The Screengrab : sundance film festival

Smells Like Indie Spirit: Our Favorite Sundance Films Of All Time (Part Four)

Andrew Osborne — Thu, 29 Jan 2009 22:30:00 GMT

SEX, LIES & VIDEO (1989) & ON_LINE (2002)

In his entertaining film biz tell-all Down and Dirty Pictures, Peter Biskind chronicles the ways in which Robert Redford and Harvey Weinstein defined, respectively, the artistic integrity and the razzle-dazzle gold rush hucksterism of the current independent film era. With sex, lies and videotape, Steven Soderbergh fell somewhere in between: the critical and commercial success of his Audience Award-winning Sundance debut secured the festival’s place on the cultural radar, stoking the rags-to-riches dreams of countless would-be filmmakers, producers, and acquisitions execs in the years to follow. Yet at the same time, looking back, it's hard to see what all the fuss was about: unlike subsequent buzz dynamos like Reservoir Dogs, sex, lies and videotape is merely a quiet, low concept talk-fest about...well, the title says it all. The writing and directing are fine, and James Spader, Andie MacDowell, Peter Gallagher and Laura San Giacomo all turn in top-notch performances, but the quirky dialogue and somewhat (but not too) edgy subject matter (impotence, masturbation, voyeurism, etc.) are by now such familiar staples of the cinematic landscape that it’s hard to remember a time when a film like Soderbergh's could be considered groundbreaking (in the same way Sam Adams was amazing once upon a time to people who’d grown up on Bud and Miller, but hardly stands out in the microbrew-packed liquor stores of 2009).

My own (far-less-heralded) Sundance debut, meanwhile, came thirteen years later, when I attended the festival as co-screenwriter of the Jed Weintrob feature On_Line, a digital age chamber piece consciously patterned on Soderbergh’s film (right down to our original title, Sex, Lies & Internet). Yet, like many indie hopefuls attempting to follow the overnight success template of filmmakers like Soderbergh, our project fell through the cracks (despite somehow making the hyper-competitive Sundance cut): there were no high-stakes bidding wars, and (with the exception of a few astute critiques from the likes of Salon’s Andrew O’Hehir) most of the reviews were downright nasty. But though many are called and few are chosen, it’s nevertheless hard to resist the lure of Park City as a filmmaker or cinephile just hoping to be there when the lightning strikes again.

MEMENTO (2000)

Christopher Nolan had already made a festival splash with his creepy first film, Following, which, like Memento, was a collaboration with his brother Jonathan. It was no secret that his latest was going to be a big deal – by the time it got to Sundance, where it eventually won Nolan a screenwriting award (anticipating the Academy Award nomination it would get the following year), it had already garnered tons of acclaim at the Venice Film Festival for its clever narrative structure and intricate chronological unfolding. There was a lot more to Memento than most critics realized, though; Nolan and his brother, by telling the story of a man with no memory on a desperate quest to avenge the death of his wife, weren’t just presenting Park City audiences with a fairly cerebral noir. They were actually telling one of the most philosophically complex stories that any recent film has presented, a sneaky-deep meditation on identity, memory, and the way truth is created rather than discovered. It’s not in the fairly pedestrian revenge plot that the depths of Nolan’s film are to be discovered, but in Leonard’s memories of Sammy Jankis, and what they reveal about himself and his quest. Nolan went on to helm the Batman movie franchise, which only slightly suggests what seemed obvious when watching Memento: that he was a filmmaker of big ideas dressed up in genre clothes.

TARNATION (2003)

Jonathan Caouette's film stirred up terrific buzz at the 2004 festival, and for good reason: a visually raucous, stirringly expressive depiction of Caouette's relationship with his schizophrenic mother, which Caouette assembled from a mix of photographs, Super-8 footage, videotape and answering machine messages and mixed together on his home computer, it was probably the most exciting foray into filmed memoir to screen there since Ross McElwee started unreeling his diary entries. The movie inspired some trepidation from critics who feared that it would inspire more bad imitations than any Sundance hit since The Blair Witch Project, but it actually didn't take off in theaters as some expected; it may have been too painful for mass consumption. Caouette is currently putting the finishing touches on his second feature, the music documentary All Tomorrow's Parties.

OLD JOY (2006)

Reportedly to the disappointment of even Sundance director Geoffrey Gilmore, Kelly Reichardt’s Old Joy screened at Sundance 2006 not in competition – where it belonged, as evidenced by its prominent inclusion on numerous critics’ year-end top ten lists – but instead in the more obscure “Frontier” section. Despite such a low-profile debut, however, Reichardt’s feature nonetheless garnered the attention it deserved, its tale of two childhood friends’ reunion for a camping trip in Oregon’s Cascade mountains proving the very type of modest, poised indie Sundance was originally conceived to showcase. Infused with the regret, fear, and anxiety that accompanies growing up, as well as a mood of socio-political unease conveyed by Air America radio broadcasts that function as the story’s de facto Greek Chorus, it’s a film with a sorrowful temperament and a shrewd sense of visual space (Reichardt shooting the Oregonian wilderness with awe, trepidation and reverence), as well as one that pulls off the delicate feat of commenting on larger national concerns that its character-driven narrative never overtly addresses.

TROUBLE THE WATER (2008)

Carl Deal and Tia Lessin's documentary about Katrina and its after-effects really fleshes out the lives hinted at in the news headlines. Specifically, it's a sprawling portrait of Katrina survivor, aspiring rapper, and amateur camera bug Kimberly Rivers Roberts and her nearest and dearest, and Deal and Lessin deserve a lot of credit for being able to think on their feet and improvise: they had headed to Louisiana cold in hopes of making a movie about the hurricane relief efforts but ran into a stone wall of government unhelpfulness and were about to head back home when Roberts, who they met in a shelter, got up in their faces and asked if they'd like to see her home movies of the gathering storm and the days she and and others spent stranded in their attic, watching the waters rise. When they saw what they had, they must have felt a little like the guy in Hunter Thompson's story about falling down an elevator shaft and landing in a pool full of mermaids. (Winner of the Grand Jury Prize for Best Documentary at the 2008 festival.)

Click Here For Part One, Two, Three & Five

Contributors: Andrew Osborne, Leonard Pierce, Phil Nugent, Nick Schager

Smells Like Indie Spirit: Our Favorite Sundance Films Of All Time (Part Three)

Andrew Osborne — Thu, 29 Jan 2009 22:00:00 GMT

MARY JANE’S NOT A VIRGIN ANYMORE (1997)

Sundance is a phenomenon largely because of the buzz and excitement surrounding million dollar jackpot acquisitions, iconic crossover hits like Napoleon Dynamite and star-studded “indie” darlings like Garden State or Little Miss Sunshine. Lost amid the hype are films like Mary Jane’s Not A Virgin Anymore, a humble, charming work of DIY guerilla filmmaking by the late, lamented “Queen of Underground Film” Sarah Jacobson (who died far too young of endometrial cancer in 2004). Lisa Gerstein, as the titular virgin, is gawky, sincere and loveable, just like the accessible, naturalistic movie she inhabits. Sure, the production values are rough and the only real “star” power is a cameo by Jello Biafra, but the low-rent Northern California rock scene Jacobson captured feels like a real place, populated by actual humans, unlike the over-the-top quirksters and too-pretty people filling much of the rest of the indie cineverse.

THEREMIN: AN ELECTRONIC ODYSSEY (1994)

I’m afraid that no clips of this movie (winner of the Filmmakers Trophy: Documentary) are available for posting, although you can find scenes on YouTube here and here. The above clip is Clara Rockmore, the virtuoso thereminist, performing Saint-Saëns’ “The Swan.” You may notice that one of the links includes footage of Leon Theremin playing the same composition in the 1920s. Theremin: An Electronic Odyssey is the story of the theremin (that’s the odd electronic instrument Rockmore is playing, if you’re not in the know) and the creator for whom it was named. His story is even more bizarre than you can guess, and I fear that revealing some of the odder elements here could take away from their surprise in the movie. The film also features talking-head segments from Robert Moog (the creator of the Moog synthesizer), Brian Wilson (the fractured genius behind the Beach Boys), and Todd Rundgren (who is, get this, Todd Rundgren). The Wilson interviews are especially interesting for fans, as director Steve M. Martin (who is not the guy you’re thinking of) lets Wilson ramble off on tangents far and wide in a way that his handlers rarely allow. Anyway, this is a beautiful documentary, full of twists and surprises and an terrifically emotional climax.

DiG! (2004)

Proving that a compelling documentary can be made about two extremely (for me, at least) uncompelling bands, DiG! (winner of the 2004 Grand Jury Prize: Documentary) pits the keepin’-it-real psychedelic band The Brian Jonestown Massacre against the ready-to-sell-out Dandy Warhols. The Brian Jonestown Massacre is the brainchild of one Anton Newcombe, a guy who seems to believe that acting like a self-indulged, petulant asshole is exactly the same as being a genius. His sidekick is Joel Gion, who adds little to the music (being a non-singing tambourine player) but who Newcombe apparently keeps around because of Gion’s God-given gift of mugging for the camera and making playful comments during interviews. All of the other members of the BJM appear to be either stoned or barely holding their hatred of Newcombe in check. The BJM’s music is devoid of dynamic, interest, and a third chord. And yet in DiG!, they play the part of the authentic band a little too pure for the corporate scene. The Dandy Warhols, on the other hand, appear to be composed entirely of models or exhibitionists and make music that sounds like the product of a Clear Channel focus group. DiG! seems to view them as the band that does everything more or less right, and maybe by some metrics they are, in the sense that the Dandy Warhols are rock stars and the BJM are still relatively obscure. Anyway, the documentary shows the early camaraderie between the bands, which quickly devolves into a bitter rivalry, as the Dandy Warhols’ slick pseudo-psychedelic pop leads them towards a popularity that the BJM’s gritty (and dull, don’t forget) psych-sludge will never achieve. I’ve wondered whether fans of either band would see the movie differently, but I think the viewer may enjoy the drama more without feeling inclined towards either band.

THE DEVIL AND DANIEL JOHNSTON (2005)

There are a few mentally ill performers who fans have embraced out of a sense of irony, and this has always reeked to me of exploitation. Wesley Willis, for instance, was an obese paranoid schizophrenic busker when he became semi-popular, and I rarely got the sense that many of his fans could separate the songs he wrote from these essential facts. Daniel Johnston is also a songwriter who struggles with mental illness. However, Johnston's songs are beautiful, lyrically profound, and more sophisticated than his rudimentary musicianship can convey. Don't believe me? Check out Kathy McCarty's album Dead Dog's Eyeball, in which she and producer Brian Beattie arrange Johnston's songs to give them the context they deserve. Actually, many, many artists have covered Johnston's songs (and very few have covered Willis). The Devil and Daniel Johnston (winner of the Sundance 2005 Documentary Directing Award) is more or less a biographical documentary about Johnston's life, but documentarian Jeff Feuerzeig, who also directed a movie about the band Half Japanese, spices the story with animation, talking head interviews that include a picture-in-picture frame that illustrate their comments, and a deep sensitivity to Johnston's plight and the toll that it's taken on everyone who loves him. The movie has almost as much to say about the effects of mental illness as it does about Johnston's musicianship.

