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‘Young. Wild. Free.’ Review: A Stylish, Young Black Love Story Loses The Plot [Sundance]

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Brendon (Algee Smith) isn’t a bad kid. An aspiring artist living in Los Angeles, in his last month of high school, the pressures of his daily life, however, are beginning to overwhelm him.

His mother, Janice (Sanaa Lathan), is not only working long hours to support the family, but she’s also with his loafing stepdad drug dealer (Mike Epps).

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‘Nam June Paik: Moon Is The Oldest TV’ Review: The Founder Of Video Art Gets A Documentary That is Never As Radical As Its Subject [Sundance]
The avant-garde video artist Nam June Paik gets his own adulatory portrait in Amanda Kim’s documentary “Nam June Paik: Moon is the Oldest TV.” An act of biographical recovery that also, somehow, flattens a controversial artist, Kim’s film provides just enough contextual information to maintain interest, even if it’s never as radical as its titular subject.  READ MORE: 25 Most Anticipated Films At The Sundance Film Festival Moving succinctly from birth to death, Kim provides a broad overview of Paik’s history and aesthetic interests.
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‘The Tuba Thieves’ Review: Alison O’Daniel’s Experimental Doc About Deaf Musicians & Theft Doesn’t Ever Harmonize [Sundance]
In 2021, filmgoing audiences were treated to “CODA,” an affectionate look at a music-loving high school senior and her complicated bond with a deaf mother, father, and sibling. A year earlier, “Sound of Metal” presented the devastating journey of a rock drummer’s hearing loss and subsequent attempts to cope with his unfortunate predicament.
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‘Willie Nelson & Family’ Review: Docuseries Mistakes The Comprehensive For the Essential In Well-Meaning Slog [Sundance]
Caught somewhere between a movie and a series, “Willie Nelson & Family” doubles down on the history and mythology of its namesake to stretch the latter into what would have been better served as the former.  Honest, introspective, yet rarely revelatory, the anthology often mistakes the comprehensive for the essential, and while it succeeds in explaining Willie Nelson to its audience, that’s about all it does.
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‘A Thousand And One’ Review: Black Motherhood And Harlem Take Centerstage In A.V. Rockwell’s Handsome Debut [Sundance]
In writer/director A.V. Rockwell’s feature directorial debut, “A Thousand and One,” Inez (a deeply felt Teyana Talyor) has returned to Harlem after spending a year in Rikers Prison.
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‘King Coal’ Review: Elaine McMillion Sheldon’s Documentary Is An Atmospheric, Evocative Elegy For Central Appalachia [Sundance]
This is “a place of mountains and myths,” we’re told as a montage of Central Appalachian imagery fills the frame. The mists, buffalo, ferns, and flowing waters intercut with the coal-filled mountains and mining towns that grew up around them.
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‘Jamojaya’ Review: Justin Chon’s Showcases A Complex Father/Son Relationship In Drama With Momentum Issues [Sundance]
There is no shortage of stories about fathers and their kids, specifically sons. But in Justin Chon’s (“Gook,” “Ms.
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‘Scrapper’ Review: Harris Dickinson Stars In An Endearing Story Of A Grieving Daughter & Long-Lost Father [Sundance]
“Scrapper” starts in a dreary English flat with a child all alone but not incapable. That seems to be the M.O.
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‘The Night Logan Woke Up’ Review: Xavier Dolan’s Debut TV Series Is A Captivating & Impressive Return
There are very few directors who like to work at the break-neck speed that Canadian multi-hyphenate Xavier Dolan relishes. Fewer still can boast of churning out quality output at every turn.
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‘Judy Blume Forever’ Review: Documentary Joyfully Celebrates Esteemed Author’s Life & Impact [Sundance]
Few writers have as much of a hold on adults’ childhood selves as Judy Blume. Even if you’ve never read her books, her impact, especially with her most influential novels decades ago, is felt in how YA fiction is laid out today.
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‘Victim/Suspect’ Review: In Netflix’s New Crime Doc, Accusers Become The Accused [Sundance]
After growing up on a steady diet of “Law & Order: SVU,” Dianey Bermeo wanted to be like Olivia Benson, helping victims of sex crimes by bringing their assailants to justice. She gave up on that dream after police investigators in her college town failed to find the man who she said impersonated an officer and sexually assaulted her.
