Tag: 2013 Sundance Film Festival
Metro Manila | Review
A Better Life: Ellis’ Latest a Masterful Drama of Sacrifice
British director Sean Ellis brings us to the Philippines with his third feature film, Metro...
May in the Summer | Review
Summer of Our Discontent: Dabis’ Sophomore Feature an Uneven Venture
Nebraska born filmmaker Cherien Dabis follows up her well received 2009 debut Amreeka with a...
Citizen Koch | Review
Corporations Are People: Lessin and Deal Question Why
Tia Lessin and Carl Deal's Citizen Koch looks to shine a light on the political upheaval going...
Interior. Leather Bar | Review
Exterior. The Heternormative: Franco & Matthews’ Experimental Exercise Takes Temperatures
James Franco, already cementing a reputation as one of the most eclectic and noteworthy cinematic...
American Promise | Review
An Education: Brewster and Stephenson's 12 Year Docu
Documentarians Joe Brewster and Michèle Stephenson have been investigating the multicultural divide that pervades American culture for...
We Are What We Are | Review
It Is What It Is: Mickle’s Latest a Subpar Remake
Director Jim Mickle’s latest, We Are What We Are, is a remake of the excellent...
Mother of George | Review
When You’re Expecting: Dosunmu’s Sophomore Feature a Gorgeously Shot Tale of Immigrant Tradition
After debuting his 2011 feature Restless City to critical acclaim on the...
Adore | Review
M Is For the Many Things You Gave Me: Fontaine’s Cougars and MoFos Fashion Her Striking English Debut
Two parts high trash and one part...
Il Futuro (The Future) | Review
Future Starts Slow: Scherson’s Adaptation a Densely Structured Puzzle
For her third feature film, Chilean born director Alicia Scherson adapts cult Latin American author Roberto...
Afternoon Delight | Review
Slight Delight: Soloway’s Debut an Overly Familiar Dessert
Television writer/producer Jill Soloway makes her directorial debut with Afternoon Delight, a sometimes successfully coordinated comedic vehicle...
Interview: Zachary Heinzerling, Ushio & Noriko Shinohara (Cutie and the Boxer)
Despite director Zachary Heinzerling's Emmy nominated resume work and the fact that he took part in New York Film Festival's Emerging Visions program last...
Cutie and the Boxer | Review
Art is a Demon: Heinzerling Finds Tragic Love in the Shinoharas
Zachary Heinzerling's documentary debut may not pack the political punch of most trending hard-issue...
Austenland | Review
Jane Austen Will Have Her Revenge: Hess’ Debut a Pandering, Middle Class Courting Cipher
Jerusha Hess, screenwriter of Napoleon Dynamite, which her brother Jared Hess...
We’ve got Plans for NEXT Weekend; Blue Caprice, It Felt Like Love & A Teacher Part of Blossoming Sundance Sidebar
I'm pretty sure that four years back when Trevor Groth and John Cooper (Sundance programming tandem who overhauled, switched over and re-defined the Spotlight...
The Machine Which Makes Everything Disappear | Review
Gurchiani's Lens Acts As A Georgian Confessional
With a solid background in psychology and a foundation in direction via the University of Film and Television...
Lovelace | Review
Deep Throat’s Journey: Epstein & Friedman’s Porn Star Biopic By-the-Numbers
In their first outing not placing significant focus on the recuperation of queer subjects or...
Interview: Ryan Coogler – Fruitvale Station
It’s how he presents his flawed characters and how he addresses certain social commentaries in his trio of short films (Locks, Gap, and Fig)...
Crystal Fairy | Review
Wild In Part: Silva’s Zany Mescaline Film a Pleasurable Trip
Chilean director Sebastian Silva debuts two new films this year, both starring Michael Cera, the...
V/H/S/2 | Review
Improved Frequencies: Sequel to Found Footage Anthology Film an Improved Bag of Goodies
While last year’s horror anthology, VHS, was an entertaining enough horror film...
The Rambler | Review
Aimlessly Devoted To You: Reeder Culls More Stars and Less Sense for Sophomore Film
More proof that horror as a genre has been hedged out...
The East | Review
Activism Unchained: Batmanglij Thrills With Eco-Terror
Seemingly a perfect union, the writing duo of director Zal Batmanglij and his hypnotic on screen muse, Brit Marling,...
Before Midnight | Review
Bewitching Hour: Linklater Scores Greatest Hour Yet with Trilogy Cap
Nearly another decade has passed, and Richard Linklater has finally treated us to what seems...
Interview: Alex Gibney (We Steal Secrets: The Story of Wikileaks)
Just a month before Bradley Manning finally appeared before a military judge to confess that he did indeed leak thousands of sensitive military documents,...
We Steal Secrets: The Story of Wikileaks | Review
Gibney Ciphers Assange's Brain Child
Back up a few years and you probably never had heard the name Julian Assange or his tiny little whistle-blowing...
Interview: Shane Carruth (Upstream Color)
After an eight year period of silence following his time travelling Sundance Grand Jury Prize winning debut Primer, Shane Carruth returns to his position...
In Fear | Review
Fear Me Not: Lovering Terrorizes Our Time, Not Our Senses in Feature Debut
After working quite regularly in television since the mid 90s, British director...
Stoker | Review
India Song: Park-wook’s English Language is Stylized Creepy and Kooky
South Korean master Park Chan-wook returns with his English language debut, Stoker, a heavily stylized...
The Inevitable Defeat of Mister and Pete | Sundance 2013 Review
Everybody Knows: Tillman’s Latest a Melodramatic Exercise of Youth in the Projects
Director George Tillman Jr. takes a step away from mainstream fodder for an...