ONCE (2007)

The music is from the U2 School of Anthemic Irish Rock Songs, so your appreciation may vary depending on how you feel about U2 (or lead actor Glen Hansard’s band The Frames, to be more accurate). But the relationship is pitched just right. A girl meets a busker and helps him to move on with his life. But she’s not just any ordinary manic pixie dream girl (thanks for the phrase, AV Club). She has her own reasons for helping the guy -- a toddler, an absent husband, a love of music, and fundamentally not enough joy in her young life. It helps that the director, who was formerly the bassist in the Frames, also loves the music. By all rights, the above scene, in which our scrappy underdogs record their first song in the expensive studio they’ve rented, should not work. The engineer’s reaction is too broad. See, at the beginning of the song, he’s a jaded insider, completely uninterested in the music. Then the drums kick in, and he seems to hear the song for the first time, dropping the magazine to start fiddling with the knobs, finding himself becoming a fan despite his years behind the board. That turnaround shouldn’t work, but it gets me right where I live. I love that moment, and I love that song, too, even if only for the time it’s on-screen. The overall restraint in the central relationship works well for the movie, too, because yearning for something or someone is better for your music than having the object of your desire. (Winner: Sundance 2007 World Cinema Audience Award: Dramatic)

MAN ON WIRE (2008)

In the early dawn of August 7, 1974, Philippe Petit strung a wire between the World Trade Center towers and walked between them, a quarter of a mile over Manhattan, for about 45 minutes. He was all of 24 years old. Perhaps you saw him on The Colbert Report earlier this week, so you already know that he didn't fall. The movie somehow makes an end-run around your knowledge, presenting the difficult logistics of Petit and his crew sneaking into the yet-unfinished towers with a 450-lb steel cable and several crates of equipment as nothing less than a caper movie with the intensity of Rififi or Bob Le Flambeur. You feel the excitement and fear when Petit steps out over the yawning chasm between the towers, but you already know he's going to survive because you've already seen the older Petit pop up as a talking head. It's a clever conceit, and it pays off in spades. On a note of personal pimpage, my book Shoot Out The Lights (about Richard and Linda Thompson's album) includes a section about Petit and his walk, as Thompson has written a few songs about tightrope walkers. Thompson, of course, did the soundtrack to Werner Herzog's documentary Grizzly Man, and Herzog is apparently a good friend of Petit's. In retrospect, Petit seems like the classic Herzog subject, brilliant and obsessive, and in this world but somehow not of it. Man On Wire is completely unlike a Herzog documentary, but it certainly has a Herzog-like appreciation for the holy madness of the man at its core. The film just came out on DVD within the last week, so be sure to check it out. (Winner: Grand Jury Prize: World Cinema Documentary, 2008 World Cinema Audience Award: Documentary)

Click Here For Part One, Two, Four & Five

Contributors: Andrew Osborne, Hayden Childs

Smells Like Indie Spirit: Our Favorite Sundance Films Of All Time (Part Two)

Andrew Osborne — Thu, 29 Jan 2009 21:30:00 GMT

BUFFALO 66 (1998)

At some point in the recent past, we here at the Screengrab compiled a list of our guiltiest pleasures, and one of mine was The Brown Bunny, which I pretty much only wanted to see because of the notorious...uh...love scene between director/star Vincent Gallo and his co-star (and former paramour) Chloe Sevigny. Such a prurient interest is sad on two levels: first, that a grown, married man would rent a movie just to watch a quasi-famous actress get busy with an allegedly prosthetic schwanzstucker...but secondly that Gallo’s sophomore directorial effort would have so little else going for it after the flat-out brilliance of Buffalo 66. Starring as an ex-con loser who kidnaps a bored teen (Christina Ricci) in hopes of passing her off as his wife in a doomed effort to impress his hateful parents (Ben Gazzara and Anjelica Huston), Gallo's Billy Brown is all jittery desperation and hostile self-loathing...yet somehow, by the end of the movie, you’re rooting for both the character and the director, while the grim, hellish landscape of upstate New York in winter (a perfect reflection of the protagonist’s stunted isolation) has somehow blossomed with unexpected hope.

YOU CAN COUNT ON ME (2000)

Sundance, like most film festivals, has never lacked for sensitive dramatic films about dysfunctional families. This entry, which marked the film directing debut of playwright Kenneth Lonergan, stood out enough to count as a redemption of the genre. It also upped the profile of its star, Laura Linney, and all but launched the career, after some ten mostly uneventful years in movies, of Mark Ruffalo. The film won the Grand Jury Prize at the 2000 festival, and Lonergan (who himself picked up the Waldo Salt Screenwriting Award) finally follows it up later this year when his second feature, Margaret, starring Anna Pacquin and Ruffalo, arrives in theaters.

AMERICAN PSYCHO (2001)

In the wake of The Blair Witch Project, Sundance slowly fell victim to that most dreaded of industry catchwords: “Buzz.” And as the fest’s spotty post-1999 reputation confirms, the most troublesome thing about encouraging and promoting buzz is that, when the buzzed-about don’t live up to their advanced billing, it’s the festival itself that suffers. Few films have ever arrived at Sundance with more early-bird hype than did Mary Harron’s American Psycho in 2001, given that, as an adaptation of Bret Easton Ellis’ infamous serial killer tome, its mixture of tongue-in-cheek ‘80s details and brutal violence, all wrapped up in a Kubrickian chill, seemed to make it, in the minds of many prognosticators, an “edgy” film with Fight Club-ish cult-fave potential. Such similarities, it turned out, were superficial at best. Still, American Psycho remains, eight years on, one of the few to match its lofty Sundance expectations, thanks to Christian Bale’s pitch-perfect personification of yuppiedom as a lethal mental affliction, Harron’s eerily composed, sterile direction, and a superlative murder scene set to the ominous sound of Huey Lewis and the News.

DONNIE DARKO (2001)

Every once in a blue moon, Sundance provides a platform for a truly exciting new voice, and in 2001, that was Richard Kelly, whose Donnie Darko received enthusiastic critical and audience response upon its premiere. Kelly hailed from a film-geek background but, with his debut, refused to simply indulge in name-check homages and cheesy nostalgia, instead creating an authentic sense of his ‘80s time period and suburban milieu (and the discomfort liberals felt during Michael Dukakis’ failed ’88 presidential bid), all while offering up one giant head-scratcher of a sci-fi saga involving time travel, Tears for Fears’ “Mad World,” and a menacing, knife-wielding giant rabbit who foretells news of the coming apocalypse to Donnie (Jake Gyllenhaal). As assured as it is beguiling, Donnie Darko, like Christopher Nolan’s Memento (which preceded it by a year), is a genre piece that rewards and, in certain respects, requires repeat viewings to unlock its twisted chronological mysteries, something that can’t, unfortunately, be said of Kelly’s follow-up Southland Tales. Me, I say come for the mystery, stay for the entrancing atmosphere of doomed-teen-romanticism.

SUPER TROOPERS (2001)

Broken Lizard, the comedy troupe behind Super Troopers, Club Dread (2004) and Beerfest (2006), is a decidedly hit-or-miss outfit, inspired one moment and flat the next. That description certainly applies to their debut about a group of misfit-slacker state troopers, which first screened at Sundance 2001 and amounts to a series of gags that range from the brilliant to the dreary. If the latter slightly outnumber the former, however, they don’t overshadow them, thanks in part to some inspired casting – how Broken Lizard convinced serious thesp Brian Cox to participate in such inanity remains baffling – that energizes the film’s humor. But moreover, Super Troopers thrives thanks to its pièce-de-résistance involving a couple of troopers pulling over a speeding car in which the backseat teenage passenger, in an effort to avoid arrest and prosecution, has engulfed a giant bag of marijuana. The bizarre incident that follows is dim-witted goofiness of a virtuosic variety, delivering a hilarious high so powerful that it carries one through quite a bit of ensuing patchiness.

Click Here For Part One, Three, Four & Five

Contributors: Andrew Osborne, Phil Nugent, Nick Schager

Smells Like Indie Spirit: Our Favorite Sundance Movies Of All Time (Part One)

Andrew Osborne — Thu, 29 Jan 2009 21:00:00 GMT

Like Saturday Night Live, people never get tired of complaining about the Sundance Film Festival, comparing it unfavorably to its glory days of yore...and yet, just as Lorne Michaels’ 34-season comedy juggernaut (despite decades of grumbling and reports of its imminent demise) has and continues to spawn everything from the Blues Brothers and Bill Murray to 30 Rock and Tina Fey’s Sarah Palin impression, Robert Redford’s love child has likewise changed the face of American filmmaking for (mostly) better and (sometimes) worse since its inception in 1978, 1981 or 1985 (depending who you ask...especially if you ask our own Phil Nugent).

I was tempted to illustrate this introduction with a sexy naked picture of recent Sundance carpetbagger Paris Hilton tied up in microphone cord to (A) draw the prurient eyeballs of Nerve.com sex enthusiasts, but also (B) to make a snarky statement about the way Redford’s annual celebration of the “indie spirit” is really little more than a high-altitude version of the same old Hollywood rat race, where the usual suspects pimp low-budget versions of the same old crap while patting themselves on the back for their "edgy" artistic integrity at pricy soirees that would fund a dozen projects by the real indie filmmakers shivering in the cold on the wrong side of the velvet ropes separating them from the A-list glitterati.

But, no...instead I chose a still from “Any Given Sundance,” because (A) the Simpsons are cooler than Paris Hilton and (B) as a reminder that, for all its faults, Redford’s indie film revolution (like the Easy Riders and Raging Bulls of the 1970s American film renaissance) has penetrated mainstream culture and generally expanded the boundaries of what audiences see, both in the art house and (to a certain extent) on multiplex and television screens.

And so, partly to wrap up our extensive coverage of this year’s festival and partly to remind ourselves of the hours and hours of fine entertainment Mr. Redford has indirectly unleashed upon the world, this week we here at the Screengrab are hitting the slopes with our FAVORITE SUNDANCE MOVIES OF ALL TIME!

STRANGER THAN PARADISE (1985)

The first Special Jury Prize winner at Sundance way back in 1985 was also the movie that really put Jim Jarmusch on the cultural map. Watching it today, it’s easy to see why judges found it so charming, but it’s also easy to see how little Jarmusch’s overall aesthetic has changed: he’s got bigger budgets now and can afford actors who demand bigger paychecks than the goofy Richard Edson and the lovely Eszter Balint (making her film debut here), but his technical approach – long static shots and drifting movement from the middle distance – has hardly changed at all. His obsessions with untethered losers, people with their own inexplicable moral code, and the vagaries of American culture as viewed through the eyes of foreigners, likewise haven’t changed very much. When they first appeared, though, in this alternately hilarious and depressing film about a disconnected New York scenester and his Hungarian cousin wandering to Cleveland and then to Florida for no particular reason, it looked like something that had dropped in from another world. Stranger Than Paradise is one of the films that helped define the modern era of indie film, and helped establish Sundance as the tastemaker’s festival for that particular aesthetic. More than 25 years later, the movie and the festival have a strong connection.

