pushing the Boundaries: With a film that deals with relationships and subject matter we’ve seen before, it’s refreshing to have a few moments that still manage to surprise the audience, without them being completely unrealistic.
The Relationships: Aaron Paul and Winstead are wonderful on screen together and completely believable as that quirky, close, in love, Silverlake couple. Their chemistry is beautiful and together they make for a powerful duo.
Nick Offerman: He has some of the best lines in the film, ones that very few actors could get away with saying and still have an audience like the. He’s wonderful to watch and again, added an interesting dynamic to the film that no one really see’s coming.

The Bad:

The Peak: The film peaked a little early and then the finale didn’t really pay off as much as it could have. It was honest ending, and one that deserves respect, but there was a part of me that wanted a little something more. In the end, there wasn’t a strong or clear message to the film. Perhaps I’ve just seen too many films in a row that don’t really end with a bang, but this one did such a great job at setting up all of these wonderful story-lines, that it felt like there could have been that extra little kicker at the end that would have made it even more impressive.

Overall:

Packed with a fun mixtures of humor, darkness, drama, and a number beautiful performances this is a Sundance darling that’s well worth your time.

Rating: 7.5

Sundance 2012: Red Hook Summer – Movie Review

Brendan Walsh — Thu, 26 Jan 2012 17:41:21 +0000

Spike Lee is back! He premiered his latest joint, Red Hook Summer this week at the 2012 Sundance Film Festival to a sold out crowd of 1300, and it has become one of the most talked about films of the festival. In a return to form (and Brooklyn), Lee brings back the colorful visual and storytelling style (and even a few characters!), that made him famous with Do The Right Thing. As usual, he doesn’t pull any punches, and left audiences with a lot to discuss. Check out the rest of the review after the jump…

The Players

Director: Spike Lee
Screenwriters: Spike Lee, James McBride
Starring: Clarke Peters, Jules Brown, Toni Lysaith, Nate Parker, James Ransone, Thomas Jefferson Byrd, Spike Lee

Synopsis:

Flick (Brown), a 12 year old boy from Atlanta, is made to spend the summer with his Grandfather Enoch (Peters), a Baptist Bishop in Red Hook, Brooklyn. Removed from his cushy, suburban trappings for the first time, Flick gets a strong dose of urban life, and an even stronger dose of his Grandfather’s spirituality. As he acclimates to his new surroundings, Flick learns about friendship, young love, and his mysterious family history.

The Good:

Welcome Back, Spike - This film feels much closer to Lee’s earlier works, like, She’s Gotta Have It, Do The Right Thing, and Crooklyn. In fact, he even brings back Mookie, the pizza delivery man he played in Do The Right Thing for a couple of key moments. But the film’s richly colored look (Shot digitally on the Sony F-3 as well as an iPad 2), quick editing (by an NYU grad-student of Lee’s), and large cast of diverse characters, makes for an engaging story. Lee insisted, though, that this film is not a sequel to Do The Right Thing, but just a chapter in his “Brooklyn Chronicles.” Somehow, it’s nice to know that all these stories take place in the same universe.
Clarke Peters - Peters might be the most soulful actor working today. Between HBO’s The Wire and Treme, as well as his numerous supporting roles, Peters has a winning track record as far as solemn, sincere performances go. His gravitas and authority allow him to dominate the film whenever he is featured on screen. His sermon scenes are energetic and powerful, and the struggle that is rife within him is clear and dynamic. Though the story is told through the children’s eyes, the film belongs entirely to him.
More Wire Actors – Though they’re only briefly featured, Red Hook Summer also features James Ransone, who played Ziggy Sabotka in the 2nd season of The Wire, as well as Isiah Whitlock Jr., who played Clay Davis on the show. Ransone gives a particularly charming performance, in the brief scenes in which he’s featured, and Whitlock gets to deliver his trademarked line: “Sheeeeeeeeeeeeeiiiit.” This is of no real consequence to the film…I’m just a giant fan.

The Bad:

The Kids – Now, this is not to say that the kids are bad performers, but it is to say that they’re handed a little more than they can manage. Both children have a few meaty monologues that are written so distinctly in other peoples voices, that it is clear they’re struggling to achieve their speeches’ true meanings. In fact…
The Voices – I certainly can’t fault Spike Lee for having a distinct and unique voice among other filmmakers. However, at a certain point, it sounds like almost every character is speaking as him. If he wanted to postulate in his own timbre, he could have simply left it up to his self portrayed character, Mookie (which he does, more than a couple of times). The characters all have separate traits & characteristics, but verbally, are almost indistinguishable.
Twisty 3rd Act – Now this is something that I don’t actually consider to be bad, but it seems to be the most divisive aspect of the film among audiences here at Sundance. Without divulging too much, the movie takes a hard left turn towards the end that changes the tone of the film entirely. Others seemed to find it inconsistent with the rest of the story, and that difference seems to have driven a lot of the controversy surrounding this film. But for the record, I actually enjoyed it, and don’t count it as a negative when tallying up my final score for this film.