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‘A Little Prayer’ Review: David Strathairn and Jane Levy Shine In Angus MacLachlan’s Throwback Family Dramedy
Roger Ebert once wrote, “just because something is not done anymore doesn’t mean it’s not worth doing,” when describing Norman Jewison’s irrepressible romantic comedy “Only You.” This same sentiment can be applied to Angus MacLachlan’s latest family dramedy, “A Little Prayer,” a welcome throwback to adult-oriented movie fare of yore like “On Golden Pond,” “Fried Green Tomatoes,” or “Passion Fish.
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‘Landscape With Invisible Hand’ Review: An Ambitious But Unfortunate Failure From Filmmaker Cory Finley [Sundance]
The "Thoroughbreds" and "Bad Education" filmmaker's sci-fi/comedy finds him working on a larger canvas, but to lesser effect.
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‘Passages’ Review: Franz Rogowski, Adèle Exarchopoulos & Ben Whishaw Star In Ira Sachs’ Irresistible Love Triangle [Sundance]
Ira Sachs prefers relationships of the doomed variety — tempestuous passions torn asunder, sometimes by external forces like capitalism, which complicated the search for a home through New York’s cutthroat real estate market in “Love Is Strange” and “Little Men.” His latest film — the sexy, frustrating, loose-yet-compact, altogether irresistible three-hander “Passages” — also concerns property contracts and a homeless protagonist. However, this one’s got nobody but himself to blame for that predicament, fluent as he is in the same toxic strain of amour fou that previously perfumed the air in “Keep the Lights On” and especially Sachs’ debut, “The Delta.” As in that film — also pitched at the admirably humble quotidian scale Sachs hasn’t felt the need to exceed in more than a quarter decade — “Passages” follows a bisexual chaos agent so wrapped up in his own narcissism that he can’t see where his self-exploration ends and insensitivity to those around him begins.
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‘My Animal’ Review: A Moody, Trippy Queer Werewolf Romance Is Limited, But A Remarkably Assured Debut [Sundance]
Like most teenagers, Heather (non-binary actor Bobbi Salvör Menuez), a social misfit who lives in a rural town in northern Canada, has a strict midnight curfew to adhere to. But unlike other teenagers, staying out for longer has a much more dangerous effect on her.
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There was a time when it seemed like every movie trailer for every single comedy began with bouncy music and a voice-over artist explaining cheerfully, “[NAME OF PROTAGONIST] had it all!” But at the beginning of Nicole Holofcener’s “You Hurt My Feelings,” Beth (Julia Louis-Dreyfus) does, in fact, seem to have it all: she’s in a long-lasting marriage with a successful therapist, they have a great apartment on the Upper West Side, their 23-year-old son Eliot (Owen Teague) is writing his first play, she teaches writing at the New School, and she’s just finished her second book.
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While it may seem niche to those outside of Texas, high school mariachi competitions are quite prolific in the Lonestar State. The teams give students a creative outlet, as well as an opportunity to pursue scholarships in college music.
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A memory, tinged with aching rawness, emerges in “All Dirt Roads Taste of Salt,” the feature debut by writer/director Raven Jackson. This memory briefly foretells the knotting stream of remembrances that roots our protagonist, Mack (played in these early childhood scenes by a sage Kaylee Nicole Johnson). It begins in 1970, with young Mack’s hands softly holding a fishing reel, its pole stretched across the frame.
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There’s crazy, there’s batshit crazy, and then there’s Brandon Cronenberg’s definition of crazy. It’s a crazy that’s impossible to contain and even more impossible to label: a mind-bending neon-lit nightmare bursting at the seams with perverse imagery, an abrasive embrace of the grotesque, and a ravishing explosion of seduction and power.
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There’s a popular song in North Korea called “Nothing to Envy.” Lines include, “Who can ever break our strength? / We are not afraid of any storm or stress” and “Our home is the bosom of the Party / We are all brothers and sisters / We envy nothing in the world.” Though they lack running water, indoor plumbing, and basic freedom of thought — to name just a few things — North Koreans are taught to believe that they genuinely have it better than any other country on earth.
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In Greek mythology, it holds that for a time, gods and mortals mingled freely, creating demigods whose sole aim was to prove their worth so they might join their celestial kin. For the Greeks, the gods who ruled on mount Olympus formed the idealized version of humans—often possessing super strength to match their perfect physiques.