POISON (1991)

By the time Todd Haynes won the Grand Jury Prize at Sundance for his first widely released full-length, Poison, he was already famous (or, rather, infamous) for making Superstar: The Karen Carpenter Story – a film about the late pop singer made entirely with Barbie dolls. A pair of lawsuits drove that film underground, but Poison proved that Haynes was more than just a gimmicky joke: its technical skill and audacity placed him at the forefront of a growing movement that became known as the New Queer Cinema, and its unsettling tone marked him as a filmmaker with a distinct and not always pleasant point of view. Poison consisted of three distinct narratives, each done in a different style: “Homo”, an adaptation of a Jean Genet short story, is the most visually sumptuous, telling a disturbing tale of gay prison romance. “Horror”, an unsubtle AIDS metaphor, evokes 1950s sci-fi shockers as a scientist turns into a deformed madman after isolating a chemical extract that is pure sexuality. The most disturbing, eerie, and inexplicable of the three is “Hero”, a pseudo-documentary of a child who murders his abusive father and flies away, never to be seen again; the straightforward way this bizarre story is told is what makes it so memorable. Haynes’ next movie would be the absolutely brilliant Safe, but Poison remains a powerful signal of a newly arrived talent.

BOTTLE ROCKET (1996)

A lot has gone wrong since Wes Anderson’s Bottle Rocket tipped at Sundance in 1996. Anderson has become a highly controversial director, and for everyone who finds him innovative and engaging, there are those who finds his movies facile and self-indulgent. His star and co-writer, Owen Wilson, has occasionally shown signs of his old talents, but more often has become a smirk in search of a paycheck, much more content to collect a fee than to push himself artistically, and his personal life has been a shambles marked by substance abuse and a suicide attempt. But there’s no denying their first, and best, moment of greatness: Bottle Rocket is a surprising, clever, well-made, and extremely likable film that came more or less out of nowhere to become one of the best-loved movies of the 1990s and a touchstone of that decade’s indie movement. Though it didn’t take home any of the big prizes at Sundance, it generated a huge amount of buzz there, and its later success was largely due to the positive reviews and publicity it garnered in Park City. Anderson’s direction is ambling but never aimless, Wilson’s writing and acting are funny and charming but not lazy, and the whole movie gets the best out of its small budget and creates a rarefied atmosphere that’s worth revisiting. It’s sad to think of Bottle Rocket as a high point its writer and director would never reach again.

WELCOME TO THE DOLLHOUSE (1995)

The winner of the Sundance Grand Jury Prize in 1996, Welcome to the Dollhouse is another film whose director somewhat wore out his welcome with later films. Todd Solondz has established himself as a filmmaker so determined to push boundaries that he’s become alienating rather than empathetic, and who seems to confuse relentless bleakness with clear-eyed realism; the incredible depths of understanding that make Welcome to the Dollhouse such an appealing and moving film are soured or nearly absent from his later work. (He even manages to piss away the good will generated by his most famous creation by killing off Dawn Wiener for no particular reason in Palindromes.) However, no amount of excess can rob his first feature of its power; Welcome to the Dollhouse is still one of the most touching and sympathetic, albeit incredibly uncomfortable, views of adolescence ever captured on film. Dawn’s negotiations through the bitter lessons of bullying, pre-teen sexuality, parental neglect, and sibling rivalry are as real as it gets, and all the more surprising for how well a male writer/director was able to communicate the specific problems of an adolescent girl. Welcome to the Dollhouse would also likely have been less successful had the role of Dawn not been assayed with such perfection by the young Heather Matarazzo, who, like Solondz himself, never quite recaptured the greatness of her debut.

BALLAST (2008)

One of the big winners at this year’s Sundance film festival, Lance Hammer’s Ballast took home well-deserved prizes for directing and cinematography (astonishing work by Lol Crowley). Hammer has been around for a while, but this is his first full-length feature film, and it came at a key moment for Sundance: many critics at this year’s festival complained about burnout, the fragile state of the economy has seen a number of established festivals shutter their doors, and much wringing of hands has taken place over the future of independent film. That’s why it was important for a movie like Ballast to come along, to signal the continuing strength of indie cinema and the continuing importance of places like Park City for them to find an audience. The quiet, powerful story of a Mississippi family plunged into despair and inertia by the suicide of one of its members, Ballast features some incredible naturalistic acting, a mesmerizing pace and visual sensibility, and an emotional punch that’s become increasingly rare in the growing inward smirk of a lot of American independent film. It’s not a perfect movie, but it’s one that completely justifies the importance of the festival circuit and neatly answers at least a few questions about the state of indie movies in 2009.

Click Here For Part Two, Three, Four & Five

Contributors: Andrew Osborne, Leonard Pierce

Sundance Do-Overs: When the Buzz Turns to Fizzle

Phil Nugent — Mon, 26 Jan 2009 20:00:00 GMT

The Sundance Film Festival, America's largest and arguably most influential showcase for independent movies, has just wrapped up its twenty-fifth, or thirtieth or eighteenth, installment, depending on who's counting. The earliest version of Sundance, the Utah/US Film Festival, was first held in Salt Lake City in September of 1978. From the start, it reflected the taste and interests of its celebrity mascot Robert Redford, the festival's inaugural chairman; the first awards jury included Redford's Butch Cassidy and the Sundance Kid co-star Katharine Ross, who was already at a point in her career where she must have been grateful for the work. In 1981, the festival moved to Park City, where the annual date would eventually be shifted to January to take advantage of the attractions of the ski resort there. As far as Sundance is concerned, "Sundance" began in 1985, when management of the then-struggling festival was taken over by Redford's Sundance Institute, which he ran with festival co-founder Sterling Van Wagenen. By the time the Festival had its biggest, buzziest hit to date with Steven Soderbergh's 1989 sex, lies, and videotape, insiders were routinely referring to it as the Sundance Film Festival, though the name wouldn't officially change until 1991.

sex, lies, and videotape, followed by the likes of Reservoir Dogs, Clerks, Hoop Dreams, and other films, would establish Sundance as a major way station for the films and filmmakers that would define the American indie movie scene in the 1990s. Today the festival is one port of call among many for new moviemakers looking to get some attention, but it remains the recognized big daddy of indie festivals, inspiring all the respect and resentment that label implies. Anyone looking to get a sense of the shape of movie fashions since the mid-1980s could do worse than to examine a list of all the movies that have been rewarded with prizes and press attention after playing Sundance. And, it goes without saying, that history includes some wrong turns.

STACKING (1987): Never one of the best-known of all Sundance entries and now one of the most thoroughly forgotten, Stacking is of interest only for the degree to which it sums up everything that was typical, and typically unappealing, about "indie film" before Soderbergh and company stormed the castle. Back then, it wasn't called independent filmmaking but "regional cinema", and wiseguys had another name for it: granola movies. The regions depicted in regional cinema tended to be those that were said to represent the American heartland, and which could be faked on location in Canada. They tend to feature stock characters--the stolid farmer trying to hang onto his land in the face of changing times, the bored wife wondering where her frisky youth frisked off to, the confused teenager with potential literary gifts, the sexy stranger who's just passin' through--who are often played by good actors earning cinematic karma points. (The cast of Stacking, for instance, includes Christine Lahti, Frederic Forrest, Peter Coyote, James Gammon, and Jason Gedrick.) The reigning master of granola cinema is Victor Nunez, a Sundance perennial fixture who helped launch Ashley Judd's career with the 1993 Ruby in Paradise and Peter Fonda's comeback with the 1997 Ulee's Gold, though his own career, and granola cinema in general, may be best summed up by the title of his early feature, Gal Young 'Un.

For whom were these movies made? Even when they managed to acquire a theatrical release, as Stacking did, they never got far out of the major cities before twitching to death in the hot sun. Certainly there was no audience for them among the people whose lives they tried to ennoble. Speaking as someone who grew up in a rural farming community, I can tell you that nobody who spends his days working on a farm wants to blow his mad money on the chance to watch some poor bastard wonder whether he'll be able to get this year's crop in. Basically, they were made only for the people who'd see them at a festival like Sundance: educated liberals who felt virtuous from seeing people in denim and broad-brimmed hats being boring on-screen and critics who enjoyed denouncing the public for not making these fine, well-meaning movies as successful as Lethal Weapon. One reason they're such period pieces now is that they were made before people started thinking in terms of the Red State/Blue State divide, which makes them bittersweet reminders of a time not so long ago when educated big-city liberals thought of the people who grow their steaks as dull but honorable tillers of the soil instead of that pack of dumbasses who re-elected Bush.

IN THE SOUP (1992): It's not exactly unheard of for a movie to be greeted with awards and recognition at Sundance and then die on the vine when it's sent out into the cold, unfriendly world to fend for itself. That was certainly the case with this comedy, starring Steve Buscemi as an aspiring filmmaker and the veteran character actor Seymour Cassel as a Life Force, which was directed and co-written by Alexandre Rockwell, the rtist formerly known as Mr. Jennifer Beals. (Beals is in it, too, as are Jim Jarmusch, Carol Kane, Stanley Tucci, Debi Mazar, Sam Rockwell, and the late '80s indie stalwart Rockets Redglare.) The movie's Grand Jury Prize wouldn't be so embarrassing if it weren't for the competition: among the movies it beat out was Reservoir Dogs, which got a legendary bad reception from a festival crowd put off by its violence and gaudy showmanship. You don't have to be a Tarantino enthusiast to compare the reaction his movie got to the soft, clumsy whimsey of Rockwell's and feel that Sundance, just three years after sex, lies... had taken it to a new level, was already in danger of seeming out of touch. Nothing Rockwell ever did again would garner as much attention; his biggest break came when Tarantino invited him to contribute a segment to the disastrous implosion of a multi-director feature, Four Rooms. The real winner of this round would be Steve Buscemi, who could boast of having starred in the year's big hit at Sundance and also having a breakout role in the real-world hit that smoked the Sundance hit.

THE BROTHERS McMULLEN (1995): Never has anybody gotten more out of a pretty face and a knack for making connections--he was working in the offices of Entertainment Tonight while making his movie and managed to slip a copy of the film to Redford himself when the great man was on ET plugging Quiz Show--when he had nothing, literally nothing else, to back it up than McMullen star and auteur Edward Burns. Burns's movie, which won the Grand Jury Prize at Sundance and went on to be a modest hit in theaters, was a half-assed sitcom that benefited from his lack of an eye and his inability to parlay his $28.000 budget into a halfway-decent-looking or decent-sounding movie; for a while, people taken with Burns's puppy-dog eyes, floppy locks, and the notion that making a movie while working as a production assistant on Entertainment Tonight counted as a struggling-artist story assumed that the rough poverty-row look of the film must confer artistic respectablity on it. Burns cleared up any lingering misunderstanding with his second film, She's the One, where his lame script was given a pricey big-studio mounting and consequently just looked lame. (He also publicly humiliated his McMullen co-stars Mike McGlone and his then-girlfriend Maxine Bahns by casting them alongside real actors such as John Mahoney, Cameron Diaz, Amanda Peet, and Frank Vincent. McGlone's "performance" in She's the One, which consisted of having a petulant, screaming fit in just about every scene he was in, made him in particular look like a prime candidate for the title Supreme Asshat of the Known Universe.) Burns has directed half a dozen movies since then, none of which has garnered any real attention; he also acts, sort of, in better directors' films, most notably in Saving Private Ryan from back in the days when his name had some heat attached to it. Technically, his name still does, in the sense that he now must spend a certain amount of time wondering if he's obligated to correct people who think he's the Ed Burns responsible for The Wire.

