Zach Braff’s WISH I WAS HERE, his first film as a writer-director since Garden State 10 years ago, mixes genuine, deeply-felt emotion with the kind of contrivances that would grate even on a second-rate sitcom.  (This week’s episode:  Dad tries to homeschool the kids!  And Uncle Jonah wears a costume to Comic-Con just to […]

  The consensus is that the 2014 Sundance Film Festival was a solid but unexciting one.  To an extent that’s a business judgment: whatever its leaders may say publicly, Sundance gave itself up long ago to being as much an acquisition showcase as an artistic one, and this year, while quite a few films at […]

  Damien Chazelle’s powerhouse WHIPLASH is about the pursuit of not just excellence, but perfection, and on its own deliberately limited terms it doesn’t land far from that mark.  Whiplash won both the Grand Jury and the Audience prizes at this year’s Sundance Film Festival (only the 5th time that’s happened), and for all intents […]

  Back when Stanley Kubrick still planned to direct the film that became AI: Artificial Intelligence, he famously toyed with the idea of shooting it bit by bit over a period of years, so that the young protagonist would literally age on screen.  Now Richard Linklater, the most unKubrickian of filmmakers, has done exactly that with BOYHOOD, […]

  The writer-director Mike Cahill has staked out a unique piece of narrative territory for himself.  In both Another Earth and his new I ORIGINS, which debuted at Sundance last week (and won the festival prize for best science-based work), he explores the point where factual science meets not just science fiction, but something more metaphysical, an area […]

  No one can accuse LOW DOWN of attempting to glamorize the true story it tells.  Jeff Preiss’s first film as a director is a slow, grim dirge set in an underbelly of the jazz world in 1970s Los Angeles, and it’s been co-written (with Topper Lilien) and -produced (and based on the memoir by) Amy-Jo Albany, […]

  Kate Barker-Froyland’s directing debut SONG ONE is so wispy and insubstantial that the bytes making up its digital images seem barely capable of adhering to a screen.  Clearly influenced by John Carney’s mini-musical Once, it makes Carney’s film look like an Andrew Lloyd-Webber spectacle by comparison. Barker-Froyland also wrote the minimal script, which almost exhausts its resources […]

  A surprisingly commercial concoction by Sundance standards, Gillian Robespierre’s OBVIOUS CHILD doesn’t feel very much unlike the pilot for a cable dramedy.  That’s not meant as any kind of dire criticism; TV could use more smart, funny female voices like Robespierre’s and star Jenny Slate’s (Slate is already featured in a multitude of high-class TV shows, […]