Sundance 2014 – batch 3

If Groucho Marx crashed “Airplane” into “When Harry Met Sally”, the self-aware, rapid-fire romantic comedy debris would take the form of They Came Together. The pleasantly predictable cliches of the dozen or so rom-coms that women openly love and men secretly love are upended, lampooned, skewered, and filtered through a juvenile YouTube sensibility. The result is a trope-trampling treat of a movie; perhaps one that tries a bit too hard, but we forgive it because it brought us flowers and gave us that look.

The Q/A after the screening was as hilarious and chaotic as the film, with director/co-writer David Wain and cast Amy Poehler and Paul Rudd describing the fun they had shooting. Rudd characterized the movie as “relentlessly silly” and at one point ran into the audience to propose to a questioner. A-


Partly funded to the tune of about $2M by Kickstarter, director/cowriter Zach Braff’s, Wish I Was Here has all the resonance and quirkiness of his Sundance 2004 classic “Garden State”, but not quite as much magic. This more mature effort has Braff and spouse Kate Hudson struggling with imperfect solutions to the grown-up problems of parents on the decline and children on rise, with some keenly observed insights along the way.

In the Q/A following the screening, Braff thanked the Kickstarter supporters and apologized for the typos on the closing credits that were still being finalized. He also said that he did not cast himself in “Garden State” so he could make out with Natalie Portman, and that he did not cast himself in this movie so he could squeeze the buns of Kate Hudson. B


Crowd pleasing melodrama Whiplash (winner of Sundance’s audience and jury prizes) follows the aspirations of a young jazz drummer at an elite music academy. Miles Teller, who others have compared to a young John Cusack and who was so good in last year’s Sundance hit “The Spectacular Now”, is spot-on as the drummer with the heart of a lion, and J. K. Simmons (Juno’s dad) is a force of nature as his wrath-of-god music teacher. The film is energized by powerful big-band-jazz performance sequences, including a remarkable finishing number.

Below the surface, there are similarities to Sundance 2013’s “Jobs”, with both films examining the very definition of greatness, the struggle to achieve it, the personal costs involved, and most importantly, the flawed leaders who who somehow inspire it.  B+


Sundance 2014 – batch 2

Former SNL standouts Kristen Wiig and Bill Hader show their known comedy chops as well as impressive dramatic range portraying a brother and sister with major life issues as The Skeleton Twins. Hader’s pragmatic and nuanced gay character here is at the other end of the spectrum from the hilariously one-dimensional Stefon. The story explores the simultaneously supportive and combative relationships that only siblings can have, and does so with enough laughs to avoid being a debbie downer. B


A happy couple with possibly the cutest 2-year old in cinematic history have their lives disrupted by an open-ended visit from a well-meaning but irresponsible party girl (a convincing Anna Kendrick), whose antics threaten their Happy Christmas. But the new chemistry injects some creative energy into everyone’s lives, and we get to witness some pleasant moments and some good lines from Lena Dunham as one of the friends.

In the Q/A after the screening, after the tell-us-about-the-baby question, director Joe Swanberg said the film was shot from his 12-page outline with dialog improvised by the actors. (That process of course results in realistic but not always well-crafted dialog.) He also pointed out that supportive, happily married couples are underrepresented in film, and he wanted to offset that. B-


All who attend Sundance know that the films can sometimes be wild and over the top. But for the 40 or so viewers who walked out early during the screening of slasher-comedy The Voices, the psychopathic and bloody antics of Ryan Reynolds’ deeply disturbed factory worker were too much to handle. And that meant walking out without even waiting to see if Reynolds would eventually remove his shirt. Perhaps a few hundred more coped with the comedic carnage by covering their eyes. In any case, this is an unforgettable, genre-mutilating, occasionally hilarious film with a killer performance by a gore-geous Reynolds, who finds enough twisted charm to make this unconventional villain non-hateable. And what is the absolute last element one would expect in this cheerfully chilling chop-spree? Yes, talking pets, and they have some of the best lines.

In the Q/A after the screening, director Marjane Satrapi presented herself as articulate, smart and funny, and revealed that considerable thought was put into the portrayal of this unique character. B.


