MONSTER (no distrib):  There’s less than meets the eye in Anthony Mandler’s Monster.  Based by Colen C. Wiley, Radha Black and Janece Shaffer on Walter Dean Myers’ novel, it seems like it’s going to be a saga of social injustice, dealing as it does with a young black New York honor student (Steve Harmon, […]

  The trouble with trying to recommend THE ONE I LOVE , written by Justin Lader and directed by Charlie McDowell, is that it’s impossible to describe how clever, surprising and intriguing it turns out to be without giving up its secrets.  It begins straightforwardly–so much so, in fact, that you might need to restrain an “Ah, […]

  The screenplay for THE SPECTACULAR NOW, a Dramatic Competition entry at Sundance, was written by the team of Scott Neustadter and Michael H. Weber, who also wrote (500) Days of Summer, but the new film has none of the breezy and somewhat gimmicky visual style of that hit.  Director James Ponsoldt, instead, goes to the […]

  A couple of Sundances ago, the actress/writer/producer Brit Marling was a festival darling, with two acclaimed pictures unveiled the same week.  In the end, while both Another Earth and Sound of My Voice received distribution, neither found much of a mainstream audience.  (Marling’s also established an acting career that included a very good turn in last year’s Arbitrage.) […]

  It’s the second consecutive Virtual Sundance, with safety, convenience and isolation in place of weather, shuttle buses and community.  Over the next several days, we’ll be bringing you reviews of several Sundance premieres, some of which will find their way into theaters, with more likely to make their public appearances via VOD and streaming […]

  THE SUNLIT NIGHT (no distrib):  The last thing one would have expected from the director of the genuinely scabrous Wetlands was a follow-up that seems to trying to meld NY Jewish comedy with the kind of enchanted romcom spirit of Bill Forsyth’s Local Hero.  But that’s what David Wnendt has given us, and the […]

  But for one unfortunately critical element, Logan and Noah Miller’s SWEETWATER (the brothers rewrote a script originally by Andrew McKenzie) is a highly enjoyable darkly comic western, as subsumed in stylized movie traditions (and their subversion) as a Tarantino movie, but without Tarantino’s post-modern stew of references. Sweetwater is your basic frontier town, half-way to Santa […]

  THE FAREWELL (A24):  Lulu Wang’s The Farewell is what could be called Sundance Classic, a small, very personal film nurtured by the festival into wide enough attention that A24 paid $6M to release it.  It’s based on Wang’s own life, so much so that it would be a spoiler to reveal the caption to […]