A wise man once said (to me, in line) “The important thing to remember at Sundance is don’t sleep.” We took his advice, and have been stringing midnight screenings into 8:30 am matinees like it’s our job---because, well, it is. Here’s what the middle stretch of the Sundance Film Festival looked like from our vantage point.
The Tribe (above)
Another of our most anticipated selections, The Tribe did not disappoint. In fact, it was even more disturbing and gritty than we expected. The movie was great---without question the most bold, unflinching work we’ve seen so far---but be warned: If you’ve got a soft constitution The Tribe might not be your bag. It has several key scenes we can’t even begin to describe without spoiling, but suffice to say, your eyes will either be fastened to the screen or buried in your hands with your fingers in your ears.
__Knock Knock __
Eli Roth’s big Sundance effort promised to be lighter on the gore, but, true to himself, the man didn't skimp on shock factor in this Funny Games-esque, hard-R psychosexual thriller. Roth’s signature Giddy Sadist character takes front and center, with a pair of sex kittens taking on principal torturer duties this time around (one of which, Lorena Izzo, is Roth’s wife). If you don’t care for the director's style, this movie won’t change your mind, but if you buy what he sells then Knock Knock should leave you a satisfied customer.
The Nightmare
Part documentary and part narrative feature, The Nightmare explores sleep paralysis and the horrible terrors that can accompany it---an unexpectedly satisfying take on the non-fiction form. At a post screening Q&A, director Rodney Ascher (pictured above---he also made the astounding Room 237) explained that he too is a victim of sleep paralysis; for the film he rounded up eight people from across the country to share their years-long battles with this strange and awful condition. The narrations are accompanied by stylized dramatizations that gave the audience a solid handful of jumping scares, a first we’ve seen in documentary.
__Brooklyn __
So you’re going to hear “mid-century historical drama about an Irish immigrant” and think “I didn’t come here to do my homework,” but suspend your doubts! Brooklyn was utterly charming. The script by Nick Hornby was filled with surprising levity and witty banter, and powered by yet another moving turn from Saoirse Ronan---along with a great supporting cast featuring the likes of Jim Broadbent, Jessica Paré, and Domhnall Gleeson. For real, if you want to go watch a nice movie that will move you in just the right ways without being all English Patient-y, Brooklyn was just about perfect. It was also acquired by Fox Searchlight for $9 million, one of the festival’s biggest buys.
Hellions
Another entry in Sundance’s very strong 2015 “After Midnight” section. But where It Follows and The Nightmare excelled (and Knock Knock succeeded in being exceptionally Eli Roth), Hellions was more of a struggle. But hey, we’ve got a soft spot for horror over here, and director Bruce McDonald put together a uniquely stylized take on the Halloween antics subgenre, bolstered by some very creepy kid villains. And who doesn’t love a good creepy kid? Besides, we’ll take Robert Patrick wherever we can get him.
The Witch
This movie! The Witch played in the U.S. Dramatic section, but doubled as class-A horror film. Meticulous art direction to recreate 17th-century Massachusetts, combined with a great script, highly restrained direction and amazing performances in every role (particularly by Kate Dickie as a mother driven slowly mad), made this one hell of a fun watch that flowed over with creeping dread. It also may have the best ending of any movie at Sundance this year. Rights were acquired by A24 for $1.5 million.
Turbo Kid
This is a Valentine to kid-centric action movies of the 1990s and 1980s, so much so that we found ourselves recasting it with a 30-years-younger Matthew Broadrick in our minds while it was playing. Turbo Kid has its flaws, but Turbo Kid also doesn’t care, because it’s just here to have a good time. You’ll smile. You’ll laugh. You’ll go find your old GameBoy, and you’ll be totally stoked to see Michael Ironside being the most villainy villain he can be. Don’t judge. Just enjoy the wonderful nostalgia that’s been jacked up with Quentin Tarantino levels of blood. We approve.
Advantageous
This entire movie wears the passion of its filmmakers on its cinematic sleeves. Director Jennifer Phang and star Jacqueline Kim co-wrote a story that centers around an Asian-American cast and with a deliberate message about the challenges women face in contemporary society, but, like all good science fiction, it is ultimately about what it means to be human---the choices we make and what it truly means to “survive” when your existence is threatened. Co-star and producer Ken Jeong called Advantageous the proudest moment of his career, and with good reason; it prompts a conversation about “progress” we should all be having.
The Overnight
You wouldn’t expect a movie that opens with a married couple masturbating and features gratuitous shots of prosthetic penises to have so much heart, but The Overnight pulls it off (zing!). Regardless of how blue the humor gets, the comedic sensibilities of leads Jason Schwartzman, Judith Godreche, Taylor Schilling and Adam Scott make this chronicle of parents-gone-wild as endearing as it is funny. Will there be a four-way? Won’t there be a four-way? Guess you’ll have to watch and find out, and since it was acquired by Orchard for an undisclosed price, you’ll totally be able to!
__The Stanford Prison Experiment __
This movie takes place over the course of just a few days, but by the time the Experiment ends you’ll feel like you’ve been with the prisoners for weeks, which is at once the strength and weakness of this suffocating drama. But hey, real prison is incredibly suffocating and tedious and uncomfortable, so why shouldn’t a movie about testing the effects of one be so as well? If you’re nervous about weathering the abuses endured by Philip Zimbardo’s test subjects during his infamous study, be sure that this young ensemble cast will make it worth your while. Olivia Thirlby, Ezra Miller, Tye Sheridan, Johnny Simmons, Michael Angarano and more show us that Hollywood has a bright future ahead, with vets like Billy Crudup and Nelsan Ellis turning in characteristically strong performances. Overall, we support.
The Bronze
Reversal
Me and Earl and The Dying Girl