Three computer savvy MIT students are engaged in an on-line feud with a mysterious internet presence, and their attempt to find the source takes them into the desert, and into some horror-movie atmosphere in what looks like an abandoned house. Then the bits hit the fan in ambitious WiFi/sci-fi iThriller The Signal. There are twists, and the tone shifts later when the students try to figure out what happened to them, and what sort of extraordinary discovery they have made. Overall, the interesting buildup does not quite hold together toward the end. C+


Stuart Murdoch, the lead singer and songwriter for alternative-pop band Belle and Sebastian, has made his film debut with musical God Help the Girl. Set in a beautifully shot Glasgow, the film is an obvious homage to the filmmaker’s home city and its vibrant music scene. The central character is a troubled high-school student who befriends a nerdy musician, and finds a path to a better life in the joy of creating music. We suspend our disbelief for movies, and we just need to suspend it a notch further for the somewhat sketchy plots of musicals that have fun and accessible songs, like this one. B+


The conflict between fact-based science and wishful-thinking-based faith or magic is not often explored responsibly in film, but Mike Cahill, the director of Sundance 2012’s prize-winning “Another Earth”, is taking on that topic with attempted mind-bender I OriginsThe plot develops with two researchers, including Sundance fave Brit Marling, doing interesting and authentic science in the field of iris recognition biometrics. But the discipline gets quite a bit looser at the end, as it would have to in order to allow the dramatic payoff. Like Cahill’s previous film, this is another interesting exercise in light science-fiction. B

Sundance 2014 – batch 1

In the darkly comedic, richly detailed world of The Double, the industrial revolution has apparently gone a bit off the rails and left office workers with a clunky, comically malfunctioning work-scape, with a deranged bureaucracy to match. Also slightly broken are the grim people who inhabit this bleak place, in particular a pair of damaged characters who share more than just the same face, played skillfully by Jesse Eisenberg. All these vividly drawn elements come together with heavy handed but dazzling style, which will remind viewers of Terry Gilliam’s duct-infested “Brazil”. The masterful lighting, art direction, and cinematography combine to create a gleefully depressing world that makes the unlikely narrative seem plausible. B


Romantic comedy Laggies manages to entertain sweetly while delivering a lesson about growing up, and does so even without a lot of romance or an abundance of comedy. Lead Keira Knightley excels with cheerful frustration as a woman-child, well into her twenties, struggling with the looming responsibilities of adulthood. She escapes her real life for a bit by joining the simpler social circle of some actual high-school kids, and of course it’s in that place where she gains the insights that allow her to start making the hard decisions her real life demands. On this journey she is surrounded by a talented cast, including a charmingly brusque Sam Rockwell. A


A Most Wanted Man is a slow-paced but well-crafted and very well-acted spy story, not quite a thriller. In examining the tactics of several agencies involved in tracking Islamic terrorists in Germany, the film makes the case that there are good guys and bad guys getting hunted and also good guys and bad guys doing the hunting. It’s refreshing to see a realistic portrayal of flawed people doing their jobs, without super powers or kung fu or any fu. The film succeeds in building tension, to a point, but it’s ultimately dissipated in what felt like an unsatisfactory manner. B-


Set in a barren future where water has become so scarce that people fight and die over it like gold in the old west, Young Ones focuses on one family’s struggle to survive the bad luck they experience and bad guys they attract. The film benefits from some well-executed futuristic robot technology, a realistically stark setting, and strong acting, but falls short, with a narrative that seemed to lay the foundation for a for a dramatic payoff that never came. C+


Reminiscent of “Once” from Sundance 2006, Song One is a simple film that revolves around young people who produce and enjoy music. With only minimal dramatic tension, the story has Anne Hathaway’s character befriend a famous singer-songwriter, and serves as a framework for some nicely crafted original songs written by Jonathan Rice and Jenny Lewis, soulfully interpreted by actor-musician Johnny Flynn. B


The skillfully twisted director of last year’s Sundance blood-fest “We Are What We Are” is back with a stylish and more accessible thriller, Cold in July.. With considerable skill, Michael C. Hall plays an ordinary family man thrust into extraordinary circumstances when a guy breaks into his house. That’s just the start of a wild story with a few nicely jarring twists and some horrific fun. And just like he did with “Tin Cup”, a grinny Don Johnson shows up well into the film and bumps the energy up a notch.