THE SPITFIRE GRILL (1996): This movie about misunderstandings and redemption in rural Maine was the only feature film written and directed by Lee David Zlotoff, best known for his work in TV, as a writer and producer on such series as Remington Steele and Navy NCIS: Naval Criminal Investigative Service. The real creative force behind the movie was Roger M. Courts, a direct mail fundraiser and CEO of a Mississippi-based Catholic fund-raising organization called the Sacred Heart League, Inc. Courts was interested in making a movie that could serve as a film equivalent to the "testimonial" literature religious groups passed around, and he spent many years looking for a script that had what he saw as the right mixture of Christian teaching and solid narrative values. He decided that he'd found it in Zlotoff's screenplay about a young ex-con (played by Alison Elliot) whose death at the end of the movie turns her into the fresh-faced Christ figure of Pepperidge Farm. It seems likely that the humanist audience at Sundance missed the religious undertones completely and simply took the movie's heavy-handed moralizing and rustic dullness as a throwback to the good old days of "regional filmmaking", and that the movie won the festival's Audience Award partly on the strength of nostalgia for the days before Miramax deals and Tarantino rip-offs. Ironically, the movie's popular success at the festival led to a high-priced bidding war among distributors. In the end, it was Castle Rock Entertainment that paid top dollar for the privilege of seeing the movie crash and burn in theaters later that year. The material has since found its true level as a play (with a de-sacrificial happy ending) that is popular with regional theater groups.

HAPPY, TEXAS (1999): Sometimes, the family vibe at a big festival, where a lot of steady filmgoers mix and mingle with filmmakers, can inspire a certain amount of self-deception. This godawful comedy, starring Steve Zahn and Jeremy Northam as escaped convicts posing as gay beauty pageant directors (while Northam fends off the advances of gay small town sheriff William H. Macy), was received with rhapsodic abandon at Sundance, which can best be interpreted as an explosion of love for Steve Zahn, who had delivered a steady stream of amazing supporting performances in such movies as Reality Bites, That Thing You Do, and Out of Sight, and who had his biggest role to date here. He won the Grand Jury Prize for his performance, which isn't completely off the wall: he's very funny in it. But Miramax's decision to shell out what was variously reported as anywhere from $2.5 million to $10 million dollars for the movie itself proved, shall we say, ill-advised. At the time of the purchase, there were actually outraged bleatings in the trade press from people complaining that Miramax got all the cool movies. But after Happy, Texas collapsed in theaters, the movie would be remembered only as the centerpiece of stories about how Harvey Weinstein couldn't be trusted alone with his checkbook at Sundance.

The Screengrab Highlight Reel: Jan. 17-23, 2009

Scott Von Doviak — Fri, 23 Jan 2009 22:00:00 GMT

You may have been thrilled when the Screengrab announced it would be running enough Sundance coverage to choke a horse. I wasn’t thrilled. I’m the horse. And let me tell you, they weren’t just kidding around. Screengrab editor emeritus Bilge Ebiri was on the scene in Park City filing reviews of all the buzz movies: An Education, Bronson, The Cove, Tyson, The Greatest, Moon, Don’t Let Me Drown, Amreeka, In the Loop and The Girlfriend Experience.

Not only that, but Scott Von Doviak was in the home office, rounding up all the Sundance headlines from Day One, Two, Three, Four, Five, Six, Seven and Eight.

After I finally managed to choke all that down, I had a look at some of the other stuff posted on the Screengrab this week:

Jailhouse Rock: The Greatest Prison Films of All Time (Parts One, Two, Three, Four and Five)

Unwatchable #56: Araf (aka The Abortion)

Screengrab Self-Promotion Theater #2: Shoe

Reviews By Request: Reprise and Son of Rambow

Sundance Roundup: Day Eight

Scott Von Doviak — Fri, 23 Jan 2009 18:00:00 GMT

Busy IFC Films made In the Loop its latest Sundance acquisition. The Armando Iannucci comedy “follows a British government minister who inadvertently supports a war while on primetime television. Pic stars Tom Hollander, Peter Capaldi, James Gandolfini and Steve Coogan.”

Bobcat Goldthwait’s latest exercise in depraved comedy, World’s Greatest Dad, made quite an impression. Entertainment Weekly calls it “a crazy, foul-mouthed, garishly farfetched black comedy… World's Greatest Dad has an organic lunacy, to the point that there's something almost Ed Wood innocent about it. Maybe it's that the film reflects a fantasy that must surely be Goldthwait's: that the worse the behavior, the more it will be rewarded.” Spoutblog caught up with the director, who still lives a double life. “I’m probably the only director here who in three weeks is going to be playing an Indian casino in Iowa. Which is true. It’s true. And I go out on the road and I don’t like doing stand-up comedy. And what’s funny is I can say that to you in this interview, that I hate stand-up comedy. And the people who come out to see me, they’ll never see that quote. Because those people come - it’s like I’m Foreigner, going out on the road. There’s still going to be an audience to see Frampton.”

But of course what you’re really wondering is – what are the stars drinking at Sundance? The answer might surprise you! “The once-banned spirit, absinthe -- a mix of sweet licorice-flavored anise and the bitter wormwood -- is being poured at numerous celebrity events,” the Salt Lake Tribune reports. “‘Absinthe has a historical relationship with creativity,’ explained Ashley Garver, marketing director for Le Tourment Vert, a French brand and one of the festival sponsors.” Make it a double.

Previously:
Sundance Roundup: Day Seven
Sundance Roundup: Day Six

Sundance Roundup: Day Seven

Scott Von Doviak — Thu, 22 Jan 2009 17:30:00 GMT

That sneaky Steven Soderbergh screened his latest work-in-progress, The Girlfriend Experience, in the “Sneak Preview 2” slot at Sundance this week. In Entertainment Weekly, Owen Glieberman describes it as “one of the director's wee, semi-improvised, non-star-cast, shot-on-easy-to-tote-video doodles,” and apparently means that as a compliment. The movie is already semi-notorious for Soderbergh’s casting of an actual porn star (pictured here in one of the few photos we can, uh, picture here). The director address the issue in a post-screening Q & A: “Even though the film's not very explicit," Soderbergh said of Sasha Grey, "there's a comfort level she obviously has from making all of those films that I think is difficult to fake. There's a kind of attitude.”

Good news for fans of Nazi zombie comedies! IFC has acquired the rights to Sundance feature Dead Snow. “The Norwegian horror pic about medical student co-eds on a ski holiday who meet up with evil Nazi zombies premiered in the international narrative feature section.” That’s about it deal-wise, although The Killing Room is also reportedly close to finding distribution.

Otherwise, the big news was reported earlier today by our man on the scene Bilge Ebiri: the steel cage match between Variety critic John Anderson and Dude inspiration Jeff Dowd. “Offering support for Anderson was filmmaker Nicholas Winding Refn, who received a glowing review from the critic for his movie Bronson, an explosive biopic about Britain’s most violent prisoner, Charles Bronson,” the Vulture reports. “‘I will pay his bail money if needed,’ Winding Refn told us. ‘But think about it, we now live in a new era of film criticism thanks to John Anderson. Now, when some jerk gets into a critic’s face and he fights back, we’ll say he went Bronson on them.’”

Previously:
Sundance Roundup: Day Six
Sundance Roundup: Day Five

Sundance Roundup: Day Six

Scott Von Doviak — Wed, 21 Jan 2009 18:00:00 GMT

More wheeling and dealing, via The Hollywood Reporter: Fox Searchlight snapped up the rights to the New York romance Adam, which it “hopes to turn it into the next Once, which it acquired here in 2007.” Sony Pictures Classics won the bidding war for An Education, “for a price in the $3 million-$4 million range for North American and select Latin American rights.” Lionsgate picked up “The Winning Season, James Strouse's tale of a high-school girls' basketball team starring Sam Rockwell.”

This year’s Sundance It Girl has been coronated. Per Entertainment Weekly, it’s 23-year-old British actress Carey Mulligan. “The star of Lone Scherfig's An Education and the bright spot in Shana Feste's melodrama The Greatest, Mulligan is transfixing audiences with her angelic looks and broad acting range.” You can also catch her in Michael Mann’s upcoming Dillinger epic Public Enemies, with Johnny Depp and Christian Bale.

E! Online is on the celebrity swag watch. Any truth to the rumors that Paris Hilton walked off with 30 goodie bags? Apparently so, but not all Sundance stars are so greedy. Screengrab sweetheart Zooey Deschanel refused all handouts, saying it “it takes away from the festival.” Awwww.

Previously:
Sundance Roundup: Day Five
Sundance Roundup: Day Four

Sundance Roundup: Day Five

Scott Von Doviak — Tue, 20 Jan 2009 17:00:00 GMT

Suddenly the deals are falling into place. After a slow start and gloomy rumblings about the economy, a handful of Sundance movies found owners over the long weekend. Magnolia snapped up the rights to Humpday, paying in the mid-six figures for “a lo-fi buddy comedy that attracted six offers and a protracted bidding war.” Sony spent close to $2 million to acquire Black Dynamite, proclaiming that the blaxploitation spoof, “which was snapped up soon after its smash Sunday midnight screening, has franchise potential.” The hottest property may be An Education, which has a number of suitors and has already rejected an offer in the $1 million range from Fox Searchlight.

Spoutblog talked to Tom DiCillo about his Doors documentary When You’re Strange and found he had little positive to say about the Oliver Stone biopic. “I looked at the first three minutes and I had to turn it off. I just found it utterly phony. ..It was completely one dimensional. No human being is one dimensional. No story is one dimensional. I was bored by it.”

Our Screengrab pick-to-click Cold Souls got a fairly warm reception. LA Weekly’s Scott Foundas writes that director Sophie Barthes’ “low-fi futurism, generous good humor and respect for the audience's literacy are easy to admire,” while IndieWire’s Eric Kohn says “Barthes builds a fully believable universe around her seemingly ridiculous premise.” Cinematical has an interview with star Paul Giamatti, who claims “I kind of forgot that I was playing myself in this.”

Previously:
Sundance: Day Four
Sundance: Day Three

Sundance Roundup: Day Four

Scott Von Doviak — Mon, 19 Jan 2009 17:30:00 GMT

Sundance remains a buyer's market so far, but if you're a filmmaker having little success attracting interest from distributors, don't panic yet. "IFC will probably turn out to be one of the most aggressive buyers at the Sundance Film Festival here when it comes to the number of films bought, if not the prices paid," the New York Times reports. "Jonathan Sehring, IFC’s president, and his crew were already here last Thursday to begin stocking up on pictures for their In Theaters and Festival Direct services, which send first-run movies to more than 50 million viewers in all, through their video-on-demand services." By the way, IFC will be making Steven Soderbergh's Che available on demand starting Wednesday.

The gay romance/con movie I Love You Phillip Morris has yet to find a buyer, but it seems only a matter of time. Blogging for the Houston Press, Steve McVicker, author of the book upon which the movie is based, proclaims himself satisfied with the result. "Directors/screenwriter Glen Fecarra and John Requa, were both true to my book, but also put their creative stamp on it. They kept most aspects of the book, but condensed and compressed the material in a true dark screwball comedy, which is also a poignant love story between the two jailhouse lovers, Morris and Steve Russell, who also blossomed as an escape artist...No offense to John or Glenn, but at time it felt like I was watching a Coen Brothers' comedy." Owen Glieberman of Entertainment Weekly sort of agrees, saying the movie is "like one of those out-of-the-frying-pan capers by the Coen brothers crossed with Catch Me If You Can, featuring a hero as blithely comfortable with the metaphysics of identity fraud as Tom Ripley."

