TRAIN DREAMS (Netflix – TBD):  Train Dreams was one of only two films acquired for wide distribution during Sundance, and while Netflix clearly regards it as an awards contender, barring overwhelming critical support 9 months from now, it’s hard to see Clint Bentley’s quiet historical saga achieving a major impact among the mountains of […]

> The fundamental problem with LAY THE FAVORITE, Stephen Frears’ new film that premiered last night at Sundance, is that it’s made by people who seem to have little if any interest in gambling. And since this is a movie about the thrill and especially the business of gambling, that means they don’t have any […]

  THE CHILDREN ACT (no distrib):  It’s not intended as disparagement to Ian McEwan’s novel and screenplay adaptation, or to Richard Eyre’s film, that THE CHILDREN ACT feels much of the time like it could be the pilot for a high-toned television series featuring Emma Thompson as a compassionate jurist specializing in family law who […]

  JUDAS AND THE BLACK MESSIAH (Warners/HBO Max – February 12):  The title refers to the FBI informant Bill O’Neal (played here by LaKeith Stanfield) and the Illinois Black Panthers leader Fred Hampton (Daniel Kaluuya).  Although Hampton was only 21 years old, he was so charismatic and successful–he had put together a local coalition that […]

> Josh Radnor’s writing/directing debut happythankyoumoreplease, which played Sundance a couple of years ago, was a promising, entertaining NY-set romantic comedy-drama that hailed from the Woody Allen division of indie film. His second film LIBERAL ARTS, which premiered last night at the festival, still sips from the fount of Woody (in this case, particularly from […]

  EMANUEL AND THE TRUTH ABOUT FISHES is deeply, satisfyingly strange.  In a way, it’s a validation not just of Sundance, but the whole film festival system that is now our main way of finding out about distinctive new talent.  It also tells a story based in large part on a single plot development that, while […]

  TO THE STARS (no distrib):  Tales of small-town outcasts are a regular feature at Sundance, and Martha Stephens’ drama is an accomplished example of the genre.  Shannon Bradley-Colleary’s script is set in 1960s Oklahoma (the film is splendidly shot by Andrew Reed in a black and white that recalls The Last Picture Show), centering on […]

  THE GUILTY (Netflix – Oct. 1):  One way to cope with the challenges and costs of movie production during Covid is to limit the number of actors who have to be in front of the camera.  That’s tough for a thriller, but two Festival movies this year chose the old Sorry, Wrong Number mode […]