In the Q/A after the screening, Hall said he enjoyed playing a character who, in contrast to Dexter, killed somebody but didn’t enjoy it. B


Sundance 2013 – batch 4

Part not-quite dark comedy, part not-quite horror film, Emanuel and the Truth about Fishes presents a unique view of motherhood from a fascinating and warped perspective. The story centers on a young adult who is haunted by the circumstances of her own birth. She gets to know her neighbor, a young single mother with her own issues, played with a creepy form of sincerity by a version of Jessica Biel we have not seen before. Overall, oddly entertaining. B


Shot recently but with authentic low-fi black-and-white video equipment from a bygone era, Computer Chess places the viewer convincingly in 1980, when computer chess-playing programs were just starting to become viable and nerd culture was beginning to get excited about it. Following the events and participants in a fictional human vs. computer chess tournament held at a hotel, this bold film nails the atmosphere, through details such as equipment, decor, clothing, and hair style. But while the story delivers some comical hotel hijinks and some splendid awkward moments, it somehow fails to impress the way the style does. C


It Felt Like Love is the tale of an awkward young girl who is trying follow the example set by her more mature friend, with an interest in sex that is a few steps ahead of her ability to manage it. The story squanders an opportunity to celebrate youth and discovery, and instead presents a sad series of joyless, uncomfortable situations. C-


Centered on a popular high school student who enjoys his popularity in the present to the exclusion of any prospect for growth or accomplishment in his own future, The Spectacular Now teaches a time-to-grow-up moral lesson with unusual candor and humanity for a high-school movie. Especially effective are the scenes with the two leads, including one with sincerely beautiful dialog, where they point out the the good qualities in each other and make it almost believable that 2 > 1+1 . B+


Road trip film Ass Backwards had the potential to give us a fresh perspective on Romy and Michelle’s journey from a few years back. Two girlfriends decide to hit the road to revisit the beauty pageant they failed at in previous years, and maybe not lose this time because they have become awesome. There were some funny segments that were elevated by the skillful comedic fervor of the two leads, but overall it seemed to be lacking some element of script or direction. C


The deep-voiced guy who starts movie trailers with “In a world…”, and people like him, are voice-over artists, in some cases highly valued; and their weird, highly competitive little world is the setting for innovative and enjoyable comedy  In a World…. The comedically skilled ensemble includes Demetri Martin and Rob Corddry, but Writer/Director/Actress Lake Bell is the delightful main attraction, delivering lots of funny dialog in a framework with enough Hollywood-insider authenticity to make it believable. B+

Sundance 2013 – batch 3

We Are What We Are is a suspenseful horror flick with some delightfully creepy atmosphere. Although it’s centered around the familiar premise of a normal-seeming family that turns out to be far from normal, it benefits greatly from a nicely shot rural, rainy setting, and some better-than-the-genre acting performances. It suffers a bit from a WTF payoff. C+


On the surface the story of a summer romance triangle, Very Good Girls is at the heart a story of female friendship. College-bound high-school friends share several common interests including one who happens to be a summer-fling-worthy boy, and their BFF-ness is tested as they lean on each other and yet keep secrets from each other. An enthusiastic performance by Elizabeth Olsen and a contrasting, thoughtful effort from Dakota Fanning keep things interesting. B


Everyone’s afflicted with a certain endearing oddness in the extended family of Touchy Feely, including a dentist who is not good at what he does in a conventional way, and his sister who is a massage therapist with some unexpected hangups. These and the other characters have relationships that it takes a bit too long to sort out in this slow paced film. It’s a bit of a disappointment after the director’s promising Sundance 2012 effort My Sister’s Sister. C


Google was incorporated in 1998, became an accepted verb according to the OED in 2006, and is now an indispensable knowledge tool. All along, searching web sites has been a byproduct of Google’s much more ambitious quest to organize the world’s information, effectively building a “world brain”. Documentary Google and the World Brain focuses on the controversy around a big part of that task: Google’s massive effort to digitize all the world’s books, including copyrighted ones. Much of the controversy is just uninformed fear of the consequences of technology. But copyright holders do have a legitimate claim against copying books, while Google claims their actions are allowed as fair use. The film provides some historical background on the concept of a world brain, including the writing of H. G. Wells, has some well-researched technical detail, and presents the copyright issue fairly, but overreaches a bit trying to make a case that Google’s effort is evil. B-


Set entirely in remote Texas woodlands, Prince Avalanche uses the placid scenery as backdrop for an unorthodox buddy movie. Paul Rudd is likable even as an impatient roadway maintenance worker / father figure and Emile Hirsch shows range as his young horn-dog jerk of an apprentice. There’s an element of this film that tries with limited success to make a statement about the solitude that nature can provide. Overall it’s a pleasant and original story, not quite a comedy. C+


