It’s a remarkable feat that all these years later, MTV’s original confederacy of dunces still can withstand this level of pain. Jackass Forever, as directed by longtime ringmaster Jeff Tremaine, forgoes any suggestion of maturity and sticks with the simple premise of dick-punching, bone-shattering, concussion-friendly gags that these cackling hyena’s den of pranksters have long delivered for the juvenile, puerile, infantile amongst us. It’s just as recklessly funny as it’s always been. Read More
‘JACKASS FOREVER’: A Confederacy of Dunces
Sundance ’22: Finnish Horror ‘HATCHING’ Gives Birth to Fowl Play
An ooey, gooey suburban creature feature about motherhood and maintaining the illusion of perfection, Hatching expertly blends the weirder side of horror with a deeper message. Motherhood – at any age – requires great sacrifice. It’s often nasty, inglorious business. Hatching is not elevated horror. Nor is it shlock. Instead, this Finnish import about a newly hatched bird-human hybrid pulls from E.T. and Troma films, utilizing great practical effects to pluck at ideas of puberty and motherhood. Read More
SUNDANCE ’22: Carla Juri Shines in Understated Romance ‘BLOOD’
Following the death of her husband, photographer Chloe (Carla Juri) moves to Japan to try to start anew in blood. She’s welcome by their jovial old friend and traveling musician Toshi (Takashi Ueno) as well as the beguiling mysteries that every new city holds. As Chloe wanders the city streets and inviting countryside with her camera, she makes new acquaintances, including a man whose wife is battling cancer, a kind-hearted kindred spirit florist, and a dance choreographer. But none quite see her as fully as Toshi does. As a yearning and perhaps forbidden attraction takes root, the widowed Chloe must contend with allowing herself to feel romantically for someone again. Read More
SUNDANCE ’22: Love and Lust Challenges High School Girls in Thoughtful ‘GIRL PICTURE’
Mimmi (Aamu Milonoff) and Rönkkö (Eleonoora Kauhanen) are Finnish High School students and ride-or-die best friends. In Alli Haapasalo’s Girl Picture, the inseparable duo attend school before working together at the mall where they hawk smoothies with names like “It Takes Two to Mango” or “Just Breathe”. On the clock, they dish about romantic trysts and the upcoming Friday’s party, sometimes to the chagrin of their customers. When Emma (Linnea Leino), their classmate and an obsessive figure skater who dreams of becoming the future European Champion, falls into Mimmi’s orbit, the pair flirt with first love. Meanwhile Rönkkö struggles through a series of unsatisfying romantic entanglements with a revolving door of expectant young men. Read More
Sundance ’22: Existential Sci-Fi ‘AFTER YANG’ Grapples With the Great A.I. Beyond
On being, Descartes famously opined, “I think therefore I am.” Well, actually, he said, “Cogito, ergo sum,” but no one speaks Latin these days so you get the gist. After Yang, an existential science fiction movie from video essayist turned director Kogonada (Columbus), takes a step beyond the 17-century French philosopher to ponder what constitutes being in a world where humans and artificially-intelligent robots known as “technosapien” co-exist. Read More
SUNDANCE ’22: The Hefty Cost of Righteousness in ‘GOD’S COUNTRY’
When a red truck is left parked on her property, a public speaking professor inadvertently begins an escalating feud with two townie hunters. Based on the short story “Winter Light” by James Lee Burke, God’s Country is a frosty thriller about bad blood in the Alaskan backcountry where an attempt to be reasonable breaks down into white hot confrontation. Led by a commanding turn from Thandiwe Newton, the debut film from Julian Higgins spotlights the spurned Sandra approaching a breaking point, as her better judgment is overtaken by frustration with a community that doesn’t see her as an equal or want to take her seriously. Read More
Sundance ’22: ’Til Distance Do Us Part With ‘ALICE’
’Til distance do us part. Not death. These are the vows of the slave – or “domestic” – in Krystin Ver Linden’s Alice. But death may always interfere. And distance – through space and through time – proves to be but an illusion. Alice (Keke Palmer) is a slave. She wants for liberation, daring for escape from the Spanish moss-covered Georgian plantation where she was raised. Freedom, it turns out, is just beyond her front door. All she needs is distance. Read More
Sundance ’22: ‘CHA CHA REAL SMOOTH’ Channels ‘The Graduate’ for Zoomer Generation
In life, one always has the option of just being nice. With the endearing SXSW Grand Jury Prize winner Shithouse – an overtly sensitive college-campus drama that riffs on the sub-genre of conversation-driven romance films like Before Midnight – and now with Cha Cha Real Smooth, writer/director/star Cooper Raif has proven this to be his modus operadi. Raif’s second feature is an unironically nice film about a recent college grad who falls for the attractive – and engaged – mom of a middle schooler with autism. The kind-hearted temperament of Raif’s films are disarmingly genuine, if skirting the line with being almost – to put it in middle school terms – lame. But for those who can vibe on Raif’s decidedly kind wavelengths, Cha Cha Real Smooth is a feel-good crowdpleaser – with enough complications to keep things interesting. Read More
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
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