Stupid back surgery caused us to strike Sundance from our dance card this year, but we were there in spirit.
Some of the best films of Sundance so far:
Agnus Dei: Set in a Polish convent attacked by Russian soldiers at the end of WWII, you know this one won’t be an easy watch. But word has it it’s beautifully acted by a strong female ensemble, including Agata Kulesza, who you may remember from last year’s feel-good drama, Ida.
The Birth of a Nation: The story of Nat Turner’s slave rebellion – bound to be powerful, unflinching, and explosive, Fox Searchlight picked it up at this year’s festival for $17.5M, a new Sundance record.
Certain Women: Based on three short stories (by Maile Meloy) that tell tender and character-driven tales around emotional quandaries. Starring Laura Dern, Kristen Stewart, Michelle Williams, and a stunner of a performance from Native American actress Lily Gladstone.
Manchester by the Sea: Another slow-burning character study by director Kenneth Lonergan, this one stars Casey Affleck as a guy struggling to overcome his failures as a husband and father – but the other people in the movie know something about him that we, the audience, do not.
Morris From America: Craig Robinson’s going to surprise us all with this
excellent performance as a father losing his grip on his son, a teen struggling to find his place while over in Germany. The script is supposedly charming without being cute and I hope it’ll be a sweet surprise.
Sing Street: John Carney (Once, Begin Again) is up to his old tricks with another intimate musical that some say is his best yet (I LOVE Once, was a bit less enthusiastic about Begin Again). This one’s an ’80s throwback that’s of course full of dizzying romance and super likeable characters that will, let’s face it, probably leave us tender-hearted viewers in tears.
This year’s most divisive title:
Swiss Army Man: Paul Dano is stranded on an island, and instead of a volleyball named Wilson, he “befriends” a farting corpse, played by Daniel Radcliffe, who teaches him about what makes life worth living, and also which body parts might be used to get him back home – heavy subjects for such a weird and wacky movie. Lots of people walked out of this one but reviews are mixed, with some really enjoying this ode to abnormality.



destroying waves to look right. Technology had advanced significantly by 1993, and so a special edition was released with 25 minutes more footage, including the ending as it was originally conceived. The CG effects hint at what is to come from Cameron and ILM (or, by the time the special edition was released, what had already come). The tentacle water effects in particular are very close relatives of the T-1000’s liquid metal goodness in T2 and they seem to hold up a lot better than most early CG (maybe because CG is used so sparsely in The Abyss).
ch I just found out is on Netflix. Especially because Jay is still on oxycontin recovering from her back surgery.









passion in me. Lucky for him, I underwent a hefty back surgery a couple of weeks ago and ever since then have been a) trapped in bed b) under the heavy influence of drugs. So it was under these influences that Sean took advantage of his poor, sickly wife, and we tackled the first three movies in the series, Episodes I, II, and III.
villain praised, and am disappointed that he turns out to be over and done with so quickly. Definitely digging his double-bladed light saber, though his fight with the two Jedis was uneven for me, sometimes thrilling, other times downright implausible. What I find most unforgivable in this movie are the cheesy screen wipes. Shouldn’t we, as a society, be above those by now?
(again, it is). Again I’m finding Ewan McGregor to be the best thing about this movie, and am missing Liam Neeson. Hayden Christensen isn’t great but mostly I’m stuck on why a
Queen and Senator would be attracted to such a whiny kid (last movie there was an 8 year age difference between the actors; this movie there’s none). I’m having a hard time keeping track of good guys and bad guys. I’m very WTF about Jimmy Smits appearing – um, really? Jimmy Smits? And same with The Phantom Menace, the very evident over-usage of green screens is tiring and flat. Also I’m wondering how it is that every time someone fights, they’re either on a very narrow bridge, or on the rim of a very big hole. Seems unlikely.
goes on a for a LONG time. I was really feeling that Anakin’s back story was insufficient to explain why he’d gone over to the dark side but he might just be crispy enough to warrant it after all. As a fan of the original trilogy, Sean had a lot of problems with the prequels, not least of all because everything is so damned shiny and new in these movies. CGI makes everything look sleek and sparkly. All the ships and robots are rendered flawlessly, a huge contrast to the more practical effects used in the original movies, but chronologically, it makes no sense that 30 years later, the technology looks so much clunkier. I noticed that things like R2D2 and Vader’s mask are also so sleek that they end up looking like cheap plastic. But I’m having an even harder time justifying Padme’s death scene. Lost the will to live? Oh, is that an official medical diagnosis now? Look, lady, I’m sorry your first marriage didn’t work out and your husband turned out to be a bit of a dick (although let’s face it: Darth Vader is much sexier than
whiny, emo Anakin, an entitled millennial from another millennium) but you can’t just check out. She was a fighter this whole time, politically savvy and a better shot than any of her male counterparts, but she can’t face raising her babies alone? Come on! So the babies get split up, to be raised by Jimmy Smits and Joel Edgerton. Is that weird? Yes it’s weird! Almost as weird as creepy little Hayden Christensen somehow morphing into James Earl Jones. That’s the kind of math that only George Lucas can account for.
completely imploded. Protests are aborted, physical injuries are sustained, lawsuits are commenced (Greenpeace v. Greenpeace!), turncoats are identified, and shots are taken liberally at one another. Essentially, it’s an episode of Big Brother starring a bunch of 65-year-old grouches.


