The year is 1987. Halloween is on the horizon. You can tell because there’s a calendar hanging in the kitchen marking down the days. More importantly, the footage of Erin Vassilopoulos’ Superior is intentionally dated-looking, reflecting the lo-fi technology and grainy look of the end of the Regan era. After escaping a dangerous ex, Mary retreats to her unsuspecting identical twin sister’s suburban home, the perfect (and only) hideout she can think of in her unsuspecting Middle America hometown. Read More
Sundance 2021: A Hijacker Can’t Hack It In Polish ‘PRIME TIME’
The largely uneventful wanna-be Polish thriller Prime Time portends to be an inditement of the modern addiction to online attention, achieved so easily through social media platforms and their endless call to share, but as a narrative feature, it largely fails to stir up much storytelling juice to serve that purpose. Read More
Sundance 2021: ISIS Sex Slave Doc ‘SABAYA’ Uncovers Hell on Earth
Hogir Hinori’s haunting POV documentary Sabaya takes us to hell itself: Syria’s ISIS-run Al-Hol encampment. There, captured Yazidi (Kurdish religious minorities) women are kept as sex slaves. Beaten, raped, sold into marriage. Forced to convert to Islam. Sold again. Raped. Beaten. Sold. They are known as Sabaya. In the Yazidi Home Center in northeastern Syria, Mahmud, Ziyad, and an extremely brave and bold network of former Sabaya women plot, plan, and execute the rescue of these women. Read More
Sundance 2021: ‘IN THE EARTH’ Combines Axe Slashers and Lovecraftian Horror With Hallucinogenic Style
Creating horror has been and will always be a sociopolitical act and with In The Earth, British auteur Ben Wheatley reflects the reality of the pandemic back at us in startling, disorienting fashion. The result has notes of all kinds of horror, but most distinctly a tent-in-the-woods slasher crossed with Lovecraftian cosmic horror, all set to the backdrop of some airborne viral infection that’s driven the population into quarantine and starved them for a cure. Read More
Sundance 2021: Two Emotionally Wounded BFFs Are Going to Kill Themselves ‘ON THE COUNT OF THREE’
Jerrod Carmichael and Christopher Abbott do a high wire balancing act in tragicomic suicide bromance On the Count of Three, a movie that’s sure to leave viewers shaken and maybe just a bit disturbed, but nonetheless absolute certain of what Carmichael came to say. Read More
Sundance 2021: ‘MOTHER SCHMUCKERS’ A Depraved, Cringe, Bad-Taste Comedy With Echoes of ‘It’s Always Sunny’
Like an even more depraved episode of It’s Always Sunny in Philadelphia, if they did a Belgian spin-off starring the McPoyle twins, crossed with the no-holds-barred slapstick comedic absurdity of Dumb and Dumber and the fourth wall-breaking, ultra-low-budget shenanigans of The Eric Andre Show, Mother Schmuckers is tasteless and offensive and grotesque. And it had me cackling in no short measure. Read More
Sundance 2021: #Adulting is Sinister and Weird in Bizarro Fable ‘JOHN AND THE HOLE’
Kids grow up so fast these days or so the adage goes. In Pascual Sisto’s anti-coming-of-age dark psychological thriller John and the Hole, this phrase is taken quite literally when 13 year-old John (Charlie Shotwell) decides he’s old enough to be the man of the house, drugs his family, and stuffs them in a literal 20-foot hole in their backyard. Read More
Sundance 2021: Crowd-Pleasing ‘CODA’ Allows Other “Voices” to Soar
Inclusive, funny, original, and genuinely moving, CODA is just about the most wonderful start to the 2021 Sundance Film Festival that you could hope for. This endearing fish-out-of-water coming-of-age story about the only hearing daughter in a deaf family embracing her love of singing feels like a revelatory discovery; not only is it a standout film in and of itself but it’s the kind of movie that uses inclusiveness to tap into new voices and entirely new types of stories. Read More
The Sundance 2021 Movies We Can’t Wait to See
Each and every year, figuring out what to watch at the Sundance International Film Festival is a journey in and of itself. Last year, I saw a good smattering of my favorite films of the year in Park City, including Brandon Cronenberg’s Possessor and others that played the fest, like Dinner in America, later made its way onto that same list. This year, things are different. For the first time in its celebrated history, the entire festival will be conducted online. While this means no late-night parties, no skiing on those powdery Utah slopes, no rubbing elbows with your favorite celebrities, and less standing in blisteringly chilly queues, it also means enjoying Sundance from the comfort of your own couch. Read More
Frosty Cabin in the Woods Horror ’THE LODGE’ Preaches the Hell of Child-Rearing
Austrian screenwriting and directing duo Veronika Franz and Severin Fiala either have terror children or were terror children. They love staging a good the-children-will-be-the-death-of-us yarn, pivoting from a story about two young mischievous twins torturing their mother (who’s recently undergone facially reconstructive surgery and, consequently, her children now refuse to believe is actually their mother) in their celebrated German-language debut Goodnight Mommy to a tale of two young mischievous siblings torturing their soon-to-be stepmother in their English-language horror show The Lodge. Read More