Sundance2008 Tagged Articles at Cinematical

"Gee, sorry Dude -- I just didn't like the film is all."

We're a little late to the party with this one since, ya know, we were actually busy watching films at this here film festival (go figure), but apparently there was a real-life film critic fist fight ... and yes, it's okay to laugh about that. Here's what I've been hearing from several different people today: Following a screening of the film Dirt, John Anderson (critic for Variety, Newsday, New York Times etc ..) found himself on the annoying end of a discussion with one of the producer's reps -- a dude who happens to actually be the real The Dude, Jeff Dowd.

Well, Anderson said what he had to say -- that he wasn't crazy about certain aspects of the film -- but Dowd -- clearly realizing they probably wouldn't receive a good review from this guy --continued to follow him in an attempt to have a conversation about Dirt, to flesh it out a little bit. Anderson wanted no part of said conversation, and after Dowd pushed his thoughts further, Anderson decided to just up and punch him in the face ... twice. One imagines there may have been other ways to solve that problem, but I assume Anderson comes from the school of thought that says, "You wanna talk, then talk to the fist." (Ya know, that's how we film critics roll.) Since I wasn't there and have no idea whether Dowd personally insulted Anderson's wife/sister/girlfriend/unborn child prior to punches being thrown, I can't say which man was in the right here. I do know, however, that it's pretty lame to punch some guy in the face just for trying to talk to you, no matter how annoying he is. But that's Sundance. And trust me, from experience, I can tell you there are more d*cks here than in the Superbowl locker room.

For an emerging filmmaker, the Sundance Film Festival provides a starting point for the life span of a feature-length work. There's a far greater sense of immediacy, however, for the filmmakers involved in the shorts program, where a wide variety of material tends to begin circulating the festival world before fading into complete obscurity. That's why the short films that screened yesterday as part of the third annual Sundance Institute at BAM (Brooklyn Academy of Music) signified the most important aspect of the two-week event: With few exceptions, the films on display received the kind of exposure that helped validate this frequently neglected format. While some of the titles are available on iTunes, many that were shown to a packed house finally got the long-delayed reception they deserved.

Animated efforts almost always offer the best ingredients in any shorts program, since it's here that you'll find a combination of inspired side projects from gainfully employed studio animators and the works of struggling independent artists. The latest program couldn't beat the sheer brilliance of cult animator Don Hertzfeldt's short Everything Will Be Ok in last year's showcase, but two particularly memorable films left distinct impressions this time around.

In Bigger, Stronger, Faster, a big hit at the Sundance Film Festival earlier this year, documentarian Christopher Bell takes a hard look at steroid culture and the bad rap it gets from mainstream America, tackling the Western obsession with body image. Clocking in just under two hours, Bell's sprawling overview deals with the impact of 1980's pop culture icons like Arnold Schwarzenegger and Sylvester Stallone, then dives into the gritty details of steroid usage in sports and the recent congressional hearings where baseball players were reprimanded on national television.

Bell doesn't view the issue in black-and-white terms: His own brothers, featured in the film, continually use steroids to enhance their bodybuilding careers. Contrasting the personal with the political, Bigger, Stronger, Faster diagnoses a distinctly American malady. Cinematical spoke with Bell last week in New York, where Bigger, Stronger, Faster has been screening at the Tribeca Film Festival. The movie opens May 30.

Cinematical: The movie tackles a major issue that many Americans have strong opinions about, but it also has a personal component because of your family's story. What's it been like facing the growing public awareness of the film?

Christopher Bell: It's so rewarding to hear, "Hey, you made a good movie. Thanks for telling the truth." We haven't really been criticized or attacked by anybody. There was one woman at Sundance who really upset about 'roid rage, saying that we glossed over it. I think we actually explained it pretty well.

The very last film I saw at Sundance this year, at a lively 10 p.m. screening and seated next to the dapper James Rocchi, was The Escapist. It was a perfect ending for the festival, and a great "guy movie" to boot (Rocchi and I are nothing if not burly, rugged men): Brian Cox leads a bunch of Limey blokes, including Joseph Fiennes, on a daring escape from a British prison. Familiar premise, but well executed with a few twists. Rocchi's rave review is here.

The flick was well received during its world premiere at Sundance, and yet somehow it didn't get picked up by any distributors before the fest ended. Now, finally, THINKFilm has come to the rescue. Variety reports that the distributor has paid about $1 million for the film and plans to release it in October, starting small and expanding over the course of several weeks.

It's hard to believe it was just last month that the film industry was trudging through hill, dale and snow to watch movies at the Sundance Film Festival, but in this fast-paced world, it does feel like a million years ago. One of the buzz titles at the fest was Christine Jeffs' Sunshine Cleaning, a tale of two sisters that start a business tidying up crime scenes. Our own Kim Voynar felt it wasn't the best film she saw at Sundance, "but it certainly wasn't the worst. It does have its flaws, but overall it's a cute film that fans of [Amy] Adams and [Emily] Blunt will enjoy."

Indeed, with the very talented and attractive Adams (Junebug, Enchanted) and Blunt (The Devil Wears Prada, The Wolf Man) in the lead roles and Alan Arkin providing support as their scheming father, how did this film fail to get picked up during Sundance? Anne Thompson of Variety notes that Sunshine Cleaning "entered the fest as one of several highly anticipated movies with stars attached that were expected to make a big sale. It didn't happen, though, partly because the filmmakers behind the film, Big Beach ... were hoping to make back their $7-million investment in a quick sale."