CNET has the scoop on enjoying Sundance from the comfort of your own couch, as 10 shorts from the festival are available for viewing online. "The shorts made available on iTunes, with distribution and encoding services by Shorts International, were chosen "as a sampling of the festival's unique shorts filmmakers' voices," says programmer Todd Luoto. "Some are funny; some are sad. Some are serious. Some are just plain crazy and need no classification, and some couldn't be classified if we tried--just the way we like it."

Sundance Roundup: Day Three

Scott Von Doviak — Sun, 18 Jan 2009 19:15:00 GMT

Spike Lee makes his first trip to Sundance this year with Passing Strange, his filmed record of the Broadway hit. But we don't care about that. Today it's all about the hat. This tragic, tragic hat. Where to start? The white-on-white Yankees logo? The ring of white fur that doesn't appear to have any actual warming value? Come on, Spike, even A-Rod wouldn't be caught dead in that thing. "“I’m not taking a poll,” he told the New York Times. “I’m just trying to stay warm.” Try harder.

The first major deal of the festival has been sealed. "Antoine Fuqua’s Brooklyn’s Finest closed a deal on Saturday night at the Sundance Film Festival, with North American rights going to Senator Distribution, Inc," Indiewire reports. "Buzz began building around the film after Friday night’s world premiere at the Eccles Theater in Park City. The story of 'cops and crooks' (ala Training Day), Finest stars Richard Gere, Don Cheadle, Ethan Hawke, Wesley Snipes and Ellen Barkin." Movie City News expresses some surprise at the deal, " given the reportedly hostile reception it received at the film’s premiere, especially to an ending that shocked and angered many." Not to worry, though! The distributor assures us the ending will be cut.

Last week I picked Spread, the Ashton Kutcher gigolo movie, as one of five movies to skip, but if Salon's Andrew O'Hehir is to be believed, I am no Nostradamus. "This guilty pleasure premiered to a packed house on Saturday night and was pretty much a smash...Kutcher turns out to have terrific acting chops well beyond the doofus self-mockery of his TV-host and pitchman personas." Well, I'll say this for Kutcher: I don't think even he would be caught dead in Spike Lee's hat.

Sundance Roundup: Day Two

Scott Von Doviak — Sat, 17 Jan 2009 18:00:00 GMT

Tonight it's your big chance to have dinner with Mike Tyson. A Q&A and dinner with the former champ will follow tonight's screening of James Toback's documentary Tyson. (Please don't ask if ears are on the menu.) The movie itself had its first screening bright and early yesterday at 8:30 am ("You people did more than I would have done, coming out at 8:30 in the morning for a movie!" Toback told the crowd.) According to the L.A. Times, "Toback filmed Tyson during a time when the former heavyweight fighter was in rehab for drug addiction and feeling contemplative about his life. Intercut with the interview are clips from Tyson's highlights and lowlights, including footage from his 1997 fight against Evander Holyfield that ended with Iron Mike chomping off part of Holyfield's ear. Yet despite this unflattering footage, the film is largely sympathetic to Tyson." Slashfilm has a problem with that: "Situations dealing with abuse and rape charges deserve to show the other side of the story (especially when Tyson claims they never happened). But the documentary never strays from the one on one interview with Tyson himself." The film has already been picked up for distribution by Sony Pictures Classics.

If you've been waiting for the mumblecore bromance version of Zack and Miri Make a Porno, it sounds like Humpday is the movie for you. Two college buds dare each other to make a gay porno together in a movie Salon's Andrew O'Hehir describes as "a subtle and intelligent picture that blends dudely comedy and adult relationship drama." Or as Spoutblog puts it, it's "like Bang the Drum Slowly meets Jaws. Only no one dies." Intriguing!

The New York Times notes a number of eco-friendly films on the schedule, including Robert Stone's documentary Earth Days, but wonders if the festival itself is as green as it should be. "Still, a stroll here this week down Main Street — where a dozen idling trucks were unloading supplies and equipment, while an oversize band bus, with trailer in tow, spewed fumes outside a soon-to-be-busy party site — framed the obvious quandary: how can you cram some 46,000 people, roughly equivalent to a fifth of Hollywood’s total work force, into a pretty little mountain town without contributing mightily to the problems your films hope to solve?"

Sundance Roundup: Day One

Scott Von Doviak — Fri, 16 Jan 2009 15:00:00 GMT

The 2009 Sundance Film Festival kicked off last night with Robert Redford’s traditional opening address. Predictably, Redford (looking like no kind of Sundance Kid these days) fielded a number of questions on the topic of the economic downturn’s potential effect on the festival. He used the opportunity to take a few shots at the outgoing administration: “You've got a lame-duck guy going out,” Redford said, "but he sure has done a lot of quacking in the last while. So therefore, the sooner they're gone, the better, and therefore, I'm very excited by the change that's coming."

After Redford’s remarks, the opening night film, Mary and Max, unspooled to mixed reactions. Variety says the Australian claymation effort “has its share of deadpan amusements, but its combo of mordant whimsy and tearjerker moments winds up curdling in an unappetizing fashion.” Slashfilm calls it “something magical. It is the perfect film to start off the festival, because it is everything that Sundance would like to stand for. It’s handcrafted and so very unique that it would have been impossible for any studio and Hollywood to produce anything like it. They wouldn’t have the guts.” Cinematical finds it “a tad sappy and heavy-handed at times.”

The L.A. Times says it’s a buyer’s market at Sundance this year. “Although the rapidly evolving marketplace suggests the odds of a Sundance bidding war this year are slim, there also could be simultaneous downward pressure on the sales prices -- known in the industry as minimum guarantees -- for Sundance's smaller films, especially nonfiction films.”

More cheery thoughts from the Toronto Star, which claims the sun may be setting on the indie revolution. “This annual 10-day showcase for independent film is feeling the effects of the global recession as the industry reels from reduced deal-making, curtailed releasing and the shuttering of several significant indie distributors, Warner Independent Pictures and Picturehouse among them.”

Sounds like party time in Park City!

Sundance Preview: Five Movies to Skip

Scott Von Doviak — Thu, 15 Jan 2009 17:00:00 GMT

In anticipation of tonight’s kickoff of the 2009 Sundance Film Festival, I’ve been previewing the must-see films: Tuesday we looked at documentaries and yesterday we checked out the narrative features. But it’s not all sunshine and lollipops. Every film festival of note screens its share of duds, and you don’t want be wasting valuable time you could spend riding a giant inner tube down a snowy peak. (Seriously, if you’re in Park City this week, do this. It’s super fun.) Here are five movies I’d scratch off my list if I happened to be in town.

BLACK DYNAMITE

Sure, this could be entertaining. The trailer makes it looks like pure blaxploitation pastiche, as if it’s the missing third piece of Grindhouse. The Sundance guide does nothing to dissuade me from this perception: “Black Dynamite is a throwback with an attitude. Hilarious, campy, hot, and sexy, it plays with every cliché from 1970s film and television, with a few new ones thrown in for color.” Personally, I think that could get real old real quick, but then, I sat through both I’m Gonna Get You Sucka and Undercover Brother, so maybe I’m just burnt out.

THE INFORMERS

Less Than Zero and American Psycho have their defenders, I suppose, but none of them are currently typing these words. So this description doesn’t particular light my fire: “Sex, drugs, and new wave...Los Angeles in the early 1980s: a time of excess and decadence, and nobody captures it better than Bret Easton Ellis as he coadapts his own acclaimed novel for the screen.” That’s not a world I have any interest in revisiting, although given that the cast includes Billy Bob Thornton, Mickey Rourke, Kim Basinger, Winona Ryder and the late Brad Renfro, I wouldn’t mind seeing a warts-and-all making-of documentary. I’m guessing it was not a placid, well-oiled production.

SHRINK

In another time – it seems so distant now – I would have watched Kevin Spacey read the phone book. His string of ‘90s performances, including Glengarry Glen Ross, Swimming with Sharks and The Usual Suspects left me eager to see what he’d do next. Then he caught the worst case of Oscar-itis since Nicolas Cage. (Pay It Forward. K-PAX. The Fucking Life of David Fucking Gale!) Now I can scarcely stand the sight of him, and Shrink sure doesn’t sound like the movie that will change that. “What happens when the people we count on to hold us together…are barely holding it together themselves? Jonas Pate's Shrink is a striking, fast-paced exposé of the ‘other’ Hollywood, featuring folks living outside their comfort zone and the people who put them there. Henry Carter (Kevin Spacey) is a psychiatrist with an A-list clientele, including a once-famous actress (Saffron Burrows), an insecure young writer (Mark Webber), and a comically obsessive-compulsive superagent (Dallas Roberts).” Kevin – get help!

SPREAD

The Sundance guide’s description of Spread is simply overflowing with sentences that make me never want to set foot in a movie theater again. ‘Los Angeles is often the customary site for mythmaking in the American cultural iconography. It is a place, for instance, where the legend of the sexual exploits of the male gigolo seems perfectly at home in the decadent universe of Hollywood dreams and nightmares. Surely inspired by the classic tradition of American Gigolo and Shampoo, Spread is such a perfectly tuned, contemporary depiction of the trials and tribulations of sleeping your way to wealth and success that, guilty pleasure or not, it’s irresistible. Especially so since it’s driven by the iconic persona of Ashton Kutcher. – ” Aaaand, this is the point where I make a break for the bathroom and hug the toilet close to my face. I didn’t even get to the part about his romancing of “middle-aged client” Anne Heche. There are some visuals I don’t need in my head.

SPRING BREAKDOWN

I don’t want to hate on Amy Poehler or (especially) Parker Posey, whose big screen appearances have been all too scarce of late, but this looks like absolute dogshit. “For Judi, Gayle, and Becky, tragically unhip bosom buddies pushing 40, “make-your-own-pizza night” constitutes the pinnacle of revelry. But when Judi’s fiancé turns out to be gay, Gayle’s face repulses a blind guy, and Becky’s beloved cat kicks the bucket, they’re ready for real pampering. Dusting themselves off, the trio heads for some R&R;on South Padre Island, where Becky’s supposed to chaperone her boss’s daughter.” Seriously, try to get through the trailer above. This is a Sundance movie? Time to hit the slopes!

Sundance Preview: Ten Must-See Narrative Features (Part Two)

Scott Von Doviak — Wed, 14 Jan 2009 21:00:00 GMT

IN THE LOOP

I know what you’re thinking: I only picked this movie so I could run this ridiculous picture of James Gandolfini in his Crazy General outfit. Well, perhaps you’re right. The film itself is a political farce described thusly: “Wickedly sardonic and filled with secrets, lies, leaks, plugs, and faulty intelligence and walls, In the Loop leads us behind closed doors to reveal bungling bureaucrats entangled in petty rivalries, obsequious aides jockeying for favor, and the Keystone Cops of government, including a minister who hopes there’s no war because it’s bad enough coping with the Olympics, and an unscrupulous bureaucrat who doctors intelligence because he believes that “in the land of truth, the man with one fact is king.” Director Armando Iannucci is a veteran of British comedy TV, including I’m Alan Partridge and the short-lived but no doubt beloved Time Trumpet.

MANURE

The Polish Brothers are back and they’ve got poop on their minds! The men behind such uncategorizables as Northfork and Twin Falls Idaho return with “scene after scene of wonderfully rendered, pure cinematic imagination.” Tea Leoni is the heir to to Rose’s Manure Company and Kyle Maclachlan finally has the role he was born to play – “a ruthless, slick-talking fertilizer rep.” OK, so maybe Agent Dale Cooper was the role he was born to play. But Billy Bob Thornton as a manure salesman? Sold!