In Afternoon Delight, female sexuality is explored through the shenanigans of a soccer mom who tries to liven up her marriage and stumbles into a friendship with a young hooker who becomes her nanny and rescue project. This is all a bit unlikely, but there are plenty of comedic moments, especially from mom Kathryn Hahn, and plenty of sincerity from Juno Temple as the wise-beyond-her-years hooker who doesn’t need saving. B+


If Fellini, David Lynch, and Tinker Bell had a three-way, their odd, illegitimate movie-baby would be Escape from Tomorrow. Because it was shot surreptitiously and without permission in Disney amusement parks, it was among the most buzzed-about titles at this year’s Sundance (along with jOBS). Despite its guerrilla-film origin, it’s no home movie; it’s a highly stylized, wildly imaginative, unconventional film that has an impressive musical score and magnificently realized vision. For most viewers, this black-and-white psychedelic-nightmare of a movie was a bit of a puzzle; some found that a reason to despise the movie and some found that an essential part of its bizarro appeal. It can be described as the story of a family that goes to Disney World, where the father gets distracted by a pair of young girls and starts following them, and things take a weird turn. But that doesn’t do it justice; the story is lacking but the telling of the story is redeeming.

In the Q/A after the screening, writer/director Randy Moore described the process of filming without getting caught. They made many trips to the Disney parks; they bought season passes; they shot video with an advanced SLR style camera that was inconspicuous; they did extensive planning and had every shot laid out in advance; they shot the riskiest scenes last in case they were discovered (and they almost were on the final shoot).  As a child growing up near Orlando, Moore visited Disney World, and if there’s a meaning to the film, it is his attempt to make sense of those artificially constructed fantasy worlds, and how those facades are embraced by our culture.

Disney has apparently not yet weighed in on this film, so it’s not clear whether it will be released. B+


The too-short yet immense and extraordinary life of Steve Jobs is barely contained in Walter Isaacson’s 656 page biography, and is certainly beyond the scope of a single movie. The larger-budget movie, currently in the works by Sony Pictures, is an Aaron Sorkin adaptation of the book; smaller indy effort jOBS is already completed and scheduled for official release on April 19. Its premier at this year’s Sundance was a motherboard-hot ticket, with an obviously compelling subject, and with star-power casting choice Ashton Kutcher seeming to bear a physical resemblance to a young Steve Jobs.

Opening with an Apple employee meeting in 2001, right before the introduction of the first iPod (1,000 songs!), the story flashes back to Steve’s college years, and takes us through a wild universe-denting trip before it mellows out on a perfect note with Steve in a recording studio, a few years after his return to rejuvenate a floundering Apple in the late ’90s. Along the way we get to know key players, including a soulful Josh Gad as humble tech-genius Woz, and a stiff Dermot Mulroney as adult supervision Mike Markkula.

The garage scenes were shot in the actual now-historic Los Altos house where Steve lived. And overall, Kutcher and crew get quite a few other things right, notably Steve Jobs’ look, voice, walk, and mannerisms, but more importantly, the paradox of an ambitious, inspirational, we-can-change-the-wold leader with a dangerous, impatient, walk-on-water-or-you’re-out arrogance. As the film moves through later eras, it covers board room maneuvering, a sympathetic portrayal of grown-up Steve’s family life, and his eventual return to Apple, highlighted in a terrific scene with the Jonathan Ive character. But, necessarily, the film omits a lot, including Pixar and NeXT.

The right music can help the narrative by defining time lines in any historical movie, and of course music is critical in this movie since it was such an influence in Steve’s life. Yet expensive synchronization rights for master recordings of landmark songs can drain an indy film budget, so the producers should be praised for coming up with a credible sound track including Joe Walsh and a crucial Dylan song.

Critics of the movie will likely focus on whether the movie confirms or refutes their biases about Steve’s character flaws, whether it accurately portrays the personalities involved in the earliest years, and whether it artistically rises to the insanely great level of Apple’s best innovations. If it fails on some of those impossible tests, it’s still a smart, entertaining, and essential film. B

Sundance 2013 – batch 2

In movies, it seems, normal suburban families are only normal for the first reel. Then problems surface; in Breathe In it happens after the family accepts a visit from a fetching and musically talented exchange student, played with easy charm by Felicity Jones. The script paces the will-they-or-won’t-they-get-together expertly, and a few beautiful musical performances elevate the romance in this bittersweet movie. B+


Documentary Salma tells the extraordinary story of a Tamil woman’s life of resistance against the mindless tradition of her Muslim village in India, and the lengthy home imprisonment she endured as a consequence of her efforts to assert her basic rights and educate herself. She ultimately succeeded in gaining notoriety by getting her poetry published, but only by getting it smuggled out of her home.