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‘Past Lives’ Review: Celine Song Delivers a Bittersweet and Stunning Romance in Directorial Debut [Sundance]
Spanning three time periods and two continents, “Past Lives,” the directorial debut of Celine Song (“Endlings”), tells the story of two childhood friends and sweethearts pulled apart by time, circumstance, and fate. They come back together and end in a way that might subvert the romantic fantasies of the audience — but this only shows the important roles people play in our lives, even if it’s not what we expected.  READ MORE: 25 Most Anticipated Films At The Sundance Film Festival Disembodied voices start us off in “Past Lives,” making guesses at who Nora (Greta Lee), Hae Sung (Teo Yoo), and Arthur (John Magaro) are to each other as they sit at an NYC bar.
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‘Cat Person’ Review: Emilia Jones And Nicholas Braun Shine In Gripping, Uneven Adaption Of Viral Sensation [Sundance]
Margaret Atwood said it best: “Men are afraid that women will laugh at them. Women are afraid that men will kill them.” This age-old discrepancy in the way the two genders experience the world is written both at the initial frame and very heart of Susanna Fogel’s mercurial “Cat Person,” a fiendishly playful relationship-gone-bad quasi-thriller with a sense of humor about its own unknowability.
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‘Eileen’ Review: A Slender Thriller Despite Its Gorgeous Looks & Terrific performances From Anne Hathaway & Thomasin McKenzie
Starting with early frames that capture one very cold East Coast winter with cozy grain, director William Oldroyd’s gorgeous yet thin-spread drama-thriller “Eileen” looks like the kind of movie one wishes to luxuriate in. Indeed, the masterful “Lady Macbeth” director’s period piece promises to be the cinematic equivalent of a lavish fur coat at first glance, so inviting in its smoky mahogany interiors and mutedly warm color palette that it feels easy to slip into, no questions asked.
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‘Bad Behaviour’ Review: Jennifer Connelly Is Magnificent In Alice Englert’s Gleefully Cynical Feature Debut [Sundance]
Actor-turned-filmmaker Alice Englert’s “Bad Behaviour” is a dirty bomb of a movie, and it almost seems intentionally devised to keep the viewer off-balance. What at first appears a rather obvious send-up of self-help culture turns into a take-no-prisoners assault on narrative expectations and norms, all the while painting a pointed portrait of a truly complicated protagonist, the kind of character whose motivations and intentions are so slippery, you can barely make up your mind about her before she gives you a reason to change it again.
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“Bad Behaviour” Review: Jennifer Connelly is Magnificent in Alice Englert’s Gleefully Cynical Feature Debut [Sundance]
Actor-turned-filmmaker Alice Englert’s “Bad Behaviour” is a dirty bomb of a movie, and it almost seems intentionally devised to keep the viewer off-balance. What at first appears a rather obvious send-up of self-help culture turns into a take-no-prisoners assault on narrative expectations and norms, all the while painting a pointed portrait of a truly complicated protagonist, the kind of character whose motivations and intentions are so slippery, you can barely make up your mind about her before she gives you a reason to change it again.
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‘Talk to Me’ Review: YouTube Sensations RackaRacka Conjure Evil Spirits and A Damn Good Time [Sundance]
“From the YouTube sensations…” isn’t exactly the phrase you want to hear going into a film — horror or otherwise. This set-up brings a certain amount of baggage that the audience will be hard-pressed to shake, regardless of the filmmaker’s talent.
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‘The Persian Version’ Review: Maryam Keshavarz’s Dramedy Lacks Cohesion [Sundance]
The thorny, complicated history between the United States and Iran is infinitely more complex for those of the Persian diaspora living in America. It’s this nuanced tension trickling down to identity — between being too much this and not enough that in either homeland — that writer-director-producer Maryam Keshavarz (“Circumstance”) explores in her third film, “The Persian Version,” a decades and generation-spanning dramedy.
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‘Kokomo City’ Review: These Beautiful Ladies Have A Lot To Say [Sundance]
PARK CITY – One of the best accomplishments a documentary can pull off is making its audience uncomfortable. Maybe even squirm in their seats a little.
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‘Cat Person’ Review: Emilia Jones And Nicholas Braun Shine In Gripping, Uneven Adaption Of Viral Sensation [Sundance]
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Sundance Jury Members Walk Out Over Closed Captioning Issues
Over the past few years, it’s thankfully become more common to find screenings with closed captioning at your local multiplex. Not just theaters that hand out closed captioning devices — which often require another layer of artifice between the audience and the movie — but actual onscreen captions.
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