MARY AND MAX

The opening night film (that’s tomorrow night, people, so start lining up) is an Australian claymation tale “of a 20-year pen-pal friendship between two very different people: Mary Dinkle, a chubby, lonely 8-year-old girl living in the suburbs of Melbourne, and Max Horowitz, a 44-year-old Jewish man, who is severely obese, suffers from Asperger’s syndrome, and lives an isolated life in New York City.” If you guessed that Philip Seymour Hoffman voices the latter, you win a door prize. Toni Collette is the 8-year-old, no doubt a warm-up for her upcoming multiple personality role(s) on Showtime’s United States of Tara.

WHITE LIGHTNIN’

Not a remake of the Burt Reynolds hixploitation classic, but nonetheless a remake of sorts: White Lightnin’ is a fictional take on the real-life subject of the documentary Dancing Outlaw, Jesco White. “At the tender age of six, he started getting high by huffing gasoline and stolen lighter fluid. Growing up, Jesco often found himself shuffling between reform schools, work camps, and his home in West Virginia—until his father, famous mountain dancer D. Ray White, taught him how to tap. After his father's murder, Jesco begins to dance to control his increasingly wicked ways.” Crazy casting note: Carrie Fisher co-stars as Cilla, the love of Jesco’s life.

WORLD’S GREATEST DAD

I can hardly believe I’m including a movie starring Robin Williams among my picks, but writer/director Bobcat Goldthwait, maker of the greatest alcoholic clown movie and the greatest dog-blowing movie ever made, has a knack for the perversely comic. Presumably that holds true for World’s Greatest Dad, but the Sundance guide description is so vague as to only tantalize: Williams plays a high school poetry teacher who “suddenly faces both the worst tragedy of his life, and the greatest opportunity. Determined to make lemonade from life’s lemons, Lance treads a path that could land him everything he’s ever dreamed of, as long as he can live with the knowledge of how he got there.”

Part One

Sundance Preview: Ten Must-See Narrative Features (Part One)

Scott Von Doviak — Wed, 14 Jan 2009 20:30:00 GMT

Yesterday we looked at five documentaries I deemed “must-sees” based on their descriptions in the Sundance guide, their trailers (if available) and my own whims and biases. As I mentioned, I will not actually be attending the 2009 Sundance Film Festival, but why should that minor detail prevent me from having an opinion? With any luck I’ll get to see these movies sooner or later anyway, either at other festivals, in regular theatrical release or on DVD. With that in mind, let’s move on to the narrative features:

ADVENTURELAND

Admittedly, there’s not much need to waste a valuable Sundance timeslot seeing Adventureland, since it’s due in theaters on March 27th. On the other hand, it’s always nice to be ahead of the curve and in the know, so here’s your opportunity to spread either buzz or backlash. Superbad director Greg Mottola takes us back to the glorious year of 1987, when recent college grad Jesse Eisenberg is forced to take a job at an amusement park full of “belligerent dads, stuffed pandas, and screaming kids high on cotton candy.” On the plus side, it also has Twilight cutie Kristen Stewart and a supporting cast of actual funny people like Martin Starr, Bill Hader and Kristen Wiig.

BIG FAN

I’m not entirely sold on the cinematic credentials of former Onion writer Robert Siegel. Granted, I haven’t seen The Onion Movie, but his bizarrely acclaimed script for The Wrestler struck me as a humdrum cliché-fest. Still, Big Fan sounds promising if only for the presence of the reliably hilarious Patton Oswalt in the leading role. It’s also timely, given the recent well-publicized troubles of New York Giants star Plaxico Burress: “Paul Aufiero, a 35-year-old parking-garage attendant from working-class Staten Island, is the self-described “world's biggest New York Giants fan.” One night Paul and his best friend, Sal, spot star Giants linebacker Quantrell Bishop at a gas station in Staten Island. They impulsively follow his SUV into Manhattan to a strip club, where they finally muster up the courage to talk to their hero. What starts out as a dream come true turns into a nightmare as a misunderstanding ignites a violent confrontation, and Paul is sent down a path that will test his devotion to the extreme.”

BRIEF INTERVIEWS WITH HIDEOUS MEN

The Sundance guide sums it up nicely: “John Krasinski, best known for playing the charming everyman, Jim Halpert, on The Office, may seem an unlikely candidate to adapt and direct the late David Foster Wallace's caustic exploration of the hideous nature of men.” I agree that it doesn’t immediately sound like a match made in heaven, but what do I know about whatever demons the seeming nice guy Krasinski may harbor? Julianne Nicholson stars as the grad student conducting those brief interviews, which range from “the bizarre to the banal, but they are always infused with biting humor and extraordinary details.”

THE CLONE RETURNS HOME

This Japanese feature is described as being “in the tradition of Solaris and other deeply philosophical science-fiction works.” It concerns an astronaut who “agrees to participate in an experimental cloning program that will ‘regenerate’ his body and memory should he die. So when he’s killed during a space mission, scientists are able to regenerate his clone. But problems occur with its memory, which regresses to Kohei’s youth and the accidental death of his twin brother. Distressed, the clone flees the lab in search of his childhood home. Along the way, he finds his own lifeless body in a space suit. Mistaking it for his brother, he continues his journey carrying the body on his back.” There’s a fine line between dreamlike and ponderous and this one could go either way, but I’m feeling generous enough to give it the benefit of the doubt.

COLD SOULS

This “metaphysical tragicomedy” sounds more than a little Charlie Kaufmanesque. Paul Giamatti stars as himself, “agonizing over his interpretation of Uncle Vanya. Paralyzed with anxiety, he stumbles upon a solution via a New Yorker article about a high-tech company promising to alleviate suffering by deep-freezing souls. Giamatti enlists their services, intending to reinstate his soul once he survives the performance. But complications ensue when a mysterious, soul-trafficking ‘mule,’ transporting product to and from Russia, ‘borrows’ Giamatti's stored soul for an ambitious, but unfortunately talentless, soap-opera actress.” Is the debut feature from Sophie Barthes a ripoff of Being John Malkovich or “strikingly original” as the Sundance guide claims?

Part Two

Sundance Preview: Five Must-See Documentaries

Scott Von Doviak — Tue, 13 Jan 2009 20:00:00 GMT

Beginning later this week, I’ll be bringing you the most comprehensive Sundance coverage possible by a person who isn’t actually going to be there. (Hey, it’s cold up there! Sure, I could have tried to fool you with this eight-year-old photo, but I don’t play like that.) But hey, I don’t have to be in Park City to comb through the Sundance website and engage in some uninformed speculation about films that may be of interest to you and me. Tomorrow we’ll look at narrative features, but today let’s look at five nonfiction films I’d try to see if, y’know, I wasn’t a thousand miles away.

BIG RIVER MAN

Normally a swimming documentary wouldn’t be my cup of tea, but having read up a bit on endurance swimmer Martin Strel, my interest in Big River Man is piqued. An endurance swimmer from Slovenia, Strel has already conquered the Mississippi and the Danube, but the subject of this film is his craziest feat yet: swimming the length of the Amazon river while consuming two bottles of wine a day. “In his fifties and rather overweight, his treacherous journey brings him face to face with many obstacles, including water predators, rapids, and toxic pollution… Part world-class sporting event, part circus sideshow, the film follows the colorful characters 3,375 miles over 66 days on history's longest, most perilous swim.”

NOLLYWOOD BABYLON

Could this be the Not Quite Hollywood of 2009? Well…probably not, but just as that documentary covered the too-little-explored Ozsploitation film industry down under, Nollywood Babylon promises the lowdown on “the wild and wacky world of Nollywood, Nigeria’s explosive homegrown movie industry, where Jesus and voodoo vie for screen time… a cadre of resourceful filmmakers creating a garish, imaginative, and wildly popular form of B-movie that has frenzied fans begging for more.”

TYSON

Screengrabber Andrew Osborne has an interesting James Toback story he’d like to share with you if he ever gets clearance from our team of lawyers. In the meantime, you’ll have to settle for this profile of perpetually embattled former boxer Mike Tyson (who made a memorable appearance in Toback’s Black and White). “Candid interviews with Tyson reveal an often-misunderstood persona that encompasses a broad spectrum of decidedly human instincts… Toback manages to crack Mike Tyson’s brooding exterior to expose both the best and worst of the most explosive and controversial enigma in the history of the sport.”

WHEN YOU’RE STRANGE

Tom DiCillo has directed one movie I love (Living in Oblivion) and then…a handful of other peculiar but not particularly good movies (Box of Moon Light, The Real Blonde). I don’t have any evidence that he’s the man to make us forget Oliver Stone’s bombastic biopic The Doors, but surely any nonfiction treatment of the story would be an improvement. The Sundance guide assures us DiCillo’s take is “far from a nostalgic journey and much more than a biopic,” consisting only of original footage shot between 1966 and 1971. We thank the director for not allowing Ray Manzarek another opportunity to gas on about making the myths.

WOUNDED KNEE

The above clip is not from the new documentary Wounded Knee, but rather from Michael Apted’s 1992 film Incident at Oglala. Sorry, it’s all I could find, but both films revolve around confrontations between the FBI and Indian activists at the Pine Ridge Reservation in South Dakota. While Apted’s movie concerns the murder of two federal agents in 1975, Wounded Knee takes us back to February of 1973, when “a caravan of cars carrying 200 armed Oglala Lakota—led by American Indian Movement (AIM) activists—entered Wounded Knee on the Pine Ridge Reservation and quickly occupied buildings, cut off access, and took up defensive positions. When federal agents arrived, they declared, ‘The Indians are in charge of the town,' and a 71-day standoff ensued.’”

Sundance 2009 Non-Competition Lineup

Scott Von Doviak — Fri, 05 Dec 2008 13:00:00 GMT

Yesterday we brought you the competitive lineup set for next month’s Sundance Film Festival, and today it’s time to run down some of the notable films playing out of competition. The festival opens on January 15, 2009 with the claymation feature Mary and Max, starring Philip Seymour Hoffman and Toni Collette and narrated by Barry Humphries. It’s “the tale of two unlikely pen pals: Mary, a lonely, eight-year-old girl living in the suburbs of Melbourne, and Max, a forty-four-year old, severely obese man living in New York.”

Premieres that caught my eye include:

500 Days of Summer. “When an unlucky greeting card copywriter is dumped by his girlfriend, the hopeless romantic shifts back and forth through various periods of their 500 days 'together' in hopes of figuring out where things went wrong.” OK, maybe that doesn’t sound so promising, but Zooey Deschanel is in it and that’s worth something in my book. (That’s my book Zooey Deschanel, You Will Be Mine, coming to a bookstore near you once she lifts the restraining order.)

Brooklyn’s Finest. “After enduring vastly different career paths, three unconnected Brooklyn cops wind up at the same deadly location.” Training Day director Antoine Fuqua gets back to the nitty-gritty.

Manure. The Polish brothers present a “comic tale centered on manure salesmen in the early 1960s.” Billy Bob Thornton stars. What, you’re not intrigued?

And the Gun to My Head Award goes to Spread, starring Ashton Kutcher as a handsome young man who survives in Los Angeles by seducing wealthy older women. Why, Sundance? Why?