Overall:

Spike Lee has always been an unflinching filmmaker, who makes exactly the film he wants to make. If this story were in the hands of anyone but his, it would have turned out to be a chore. However, Red Hook Summer has a strong energy and enjoyable characters that keep the story clipping along from beginning to end. As a unique coming of age story, ultimately Red Hook Summer turns out to be a film that will provoke the discussion of whether or not religion is a force that compels people to be decent to each other, or enables them to hide from their own truths.

Rating: 8/10

Gruesome Film ‘V/H/S’ Causing People To Pass Out At Sundance 2012

Travis Woods — Wed, 25 Jan 2012 19:17:18 +0000

Readers of our 2012 Sundance Film Festival coverage will note that this year at the fest has suffered from numerous health-related issues, from the death of influential indie film distributor Bingham Ray on Monday, to the collapse of Tracy Morgan last weekend. And now, the movies themselves are causing issues, as the horror film V/H/S is driving people to lose consciousness at the indie film festival.

Apparently, a man passed out while attending a screening of V/H/S, a found-footage horror film (which is code of “inspired by The Blair Witch Project and Paranormal Activity”) at Sundance. The film, directed by David Bruckner, Glenn McQuaid, Radio Silence, Joe Swanberg, Ti West, and Adam Wingard, was apparently too much for the man, who lost consciousness during a “particularly gruesome scene.” After coming to, the man was embarrassed, left the theater, and was later treated for nausea.

It’s not known if the man simply couldn’t handle the content of the scene, or if the “found footage” aesthetic (which often includes shaky footage) disoriented the man. What is known is that the directors behind V/H/S couldn’t have asked for a better advertising gimmick: the film is so disturbing that viewers run the risk of passing out during a viewing. Not a bad marketing hook at all.

What do you think of the V/H/S news?

Source: Cinema Blend

Bingham Ray, Driving Force In Independent Film, Dies At 57 At Sundance 2012

Travis Woods — Wed, 25 Jan 2012 15:58:06 +0000

Bingham Ray, the co-founder of October Films (which was one of the top indie film distribution companies of the 1990s) and a former president of United Artists, died on Monday at the age of 57. He passed away in a Provo, Utah hospital after suffering a stroke while attending the Sundance Film Festival last week.

Born on Oct. 1, 1954, in Bronxville, N.Y., Ray started out as a programmer and manager at New York’s Bleecker Street Cinema before forming October Films with Jeff Lipsky in Lipsky’s Sherman Oaks garage. Soon, the independent distribution company was knocking out some of the most interesting films of the 1990s by some of the world’s most prominent directors: David Lynch (Lost Highway), Robert Altman (Cookie’s Fortune), Lars von Trier (Breaking the Waves), Mike Leigh (Secrets & Lies), Jim Jarmusch (The Year of the Horse), Robert Duvall (The Apostle), and John Dahl (The Last Seduction).

Ray eventually moved on to the presidency of United Artists, championing and releasing such eventual Oscar-winning fare as Bowling for Columbine and No Man’s Land, before stepping down in 2004 due to reportedly clashing with UA exec’s over his “esoteric” and “arty” tastes.

Of Ray’s life, Sundance Film Festival founder Robert Redford said this:

“We lost a true warrior for independent voice today with the passing of Bingham Ray… He was a valued member of the Sundance family for as long as I can remember, and he is responsible for mentoring countless seminal storytellers and bringing their work to the world.”

Leave your thoughts about Bingham Ray in the comments wall.

Source: Los Angeles Times

Sundance 2012: Kid-Thing – Movie Review

Christie Ko — Wed, 25 Jan 2012 07:41:46 +0000

This is my first exposure to the Zellner brothers’ work, and I’m intrigued, but I found it a bit confusing. They have a quirky comic edge and a healthy respect for the bizarre that amuses and attracts me. That said, there is a darkness and a stillness to Kid-Thing that I found unsettling and hard to watch. The Sundance Film Festival is often a staging ground for experimental dramas, and I would put this film in that category.

The Players:

Director/Screenwriter: David Zellner
Cast: Sydney Aguirre, Susan Tyrrell, Nathan Zellner, David Zellner

Synopsis:

Annie is a depressed, angry, 10-year-old loner growing up outside of Austin. With no strong adult figure and no real friends, she spends her days in search of things to steal, smash, or terrorize. One day she discovers a trapped woman in an abandoned well in the woods. Unsure of what to do, or whether or not the woman is real or “the devil”, Annie refuses the woman’s pleas for rescue. Instead, she brings her food, drink, and a walkie-talkie, forming a bizarre and contentious relationship between them.

The Good:

Sydney Aguirre is a disturbingly convincing angry child with violent and destructive tendencies. The offbeat comedy of her deadbeat, useless father, and the antics of her boredom lend the film some much needed relief in Annie’s bleak and lonely existence. The humor in this film is drawn out of the prolonged repetition of sounds and actions; extending scenes beyond comfort until you’re led to an uneasy laughter. It succeeds in being at once both devastatingly depressing and cruelly funny.