Salma was present at the Q/A following the screening, and, through a translator, made it clear that the key to effecting change for women in that culture is to allow them to receive an education. B


The writing/directing team behind 2011’s twilight-zony Sound of My Voice returns to Sundance with the more ambitious thriller The East. The tale follows the exploits of a young, ambitious, corporate security consultant who mixes with a band of anarchists bent on righting the various wrongs corporate America has inflicted on the masses.

The film explores the motivation of the domestic terrorists as they debate tactics. It turns out that if you are spurning a society’s laws and social norms to achieve your own agenda, reaching a consensus on how to go about it is, gosh, so hard. With some engaging action scenes, solid performances, especially by cowriter and lead actress Brit Marling, and a few creepy moments, this film survives a muddled anti-corporate agenda to provide a fun ride. B


Slow paced and occasionally messy, like life on a cow farm, documentary The Moo Man spends 98 minutes telling the story of one year on a small family-owned cow farm in England. The film is rich with detail on the daily operations, on the surprisingly personal relationship the workers have with the livestock, and also on the large-scale market economics that are working against small farms. The people were interesting; some of the cows had personalities but were still cows. C+


During an angst-filled summer vacation on Cape Cod, a meek teenage boy stumbles into some friendships that raise his confidence a few notches in The Way, Way Back. A nicely crafted script and direction by oscar-winning writers / cult-TV characters Nat Faxon and Jim Rash provides heart warming comedy, and gives Sam Rockwell and Alison Janney some great parts that they deliver with comic perfection. The amusement-park-as-life-changing-experience theme is not exactly original; for example, it was done with style in Sundance 2009’s period piece Adventureland. This one has a bit more substance. A


Sundance 2013 – batch 1

Crystal Fairy begins at a party in Chile, where a drug-obsessed but otherwise rational American, played by a less-girlish-than-usual Michael Cera, is planning a road trip with some local friends in pursuit of magic-cactus mescaline and a mind-opening experience. He accidentally invites a new-age hippy American, played with uninhibited loony fervor by Gaby Hoffmann, to join them. The escalating clash of those two personalities bewilders their laid-back Chilean hosts and also provides the central element of this well-acted but sometimes tedious story. The film eventually takes an interesting turn as we learn that people can be more than they seem.

In the Q/A following the screening, some of the cast suggested that they prepared for their roles by actually taking mescaline. In humorous contrast, Michael Cera said he prepared by googling mescaline. And oddly, Gaby Hoffmann talked about the Mayan apocalypse as if it was still going on. Perhaps she was still in character. C+.


By documenting the efforts of a few young activists among the thousands who occupied Cairo’s Tahrir Squire during the 2011 Egyptian Revolution, The Square shows the events with all their chaos and urgency from a perspective we could not see in mainstream American media.

Fueled by an abundance of idealism and energy, but ultimately limited by lack of a solid post-Mubarak plan, the leaders at the focus of this film helped get rid of one menace only to find it replaced by another, when the army apparently turned against them and then the elections brought in a disappointing replacement. (A question facing the entire region, and parts of the US for that matter, is whether democracy can work at all in a culture where for many people religion trumps reason. But that would be another movie.) The film provides a memorable protestor-level view of historic events. B.


As uplifting and well-crafted as the best Foo Fighters music, David Grohl’s rocking documentary Sound City has been receiving well-deserved standing ovations at Sundance screenings. Housed in an industrial mall near LA, with a decor more like an abandoned vehicle than a top recording studio, the legendary Sound City Studios became the birthplace of many of huge records of the ’70s, and known for its big drum sound. In its heyday it was patronized by the likes of Fleetwood Mac, Tom Petty and the Heartbreakers, Metallica and Nirvana.