Documentaries of interest include James Toback’s Tyson (about the boxer, not the frozen food) and It Might Get Loud, “a history of the electric guitar from the point of view of three legendary rock musicians.” Who are they? Find out that and much more here.

Sundance 2009 Competition Lineup Announced

Scott Von Doviak — Thu, 04 Dec 2008 16:00:00 GMT

The Sundance Institute has announced the lineup of films slated for its U.S. Dramatic Competition, Documentary Competition and World Cinema (both Dramatic and Documentary) Competitions. Says Sundance Director Geoffrey Gilmore, “This year's films are not narrowly defined. Instead we have a blurring of genres, a crossing of boundaries: geographic, generational, socio-economic and the like. The result is both an exhilarating and emotive Festival in which traditional mythologies are suspended, discoveries are made, and creative storytelling is embraced.” Well, I didn’t expect him to say “We’ve got a bunch of derivative crap this year.” Nonetheless, I have scoured the list and found a few intriguing entries:

Brief Interviews with Hideous Men. “When her boyfriend leaves with little explanation, a doctoral candidate in anthropology tries to remedy her heartache by interviewing men about their behavior.” Everyone’s favorite Office schlub John Krasinski makes his writing/directing debut with this adaptation of the late David Foster Wallace’s story.

Big Fan. “The world of a parking garage attendant who happens to be the New York Giants' biggest fan is turned upside down after an altercation with his favorite player.” Patton Oswalt stars in the directorial debut from Robert D. Siegel, who wrote The Wrestler (and, uh, The Onion Movie).

Cold Souls. “In the midst of an existential crisis, a famous American actor explores soul extraction as a relief from the burdens of daily life.” Paul Giamatti stars.

Good Hair. “Comedian Chris Rock turns documentary filmmaker when he sets out to examine the culture of African-American hair and hairstyles.”

When You’re Strange. “The first feature documentary about The Doors, When You're Strange enters the dark and dangerous world of one of America’s most influential bands using only footage shot between 1966 and 1971.” Tom DiCillo (Living in Oblivion) directs.

Lulu und Jim. “Bright garish colors, rock and roll and wild dance numbers mark this road movie about lovers fleeing from the evil powers of a 1950s deeply bigoted German society.”

You can see the full list here. We’ll bring you the non-competition lineup tomorrow.

An Infestation of Festivals

Leonard Pierce — Tue, 06 May 2008 14:45:00 GMT

Today, there are more film festivals all over the world than ever before. (Hell, Marfa just had one, and they don't even have a movie theater.) This is indisputably a good thing for moviegoers, as it gives them a chance to hobnob with filmmakers, get a little touch of cinema magic wherever they happen to live, and catch a glimpse of movies that probably aren't otherwise going to be playing at a theater near them anytime soon. But more and more, business insiders, from producers to filmmakers to the press, are starting to ask the question: is it a good thing for the movie business?

Hot on the heels of everybody and his executive-producer brother questioning the role of Sundance in getting new films greenlighted, the Guardian's "L.A. Diary" blogger, Lisa Marks, documents her travails -- familiar to anyone who is a filmmaker or knows a filmmaker -- in trying to get her work accepted on the ever-growing festival circuit. Not having seen it, we can't speak to the quality of Ms. Marks' work (and thus we can't answer her question, 'why is it so hard to get my movie accepted by a festival jury?', with the answer 'because it's lousy'). But we do know that she asks a lot of good questions: Why, with so many festivals being founded every year, is it still so hard to even get a response from the organizers, much less an acceptance? Why in the world does Tenerife need, let alone have, a film festival? How are people who are already, by definition, struggling filmmakers supposed to afford the entry fees and travel costs to go to so many festivals? And who, exactly, benefits from there being a film festival every week and a half and every twenty miles, like they were roadside Arby's?

Like a lot of people, Marks comes to the ultimate conclusion that the internet may be the way to go for up-and-coming filmmakers. And who hosts the biggest and most influential online film festival? One guess, and it better rhyme with "fun pants"...

Trailer Review: American Teen

Paul Clark — Mon, 28 Apr 2008 16:00:00 GMT

This film had a lot of buzz coming out of Sundance this year, but after seeing the trailer, I'm going to need more convincing. Do we really need another movie that reinforces the prevailing high-school stereotypes? If you think I'm exaggerating, it's all made plain in the trailer itself, which labels its "characters" as "the jock," "the geek," "the rebel," "the heartthrob," and "the princess." What's more, the various stereotypes are all portrayed as having stereotypical goals for their senior year of high school- the jock wants to get a basketball scholarship, the geek wants to find a girlfriend, and so on. The twist here is that director Nanette Burstein has cast the film with real-life students (more or less playing themselves) and shot it in their high school. So judging by the trailer, it's like The Hills, except it premiered at Sundance, which I suppose confers upon it some indie cred. Sorry, but I'm not buying it. Unless I hear that Burstein has found a way to problematize the traditional labeling system instead of simply accepting it as the way things are in modern high schools, I think I might give it a pass. After all, what could it tell this former geek that he doesn't already know? Also, moratorium on the "American ______" titles already, OK?

Independent Film Festival of Boston: The Zellner Brothers & Goliath

Andrew Osborne — Sun, 27 Apr 2008 16:30:00 GMT

Goliath, a quasi-mumblecore tragi-comedy by the Zellner Brothers of Austin, TX plays this weekend at the Independent Film Festival of Boston. The indie feature, about a man who loses both his wife and his beloved cat in the same harrowing year, was first reviewed here at The Screengrab by Scott Von Doviak during the 2008 South-by-Southwest Film Festival.

David Zellner and his brother, Nathan, have been crafting distinctive independent cinema since 1996, but I first became aware of them at a terrible film festival called 30th Parallel that leeched onto the back of the 1997 SXSW fest, analogous to the Slamdance/Sundance arrangement, but much shoddier (and short-lived, since 30th Parallel barely made it through its first and only installment).

I know about the 30th Parallel Fest, because it featured the Texas premiere of my own indie film, Apocalypse Bop. The whole misbegotten affair kicked off with a back room hotel reception marked by a sad tray of vegetables and the absence of any members of the 30th Parallel staff to greet us. This led to some awkward bonding among the invited filmmakers as we all stood around, confused, waiting for some information about what we were supposed to do. Then, eventually, we all left.

Because just about every movie theater, auditorium and/or other screening venue in Austin was booked for SXSW, 30th Parallel mostly screened its selections in the back rooms of bars, which wasn’t a terrible idea in theory. Unfortunately, the Zellner Brothers had the misfortune of premiering their surrealist mime masterpiece Plastic Utopia on “Melrose Monday” at some 6th Street dive, meaning that many of the 30th Parallel films screened that evening were drowned out by blaring Melrose Place-themed trivia questions from the front of the bar.

Additionally, the 30th Parallel projectors were seeming World War II-era relics that kept jamming and breaking down every few minutes...and, even when they worked, they often caused the projected films to stutter, blur and, occasionally, melt.

And yet, it is to the Zellner Brothers’ credit that, despite all the hellacious distractions, I not only sat through the entire, tortured screening of Plastic Utopia, but came away considering it one of the most brilliantly deranged independent films I’ve ever seen, a surrealistic cult classic that, sadly, has never inspired nearly the cult it deserves.

Yet, while not cult figures on the level of, say, John Waters, Kevin Smith or Jim Jones, the Zellners have slowly built a small, devoted following, in Austin and elsewhere, despite their tiny budgets and occasional peculiar experiments like 2001’s Frontier, a faux foreign film in a fake foreign language (Bulbovian) starring an older, puffier Wiley Wiggins (of Dazed and Confused fame).

Recently, the Zellners have devoted themselves to dry, absurdist short subjects which highlight the pair’s strengths: unexpected, offbeat writing and visuals combined with their own very likeable recurring screen personas: David, the excitable, put-upon cynic and Nathan, the mellower zen weirdo.

The shorts (available for viewing at ZellnerBros.com) opened the door to the influential Sundance Film Festival, which recently premiered their latest feature film, Goliath, once again starring David and Nathan, with cameos by Wiggins and mumblecore poster boy Andrew Bujalski.

The film, in terms of tone and subject matter, plays like the bastard child of Little Children and Year of the Dog. Goliath, the titular tiger-striped tabby owned by David Zellner’s protagonist, goes missing and his recently divorced owner goes more than a little insane, eventually scapegoating a neighborhood sex offender (played by Nathan) as the source of his troubles.

The film plays out in a deadpan naturalistic style that left me yearning for a little more of Plastic Utopia’s antic narrative drive and visual invention, yet nevertheless hooked me with its own peculiar rhythms, dry wit, occasional slapstick, Asian porno drumming (yeah, you heard me) and its sometimes harrowing depiction of the hazards of love and pet ownership...without giving too much away, I’ll just note here that if you’re a tender-hearted pet lover, this may not be the movie for you.

Trailer Review: Where in the World is Osama Bin Laden?

Paul Clark — Fri, 07 Mar 2008 17:00:00 GMT

To quote the tagline for last year's awesome The Hunting Party, a movie I'll continue to reference on a weekly basis until you all see it, "how can they find the world's most wanted war criminal when the CIA can't? By actually looking." At least one person has taken this tagline to heart — Morgan Spurlock, documentary filmmaking's logical successor to Michael Moore. In Where in the World is Osama Bin Laden?, which premiered at this year's Sundance Film Festival, Morgan Spurlock goes on a quest to find Bin Laden, armed only with a camera and a satchel full of culture-clash gags. Most of the trailer is comprised of the latter, as when Spurlock shows up the Middle East wearing traditional Muslim garb while still sporting his trademark trucker 'stache. It also looks like he tries to get a lot of comic mileage out of simply asking people if they've seen Bin Laden, which wears pretty thin by the end of the trailer. All in all, Spurlock's films, while just as reliant on issues-based comedy as Moore's, are less concerned with actual politics, although how you feel about this probably depends on your thoughts on Michael Moore. As far as Spurlock is concerned, I'm still waiting for him to really impress me.

Forgotten Films: "Demon Lover Diary" (1980)

Phil Nugent — Fri, 22 Feb 2008 21:00:00 GMT

With George Romero's Diary of the Dead, the "horror movie as pseudo-home video artifact" category that already includes The Blair Witch Project and Cloverfield (and, in a way, Brian De Palma's Redacted) is an official subgenre, one that has been handled by spirited amateurs, old masters, and slick, gimmick-seeking pros. Yet the unacknowledged granddaddy of this type of film may be an actual documentary that, despite having developed a healthy cult status from festival appearances, has never been legally distributed or released on video. It's the 1980 Demon Lover Diary, a record of the making of a no-budget fright flick in the mid-1970s. That movie was released in 1976 and alternately known as The Devil Master and The Demon Lover. (Not to be confused with the 2002 Olivier Assayas film demonlover or the 1987 Scott Valentine vehicle My Demon Lover, though now that we mention it, does anybody know what ever happened to that movie's lead actress, Michele Little? She was cute as a bug's ear.) The documentary was shot by Joel DeMott, the girlfriend of Jeff Kreines, who had been hired to work on the horror picture as cinematographer. (DeMott and Kreines were both MIT grad students who had studied with documentarian Richard Leacock.)