The Bad:

In the same way that the comic scenes are drawn out, so are the dramatic and soul-crushing scenes. With what felt like a multitude of long, stationary shots chronicling the desperation and isolation of Annie’s life, it was difficult after a while to stomach.

Overall:

It seemed as though the humor and the drama were fighting each other for our attention in this film. There are some interesting and daring ideas, but the cohesion wasn’t quite realized. It was a scenic but bumpy ride.

Rating: 5/10

Sundance 2012: I Am Not a Hipster – Movie Review

Christie Ko — Tue, 24 Jan 2012 23:22:42 +0000

Based on the title and Sundance 2012 program description, I wasn’t sure how I was going to feel about this film. Full disclosure, I was pretty sure I was going to hate it, mainly because I, too, Am Not a Hipster (hint). But an unexpected thing happened part way through: My heart started pounding, and I realized that I was anxious for the characters and their situation. And later, when I teared up, I had to give up on my aspirations of being an eye-rolling naysayer…

The Players:

Director/Screenwriter: Destin Daniel Cretton
Cast: Dominic Bogart, Alvaro Orlando, Brad William Henke, Tammy Minoff, Kandis Erickson, Lauren Coleman
Music: Joel P. West

Synopsis:

The protagonist, Brook, is a popular, but depressed San Diego musician dealing with the passing of his mother some months before. Wary and disinterested in success or fame, he thwarts the efforts of his well-meaning best friend and is a bona fide, disaffected asshole to the people around him.

When his three sisters and father show up on his doorstep to spread their mother’s ashes, Brook is pushed to his emotional breaking point. Lashing out at everyone with a holier-than-thou pretension, cruel japes, and even with his fists, Brook’s sole redeeming factor is the side of him that comes out when he’s with his loving and adorable Midwestern sisters.

The Good:

“Hipster Culture” is a tricky subject because one of its central themes is an identification with the idea of being counter-culture. So, naming the phenomenon and categorizing it as a subculture is self-defeating. Nevertheless, I think it’s fair to say that we have accepted a working definition of the term “hipster” and associate it with certain negative connotations. And all those negative connotations you can think of when you hear “hipster” completely apply to Brook. So what saves him as a character? How can you like him or care what happens to him?

Dominic Bogart manages to pull off Brook’s ennui without it being whiny. This film is not a pity party. Instead of dwelling on his “hipsterdom”, the film explores why he is so depressed. You find yourself empathizing with him, as deplorable as he has been, because in truth, he is not disaffected nor disinterested. He is deeply affected by loss and loneliness.

The Bad:

I really enjoyed the dynamic of Brook with his caring, quirky, lovable sisters. I would have liked to spend more time with them in the film. Their relationship with him and with each other could have felt more developed. Also, I was expecting more of a resolution with his estranged father.

Overall:

This film is well written and well executed by a talented cast. It has a great original soundtrack by Joel P. West, and some moving musical performances. This is a funny and touching character study that turns your preconceived notions of what it means to be a hipster upside down.

ScreenCrave.com » Sundance

Sundance 2012: Chasing Ice – Movie Review

The Players:

Synopsis:

The Good:

The Bad:

Overall:

Rating: 7.5/10

Related Posts

Sundance 2012: End of Love – Movie Review

The Players:

Synopsis:

The Good:

The Bad:

Overall:

Rating: 7

Related Posts

Sundance 2012: Goats – Movie Review

The Players:

Sundance Synopsis:

The Good:

The Bad:

Overall:

Rating: 7/10

Related Posts

Sundance 2012: The End of Love – Movie Review

The Players:

Sundance Synopsis:

The Good:

The Bad:

Overall:

Rating: 7.5/10

Related Posts

Sundance 2012: About Face – Movie Review

The Players:

Sundance Synopsis:

The Good:

The Bad:

Rating: 4/10

Related Posts

Sundance Film Festival 2012 Award Winners

Related Posts

Sundance 2012: Smashed – Movie Review

The Players:

Sundance Synopsis:

The Good:

The Bad:

Overall:

Rating: 7.5

Related Posts

Sundance 2012: Red Hook Summer – Movie Review

The Players

Synopsis:

The Good:

The Bad:

Overall:

Rating: 8/10

Related Posts

Gruesome Film ‘V/H/S’ Causing People To Pass Out At Sundance 2012

Related Posts

Bingham Ray, Driving Force In Independent Film, Dies At 57 At Sundance 2012

Related Posts

Sundance 2012: Kid-Thing – Movie Review

The Players:

Synopsis:

The Good:

The Bad:

Overall:

Rating: 5/10

Related Posts

Sundance 2012: I Am Not a Hipster – Movie Review

The Players:

Synopsis:

The Good:

The Bad:

Overall:

Rating: 7/10

Related Posts