In more recent years, the low cost and convenience of computer-based recording systems undercut and displaced big tape-based studios, with a digital perfection that threatened to eliminate the natural drum sounds and unique emotional performances common in the analog days. But this film largely succeeds in demonstrating its claim that the essence of great music is in the human feel of individual musicians, and the natural interaction among multiple musicians, even if the result includes slight flaws in timing and pitch; in fact such a flawed performance is likely a better listening experience than an artificially perfect one. Any fan of real music will appreciate this film for that message and for the power chord bravado with which it is delivered. A.


In the visually engaging but uneven Il Futuro (The Future), we follow the story of two siblings in Rome as they try to move on after the loss of their parents. The brother finds some dead-end friends while the sister embarks on an odd and artificial relationship with an aging body builder. The film suffers a bit from a slow pace and subtle story telling. C.


Sundance 2012 – batch 3

If the bombastic American Pie was the “Hound Dog” of losing-your-virginity movies, the subdued The First Time is the “Love Me Tender”. The two young leads meet with a long and believably awkward first conversation, and initially seem mismatched. But over the course of a weekend, they find a fragile emotional connection. That gradual warming is the most interesting aspect, and is executed with what seems like the right amount of clumsiness and embarrassment. The level of dialog is generally entertaining, as it falls somewhere in the large gap between how interesting characters should talk and how teenagers actually talk. Unfortunately they’re still teenagers, so that’s the demographic that might enjoy this film. C+

A depressed divorcee mopes around her parents house for a while and then perks up as she develops a somewhat scandalous relationship with a guy who is a bit too young. Hello I Must Be Going presents an impressive mix of insightful writing and refined performances, especially by Melanie Lynskey as her character comes out of her funk, reaches closure with her ex, and ultimately moves on. The female empowerment message in this simple story is right around Lifetime movie level. B-

Fans of a renowned author have filled an auditorium, and they listen as he begins to read from his latest work, which describes how a certain book came to be written, and the story-within-a-story that he tells has its own flashback. That ambitious story telling device is executed with some skill in The Words, a small indie movie that feels bigger than it is due to multiple settings and time periods, and a first rate cast. Though Bradley Cooper and Zoe Saldana shine at times, only Jeremy Irons finds a way to make his character memorable. And it all arrives at the end a bit dog-eared, a few chapters short of the masterpiece it tried to be. B

Standup comedian Mike Birbiglia portrays a slightly fictionalized version of himself in verite effort Sleepwalk With Me. His character struggles with a sleeping disorder, with his relationships, and with life on the road in pursuit of stand-up gigs. There are some laughs and pleasant moments, though not enough. In contrast, Louis C. K. is mixing stand-up and fictionalized-life struggles in his series on cable channel FX with a more inspired subversion and edgier laughs. C+

The hook for Smashed is the fiery performance by Mary Elizabeth Winstead as a school teacher struggling with a drinking problem. This is a modern, less severe take on the grim subject explored so well in the classic “Days of Wine and Roses”, and though it has some incendiary moments it never rises to that level. B

Sundance 2012 – batch 2

With the mind of a poet trapped in a body made nearly useless by polio, Mark O’Brien fought to live a normal life, and his remarkable true story is told with candor and abundant clinical detail in The Surrogate. Part of that pursuit of a normal life was a quest, in his mid-thirties, to lose his virginity. But with an iron lung, getting really good on the guitar wasn’t exactly an option, hence his arrangement with a sex surrogate. As he moves past that relationship and on to others, the film examines the different forms love can take. Helen Hunt brings warmth to the surrogate character. William H. Macy is a hoot as a catholic priest giving surprisingly good advice. B

Real-life actor/dad Mark Webber shows some promise in his writing/directing debut, The End of Love, the tale of how a young father deals with tragedy. This melancholy effort has some nice moments but ultimately feels too much like a dad’s home movie of his kid. C

Aubrey Plaza is becoming a notable actress who can instinctively express her own brand of impatience or insecurity without uttering a line. Fortunately, Safety Not Guaranteed gives her the lead role she deserves, and gives all the players some fun oddball dialog and a uniquely twisted story. With a winning mixture of boy-next-door charm and out-to-lunch crazy, Mark Duplass plays the wierdo, or maybe the genius, who is recruiting a partner for his time travel project. And Aubrey Plaza’s character, initially a bored member of a team investigating this project, warms up nicely. Some of the secondary story lines aren’t as inspired as the main arc, but overall this is low-budget indie is a nice little joy ride.