Kreines and sound man Mark Rance were induced by director-writer Donald Jackson and his star and co-director and co-writer, Jeff Younkins, to sign on to help them realize their labor of love, partly with an agreement to allow DeMott to record the process. But it soon became clear that Jackson (who installed his new friends in a room at his mom's house) and Younkins were flying by the seat of their pants and that they didn't exactly love having their incompetence preserved on film for posterity. From what we're shown, Jackson and Younkins have no visible talent of understanding of the craft of film, but they do have something at least as important to anyone hoping to make a career in The Industry: a scary, mesmeric ability to get their way, at least temporarily. (The cast of their movie included Gunnar Hansen--"Leatherface" from the original Texas Chain Saw Masssacre--as a professor of the occult, and Marvel Comics artist Val Mayerik. They also somehow talked Ted Nugent --no relation, thanks for asking!-- into lending them the use of his house and some of his well-stocked arsenal.) Jackson appears the be the more convincing talker, but Younkins really puts the "labored" into "labor of love". His character in the movie wears a single black glove throughout his performance; it turns out that this is because he lost a finger in an industrial accident, which, it's strongly implied here, was staged deliberately so that he could plow the insurance money into the movie's budget.

The ghouls in The Demon Lover are pure plastic, but the galloping paranoia, delusion, personal resentments, and general sense of festering mania captured in Diary are the real thing. Anyone who's spent time around no-frills filmmaking sets will experience a shiver of recognition as the outsiders, who have ceased to hide their contempt for the true believers, hole up in their corner of the house where they are not welcome, begin to feel the effects of sleep deprivation, and snicker and giggle while chanting, "The Demon Lover sucks, The Demon Lover sucks, heigh-ho the derry-oh..." The movie ends with our heroes getting the hell out of Dodge, fleeing Ted Nugent's property by car and convincing themselves that they're being followed and can hear gunshots. The strangest thing about all this may be that it did not signal the end of the careers of the central players. More than half a dozen years later, DeMott and Kreines made Seventeen, a cinema-verite film about teenagers that was deemed too gritty for PBS, which had commissioned it, but which went on to win the Jury Prize for Best Documentary at the 1985 Sundance Film Festival. More surprisingly, Donald Jackson has subsequently forged a long career for himself as a writer, producer, and director of movies with such eye-catching titles as Roller Blade Warriors, Lingerie Kickboxer, Rollergator, Guns of El Chupacabra and Hell Comes to Frogtown, which starred Rowdy Roddy Piper and Sandahl Bergman and which I once watched most of on USA Up All Night while blitzed out of my mind!. As for the nine-fingered Jeff Younkins, he is the author of the well-regarded Combat and Survival Knives: A User's Guide.

"Justice" for Adrienne Shelly

Phil Nugent — Mon, 18 Feb 2008 16:00:00 GMT

Last week brought a measure of closure, if something less than perfect justice, in the case of the murder of actress-filmmaker Adrienne Shelly. Shelly's death was first reported as a possible suicide some fifteen months ago, after her husband found her hanging by a bedsheet in the bathroom of her Tribeca office. The police subsequently arrested Diego Pillco, a construction worker who claimed that he had gotten into an argument with Shelly over the noise he was making at his job; he said that he had punched her, knocked her unconscious, and, thinking she was dead, had panicked and staged the suicide. In court last week before Judge Carol Berkman, Pillco changed his story; speaking through a Spanish-language interpreter, he claimed that Shelly had caught him stealing money from her purse and that he had choked her to death when she tried to phone for the police. The change was part of a plea agreement that Pillco, who can be easily distinguished from a five-foot piece of shit in that a five-foot piece of shit would spend less time whining like a stuck pig, worked out with the district attorney's office, in exchange for his agreement to plead guilty to first-degree manslaughter, with a fixed sentence of twenty-five years.

Shelly, who achieved instant indie-film immortality with her performances in Hal Hartley's The Unbelievable Truth (1989) and Trust (1991), had begun to branch out into writing and directing by the mid-'90s, and had completed her third feature, Waitress, by the time of her death. The film, which featured a breakthrough performance by its star, Keri Russell, was accepted by the Sundance Film Festival, news that Shelly didn't live long enough to hear. The movie went on to earn good notices in its theatrical run and is now available on DVD. Adrienne Shelly was forty years old.

Sundance: The Final Roundup

Scott Von Doviak — Sun, 27 Jan 2008 18:51:00 GMT

It’s all over except for the long lines at security in the Salt Lake City airport. The awards were handed out last night by a jury featuring Quentin Tarantino and Marcia Gay Harden, and the top honors went to a couple of politically-charged pictures that flew under the radar for most of the festival. The grand jury prize for drama went to Frozen River, writer-director Courtney Hunt’s film about two women smuggling immigrants across the Canadian border. The top prize for documentaries went to Trouble the Water, about New Orleans families struggling in the aftermath of Katrina.

But that’s not all. As Kenneth Turan notes, awards were handed out like Halloween candy this year, with top audience prizes going to The Wackness and Fields of Fuel. Other notable recipients include American Teen (for dramatic directing), Man on Wire (for world documentary) and Choke (special jury prize for ensemble cast). Over at Slamdance, a documentary about a Neil Diamond cover band (Song Sung Blue) was the big winner.

In addition to its award, The Wackness picked up a distributor. Per the Hollywood Reporter, Sony Pictures Classics will ensure that you get the opportunity to watch Ben Kingsley and Mary-Kate Olsen swapping spit.

And on that note, that’s a wrap for this year. Let’s hit the slopes!

Sundance Roundup: Day 10

Scott Von Doviak — Sat, 26 Jan 2008 20:46:00 GMT

The grumbling continues as Sundance winds down, with the L.A. Times documenting these signs of festival fatigue: “a man snoring loudly through a morning screening of the steroid documentary Bigger, Faster, Stronger; festival volunteers exchanging flu remedies; journalists plotting their escapes days ahead of schedule.” Marketing execs are whining about the lack of “standout” films, which might actually mean the focus this year was on challenging, hard-to-pin-down fare rather than commercially viable movies. Black is white, up is down, and the suits aren’t having any of it!

In keeping with the unpredictable nature of this year’s edition of Sundance, Sony Pictures Classics has bought the rights to Baghead – you remember, the mumblecore horror movie – for a cool million bucks. If you have any lo-fi genre scripts in the drawer – The Hefty Bag from Outer Space, perhaps – this might be the time to dig them out and start shooting.

The “triumph of the little guy” storyline continued on other fronts, as well. What Just Happened? is not only the question many Sundance hopefuls are now asking themselves, it’s the name of one of those big buzz movies that left town without a peep. Barry Levinson’s movie industry satire starring Robert De Niro comes up wanting when compared to smaller-scale show biz spoof The Deal starring and co-written by William H. Macy, says Chris Knight of Canada’s National Post. One reason the Levinson picture may not have sold, Variety explains, is that this thing called the Internet on which “bloggers” publish their thoughts on such films is having an influence on potential buyers. Sounds like crazy talk to us.

Sundance Roundup: Day 9

Scott Von Doviak — Fri, 25 Jan 2008 20:30:00 GMT

As Sundance 2008 winds down, a consensus seems to be emerging that this year’s edition of the hallowed film festival was actually something of a bummer. The movies that came in with the most hype and the biggest names attached mostly ended up slinking out of town with no buzz and no deal. Festival director Geoff Gilmore poo-pooed the pre-fest conventional wisdom that the writers’ strike would lead to a buying frenzy, telling the Hollywood Reporter, “The notion that people would respond to one crisis by possibly creating another just seemed silly to me.”

The Boston Globe’s Ty Burr writes that “a free-floating cynicism had already been hardening into This Year's Attitude. To be impassioned about a movie was to be suspect, at least in the festival's early going.” Burr reserves most of his praise for the documentaries, notably Young@Heart, about these unlikely rock and rollers:

If you’ve been wondering when the first mumblecore horror movie would arrive, wonder no more! Indiewire has the scoop on Baghead, in which a group of friends sharing a mountain cabin are menaced by, yes, “a stranger with a rumpled brown paper bag over his head.” Actually, that does sound kind of scary.

Mike D'Angelo at Sundance: Part 9

Peter Smith — Fri, 25 Jan 2008 19:05:00 GMT

Mike D'Angelo reports from the Sundance Film Festival:

As the festival winds down, some quick notes on movies I didn't have time to address earlier. (I'm gonna include the walk-outs here, despite the wrath of one reader who believes that saying anything at all about a movie you didn't see from start to finish constitutes dereliction of duty. Obviously, you should take such judgments with a grain or two of salt — and maybe an entire shakerful in the case of Ballast, which I'll very likely see again, and in full, at some point. But at the same time, you can get a mighty strong sense of a film in thirty-five to forty minutes.)

Traces of the Trade: A Story From the Deep North (Documentary Competition): Painfully earnest young woman with unbearably whiny voice — she narrates, alas — discovers that her esteemed ancestors were slave traders, corrals nine relatives for self-indulgent journey to sore spots from the family's past. For hardcore aficionados of liberal white guilt only. (W/O)

Time Crimes (Park City at Midnight): I'm a sucker for time-travel stories, but even I had trouble warming to this Spanish gloss on 2004 Sundance prizewinner Primer, in which a middle-aged schlub travels ninety minutes into the past and finds himself engaged in unwitting battle with other versions of himself who've developed wildly divergent agendas. Ineptly directed, for the most part, and the concluding twist is singularly unsatisfying. Come back, Shane (Carruth).

The Wave (World Cinema Dramatic Competition): German filmmaker Dennis Gansel turns the true story of a high-school history experiment gone awry into a glossy, pulse-pounding thriller, employing methods almost as fascistic as those of The Wave itself. Intentional irony? One can't help but be riveted by the spectacle of ordinary teenagers willingly submitting to autocratic rule — their überhip teacher is attempting to demonstrate that the Nazis weren't anomalous monsters — but earmarking one kid as emotionally unstable from the get-go means that we're just twiddling our thumbs as we await the inevitable moment when he finally snaps.

What Just Happened? (Premieres): Hollywood made yet another mildly lacerating self-portrait, that's what. Loosely based on the memoirs of producer Art Linson (Fight Club, Into the Wild, several Mamet films), it boasts the most relaxed De Niro performance in ages and a smattering of truly hilarious jokes, most of them involving out-of-control entitlement. Too bad Bruce Willis, sporting a Grizzly Adams beard that he refuses to shave prior to the start of filming on a new picture, isn't nearly as funny as Alec Baldwin must have been in real life. (Read Linson's equally diverting book for the lowdown; it happened on 1997's The Edge.)

The Mysteries of Pittsburgh (Dramatic Competition): Michael Chabon's complicated first novel has been reduced (by Dodgeball's Rawson Marshall Thurber) to a simple bisexual love triangle, with two major characters — Arthur and Cleveland — melded into one, and another, the improbably named Phlox, distorted almost beyond recognition. And yet the movie still almost kinda works, mostly because Peter Sarsgaard commits himself so fully to his ludicrous bad-boy manipulator that we, like the dazed young protagonist, are completely taken in.

Downloading Nancy (Dramatic Competition): I'd had about enough of this repugnant exercise in nihilism at the point when Maria Bello, playing a masochistic housewife who's hired a stranger she found on the Internet (Jason Patric) to torture and kill her, walks barefoot into a mouse trap, over and over and over, shrieking with laughter each time it snaps on her toes. By all accounts from those who stuck it out, it gets much, much worse thereafter. At least the "revelation" that she was sexually abused as a child isn't saved for the final reel. (W/O)