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Sundance ’22: Bizarro Satire ‘DUAL’ Sees The World Through a Hazy Reflection 

In the near future, a process called “replacement” allows dying individuals to clone themselves in Dual. The goal: their living loved ones will no longer have to miss them. When Sarah (Karen Gillan) starts vomiting blood one day and is told stiffly that she will assuredly die very soon, she decides to gift her loved ones with a double of herself. When she later finds out that her terminal illness is in sudden remission, she must legally fight her double to the death in a broadcast dual, as only one of them is allowed to survive. Read More

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Sundance ’22: Losing Life’s Popularity Contest With ‘WHEN YOU FINISH SAVING THE WORLD’  

Jesse Eisenberg‘s debut feature When You Finish Saving the World is a cantankerous study of an insufferable family trying – and failing – to live together peacefully. Ziggy (Finn Wolfhard) is pouty and dense. Evelyn (Julianne Moore) is self-important and overbearing. He livestreams his folksy music to an eclectic mix of international audience members for crypto tips. She (admirably) runs a women’s shelter. But no one at her workplace really likes her. And no one at Ziggy’s school really likes him either. Neither get enough praise in their estimation. Both are an absolute drag to be around. Read More

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Sundance ’22: Maika Monroe is Alone and Stalked in Romania in Creepy ‘WATCHER’ 

Take the helplessness you feel when you’re in a foreign country but don’t speak the language and add in an inattentive husband and a possible stalker and you have a formula for a very bad trip abroad. In Watcher, this is Julia’s life now.  Stranded in Bucharest, Romania, the unemployed actress and wife to an ambitious marketer tries her best to grin and bear the transition. But every night, she sneaks a peek out the curtains of her apartment. And every night, a man across the street watches her back. Julia’s sanity and marriage unfurl as the specter of being watched grows larger and more dangerous with each passing day.  Read More

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Sundance ’22: Cringe Turns Utterly Chilling in Knockout Psychological Horror ‘SPEAK NO EVIL’

There are certain moments in life when everything in our body tells us to run away from a situation but we still hesitate because we want to be polite. Maybe it’s a weird conversation with a glassy-eyed drunk we got trapped in at a fundraiser. Or a flirtation turned suddenly uncomfortable with some girl we met at a bar. We don’t want to hurt the feelings of strangers. We stay out of some bizarre (and overly trusting) Western societal norm. We afford the benefit of the doubt. Sometimes to those who have not earned it. In Speak No Evil, all kinds of instinctual alarms go off but no one is paying attention to their instinct. They’re playing right into the hands of societal expectation – and then they are exploited. Read More

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Sundance ’22: ‘KLONDIKE’ a Funereal Drama About Ground-Level Russia-Ukraine Conflict 

July 17, 2014. Irka (Oksana Cherkashyna) and Tolik (Sergey Shadrin) live humbly in the Ukraine border town of the Donetsk, an Eastern region of disputed territory during the dawn of the Russian-Ukraine Donbas war in Klondike. They’re expecting a child. The film opens as the couple discuss birthing plans and getting somewhere safe to deliver the baby in voice over. Jolting viewers out of even one moment of calm, an explosion rips through the house, leveling a wall of their abode clean off. Commercial airline MH17 has just been shot down right in their front yard.  Read More

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Sundance ’22: ‘FRESH’ a Horrific Meat-Cute That Takes a Bites out of Modern Dating

A one-of-a-kind allegorical delicacy, Fresh revels in taboo subjects to poke fun at the stomach-churning appetites of the modern dating world. A delirious mash-up of cheesy romance and body horror shlock, the debut film from Mimi Cave begins in deliciously grotesque fashion, showing flashes of both American Psycho and Martyrs as her devilish meat-cute puts a dark spin on the idea of “finding the right guy”. Overnight, chemistry and flirtation turns to imprisonment and cannibalism, giving new meaning to the phrase “eating butt.”  Read More

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Tribeca 2021: Adrien Brody’s ‘CLEAN’ an Ugly, On the Nose Neo-Noir With Intense Dumb Guy Energy 

In Clean, Adrien Brody is a garbage man named Clean. After a tragedy in his past that haunts him to this day, Clean has gone clean. He’s trying to redeem his past mistakes by cleaning up the streets of Utica. Taking out the trash, literally and metaphorically. Dirty cops and rancid garbage, all must go. An ugly and hilariously on the nose watch, Clean is the kind of self-serious neo-noir that amplifies its navel-gazing faux-grittiness to a point of self-parody, complete with stuffy, gravelly voiceover, written as an obvious attempt to ape Alan Moore’s oft-copied steely nihilism, with streaky, smoky nighttime cinematography that adds nothing but another layer of comical try-hardiness to the overall picture. Read More

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Tribeca 2021: Endearing Werewolf Whodunnit ‘WEREWOLVES WITHIN’ Channels Edgar Wright

Like Clue with lycanthropy, Josh Ruben’s Werewolves Within is an ensemble-driven horror-comedy with lots of earnest charm and plenty of satisfying laughs. A hairy whodunnit about a small Vermont community terrorized by what they assume to be a werewolf, Werewolves Within is that rare effective video game adaptation, reworking Ubisoft’s multiplayer Mafia-like VR game of the same name into an endearing and tongue-in-cheek werewolf whodunnit. Read More

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Tribeca 2021: ‘ULTRASOUND’ a Hypnotic Layer Cake of Mindf#ckery

From the very first moments of Ultrasound, something is off. In fact, a lot of things are off. There’s the obvious fact that the movie starts with a brilliantly uncomfortably ‘car breaks down in the rain’ moment where a soaked man seeks shelter in the only house nearby, the kind of scene audiences are instinctually trained to beware in movies. But there’s little moments too. Little touches that you’ll catch where something is certainly not as it should be. A woman’s bulging pregnant belly is there in one scene and gone in the next. A fully-stocked room service tray is wildly out of place on a deserted country road. Like a Find-The-Mistake picture book (think Dr. Seuss’s ‘Wacky Wednesday’) the anachronisms and scrambled bits of reality in Ultrasound just keep stacking up. Read More

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Tribeca 2021: Cloaked in Disillusion and Furs, ‘WILD MEN’ Battle Existential Crises

In Thomas Daneskov’s Wild Men (original title Vildmænd), Martin (Rasmus Bjerg) has lost his way. A family man with a wife and two daughters at home, Martin’s absconded to the craggy mountains of Norway, clan in Viking attire and armed with a makeshift bow and arrow. He plans to get back to his roots and live off the land like his hunter/gather ancestors of 3000 years ago but his aspirations are beyond the reach of his skillset. We’re witness to Martin’s plentiful limitations as he hunts a goat, striking it in the haunch from afar but unable to track the bloody trail to his would-be dinner. Left instead to smash and charbroil a small toad. The next scene he wretches up his amphibian meal, hunched over and helpless, into the icy river below.

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