After the screening, the Q/A revealed that the film was inspired by an actual ad in a 1997 issue of Backwoods Home Magazine, soliciting a time-travel partner, an ad that gained some internet notoriety. B+

David Duchovny channels Jeff Bridges as a combination goat whisperer / Moses of weed. That WTF concept is not as entertaining as it should have been, but neither he nor the goats are the central characters anyway. The wide-ranging GOATS is a story of a bright teen-age kid who is trying to grow up and looking for guidance, not from a mom addled by new-age nonsense, not from an up-tight dad who is mostly out of the picture, but from the goat man, at least initially. In this coming-of-age yarn, everyone has a bit of growing up to do, and they get there with some quirky fun but without the sort of drama that would have made this more compelling. C+

Parker Posey is a tornado of crazy-sexy-cruel as the new manager hired to shake things up and improve sales at a grocery store chain in Price Check. The improvements are not without collateral damage, especially to her second in command, Eric Mabius, who gets a confidence boost from his new mentor but also takes a hit to his private life. Parker Posey’s performance is dazzling, funny, and uninhibited, and kind of overwhelms the more subtle elements in the film, like lessons about honesty and ambition. And unfortunately the ending does not have the same punch as the rest of the movie.

Note from Q/A following the screening: When a woman acts like a man it’s not pretty. B-

Sundance 2012 – batch 1

As the largely improvised My Sister’s Sister unfurls a nicely paced sequence of plot surprises, perhaps the biggest revelation is filmmaker/actor Mark Duplass as a flawed but likable romantic lead. Not at all surprising is the easy on-screen charm of Emily Blunt as his counterpart, first as a friend and then perhaps as more. The third puzzle piece is Rosemarie DeWitt as her slightly twisted sister. Writer/director Lynn Shelton apparently used a process similar to the Duplass brothers’ projects, where the movie is really defined in the editing room, by fishing the best movie out of a sea of multiple improvised takes. From that process, the resulting story here explores themes of honesty and family with a pleasant mix of drama and comedy. B

Rashida Jones and Andy Samberg are known mainly for their TV work, but that’s likely to change with the release of Celeste and Jesse Forever, where they both show new range. This is especially true of Rashida Jones, as she not only sustains our interest throughout, but cowrote the screenplay for this inventive romantic comedy. Easy and sometimes hilarious interplay between the divorcing lead characters keeps us engaged, until things get tricky and the movie begins to explore its central theme of whether a man and woman can be just friends. In this regard the movie is a sort of reverse “When Harry Met Sally”.

In the Q/A folllowing the screening, Andy Samberg deflected praise for his newly-found dramatic acting chops by musing that “Daniel Day Lewis would have been the illest Jesse ever. Or Celeste.”

In a year that saw the passing of Steve Jobs, a lot of consideration has been given to the relationship between humans and the technology they have invented to improve their lives. The oddly delightful Robot and Frank examines that relationship, along with the very nature of human memory. You have to suspend disbelief a bit to accept the corny Robot that is brought in to care for the aging Frank, but it seems to be this movie’s deliberate way of staying out of the science fiction mainstream and making this buddy movie more about the humanity than the robotity. Frank Langella is enjoyable as a crotchety old softy, a character we’ve seen before, but not with such a wild combination of issues, and not with such a skillful and nuanced performance. B

After delivering the audience-award-winning “happythankyoumoreplease” at Sundance 2010, writer/director/actor Josh Radnor evidently went away to Woody Allen college, and came back with the literate, classically-influenced Liberal Arts. With subtle elements of Annie Hall and Manhattan, this tale of a guidance counselor revisiting his alma mater reflects wisely on what it means to teach, to be taught, and to grow up, across multiple generations, and suggests that in some ways it’s all downhill after college. And it does so with knowing reference to the variety of poetry, music, and literature that inform the process. Sundance 2011 standout Elizabeth Olsen continues to impress, here with a young Diane Keaton brand of precocious daffiness. A

I like to believe that the glacial pacing and indulgent editing affectations of Kid Thing are an artistic choice intended at subversive mischief, not a miscalculation of how aweseome it looks on screen, for example, to show a guy milking a goat, endlessly. It’s a shame that sort of thing was such a frequent distraction, because this uneven film had some genuinely original ideas, some twisted humor, and a young actress who was clearly capable of delivering more than the minmal script allowed. As it explored the impact of parental guidance by portraying a child without it, this awkwardly packaged fable about morality forgot to deliver a moral. C-

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