Director David Gordon Green returns to his independent origins at the Sundance Film Festival after helming a handful of raunchy Hollywood comedies (Pineapple Express, Your Highness and The Sitter) and attempts to reignite a sense of grounded and heartfelt substance, but the result is a lingering nature video that neglects its actor’s potential with copious amounts of silence.
The idea of following the occupational responsibilities of an alcoholic German headhunter whose marriage is on the rocks is about as appealing as it sounds. When Clemens Trunschka (Ulrich Tukur) is given the task to locate and make contact with an American CEO for a large German organization, the task takes our leading man to the Lone Star state where his life continues to sink deeper into despair with every passing moment.
Everybody around Alicia (Juno Temple) is acting weird. Nobody is making any sense and there is an undercurrent of maliciousness behind everyone’s smiles. Alicia, an American girl travelling in Chile, is driving with her cousin Sarah (Emily Browning) and Sarah’s friends to a cabin in remote southern Chile.
2 Chainz pretty much did every song I wanted to hear, from “Beez in the Trap,” “I Luv Dem Strippers,” “Dope Dealer,” “Birthday Song” and “Bandz a Make Her Dance.” His energy on stage was magnetic.
From the creators of Reno 911! comes a wickedly funny horror-comedy that explores horror film conventions in such an over-the-top and self-aware way that I’ll never be able to take a haunted house, exorcism or demonic baby films seriously again.
In the 12 years I have been coming to Sundance, I have never seen the Animation Spotlight program contain such risqué subject matter, which is fully embraced by this film critic. It’s nice to enjoy some lewd material with a sold-out theater of guests.
Directed by a 26-year-old, first-time feature filmmaker, Fruitvale is a near-perfect, emotionally driven drama with a strong-hitting political agenda.
When first entering the gallery, I found myself momentarily stunned by the colors, movement, and scale of his works. Ushio Shinohara modernizes violence, anger and sorrow, making it his own. With each punch, a bout of catharsis is imprinted onto the canvas.
Before you jump to the conclusion that “MANHUNT” is only the documentary version of “Zero Dark Thirty” (and you’d be partially correct), Greg Barker’s accounting of the hunt for Osama bin Laden takes a further step back into history and recalls the actions of “The Sisterhood”, a group of C.I.A. analysts who were responsible for uncovering the existence of the terrorist network al-Qaeda.
Following the storyline of a massive reality game created by Jeff Hull, The Institute searches for the boundry that separates what is real and what is fiction.
