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Sundance 2014 Reviews: Overnighters, Whiplash

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Even in these scenes of heartwarming fraternity, there’s always this nagging feeling that Reinke’s generosity is perhaps misguided and downright bizarre, as if there’s something unhealthy or otherwise unspoken that drives his desire to help these men.

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14 Must-See Films at Sundance ‘14

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What sounds good?

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Sundance Review: Ain’t Them Bodies Saints

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Lowery’s Texas, simmering, shimmering, altogether gorgeous, is a place of extraordinary ordinariness and the simplest details sing: Ruth’s simple white dress in an early scene, lightly cinched with thin rope, barelegged in boots with the tongues nearly loose; a second-story view of a street corner at dawn, similar to a quietly haunting shot in Badlands; a sandwich in wax paper folded just so; fingers tickling the dark under a bar counter, finding, of course, a sawed-off double barrel; shadows as deep as daylight is bright, the warmth of particular shadows that fall to black just past faces.

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Sundance Review: Doc Wrap-Up

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We understand these events to be troubling, but Rowley spends far too long lingering on the way life has changed for Scahill and the way these wars have had a negative impact on his mood. It is a film that is dirtied by its own lead, despite Scahill being definitively insightful and knowledgeable about the regions. The man is a brilliant journalist—there is no doubt about that—but the documentary sags when it should ignite.

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Sundance Review: Prince Avalanche

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There is humor here, but of the gentle, nudging, self-aware kind more than broad slapstick, save for one scene toward the end that injects a quick dose of mostly painless comic relief. But mostly there is an excavation of character going on here, as Alvin sorts and sifts through his own understanding of who he is and his place in the world. A letter for Alvin forces him to reassess his own life and understanding of himself and his relationship, causing him to dig, as it were, through his own ashes in search of the answers to where he’s veered off track in his own life.

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Wrapping Up Sundance, Pt 1: The Not-Docs

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Sundance Reviews: Cutie and the Boxer, Fallen City

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Sundance Review: Pussy Riot: A Punk Prayer

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Sundance Review: Upstream Color

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Sundance Review: Before Midnight

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Sundance Review: Blood Brother

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Sundance Review: Escape from Tomorrow

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Sundance Review: Computer Chess, Escape From Tomorrow

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Sundance Review: We Are What We Are

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Sundance Review: The World According To Dick Cheney, After Tiller

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“F— it. Give me a Stella and a vodka and I will double-fist for the rest of the night.”
Waldo Salt Screenwriting Award-Winner Lake Bell On Needing To Breathe Through Her Butt More

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“You think you know something, don’t you? You think you’re the clever little girl who knows something. There’s so much you don’t know, so much. What do you know, really? You’re just an ordinary little girl, living in an ordinary little town. You wake up every morning of your life and you know perfectly well that there’s nothing in the world to trouble you. You go through your ordinary little day, and at night you sleep your untroubled ordinary little sleep, filled with peaceful stupid dreams. And I brought you nightmares. Or did I? Or was it a silly, inexpert little lie? You live in a dream. You’re a sleepwalker, blind. How do you know what the world is like? Do you know the world is a foul sty? Do you know, if you rip off the fronts of houses, you’d find swine? The world’s a hell. What does it matter what happens in it? Wake up, Charlie. Use your wits. Learn something.”
~ Shadow Of a Doubt, by Alma Reville, Thornton Wilder, Sally Benson

“Ophüls is my hero when it comes to blocking the actors and blocking the camera and the dance they do together. He’s just the best. By the way, have you seen The Post? I’d say Steven Spielberg is as good with the camera as anybody in film history. I saw it the other day, and I couldn’t believe how good he is at dealing with a lot of people in that small a space. He’s got ten people in a living room, and everybody’s moving around, and everything seems natural, and the camera’s dancing around them, and that thing is a miracle of staging and camerawork. I can’t wait to see it again, to really look under the hood and watch how he did it.”
~ Paul Thomas Anderson