Ms. Thompson reports, however, that Overture Films has now acquired the film and plans to release it at the end of the year. The distributor may change the title, though, perhaps concerned that it might be considered too similar to 2006 indie smash hit Little Miss Sunshine, for which Arkin won an Academy Award.

(The following review ran during the Sundance Film Festival, but we're re-posting it now to coincide with the film's theatrical release.)

In Passaic, New Jersey, the thrift store and video rental emporium Be Kind Rewind offers customers their choice of films to rent, if by 'choice,' you mean 'VHS only.' But while owner Mr. Fletcher (Danny Glover) is away, his counterman and almost-son Mike (Mos Def) lets Jerry (Jack Black) into the store, against Mr. Fletcher's instructions not to. Jerry is normally a walking disaster -- a dreamer of a mechanic, obsessed with the belief that the power plant he lives near is flooding him with radiation. A failed attempt to sabotage the power plant leaves Jerry energized and magnetized to such a degree that his mere presence wipes all of Be Kind Rewind's inventory. When loyal customer Ms. Kimberly, tasked by Mr. Fletcher to check in on the store while he's away, comes in to rent Ghostbusters, Jerry and Mike's solution to the crisis is hardly logical, but certainly inspired: Produce and shoot a replacement version of the film within 24 hours so she'll be none the wiser about the store's ruined inventory.

But Ms. Kimberly shows the film to some of her foster children, who can recognize that Jerry is not quite Bill Murray, and that Mike is not quite Ivan Reitman, and that holding the right-hand side of Hieronymus Bosch's "The Garden of Earthly Delights" up to the camera is not quite a special-effects shot of a demon-haunted landscape. The foster kids -- thugs and toughs to a man -- come around Be Kind Rewind the next day. But they're not mad; they're curious: "That was pretty good. What else you got?" And other customers are curious about the store's new selections -- which, it's explained, come from Sweden, which is why they cost $20 and you have to request them 24 hours in advance. ...

Written and directed by Michel Gondry, Be Kind Rewind is as much a work of creativity and passion as the re-shot, cut-in-camcorder, home-brew "Swedish Import" re-made Hollywood blockbusters that it revolves around. And, much like Jerry and Mike's re-shot versions of Driving Miss Daisy or Rush Hour or The Lion King, Be Kind Rewind is a film where the plot is less important than panache, where the lack of elegance is made up for by an excess of enthusiasm. Jerry and Mike aren't just shooting day for night; they're shooting day for night, male for female, white for black, Jerry for Jackie (Chan, that is). Aided and abetted by Alma (Melonie Diaz), an early recruit to their shooting requirements (they need a girl for Rush Hour), the store's new offerings rapidly become a sensation, as customers line up to request new films they want to see the 'Sweded' versions of and rent the rest of Jerry and Mike's oeuvre as soon as other customers bring them back. This not only makes Jerry and Mike celebrities (or, more correctly, sub-lebrities) in Passaic, but also may raise the money that Mr. Fletcher's store needs to come up to the building code and avoid being shut down. ...

Our pals from Magnolia Pictures were up at Sundance 2008 in support of their Timecrimes acquisition -- but it looks like someone from the distribution department caught a few of the midnight screenings: According to Variety, Magnolia Pictures has acquired Olly Blackburn's UK thriller Donkey Punch, and they plan to release it through their newly-created Magnet division. (You can check out my DP review right here at FEARnet.)

The story of some sea-bound debauchery that goes horribly wrong (think Very Bad Things, only not as absurdly amusing), Donkey Punch is a handsome and tight-knuckled chiller -- even if it is more than a little beholden to movies like Dead Calm and Shallow Grave. It's about seven young adults who take off on a stunningly massive yacht, but when one partier ends up (accidentally dead), it sets off a series of events that leaves most of other the partiers, well, dead. (It is a horror flick after all.)

Donkey Punch will open in the UK (courtesy of Optimum) some time this summer. No word yet on when Magnolia aims to unleash this one -- but bet on a very limited release pattern before the arrival of a satisfyingly packed DVD. Also on the horizon from Magnolia: Big Man Japan, The Signal, Kiltro, Mirageman, Eden Log and (of course) Timecrimes.

During Sundance, Morgan Spurlock's (Super Size Me) new documentary Where in the World is Osama bin Laden was the talk of the town. Prior to the film's first screening, Scott and I ran into Spurlock at a party, where Scott put the director on the spot and demanded to know whether or not he had found ... the Cloverfield monster. Seriously though, there was a lot of hype before the movie was shown -- speculation around whether Spurlock did, indeed, find the world's most wanted man. When Cinematical's James Rocchi sat down for an interview with Spurlock, however, his first question was: "Were they any people out there stupid enough to believe you actually found the guy?" And it's true, when you think about it. But that doesn't mean Spurlock didn't return home with a wonderful little film.

You can watch the new trailer for Where in the World is Osama bin Laden above, and I have to say I loved the little National Treasure-style opening. I dig Spurlock; he's a lot more likable than, say, Michael Moore, and he's the kind of filmmaker you can really relate to. Yes, his docs do come with a bit of popcorn fluff (mainly for commercial appeal), but it never gets annoying, at least in my opinion. Though the cat is out of the bag, and we now know that Spurlock did not find Osama bin Laden, that wasn't really the point in the first place. As James noted in his review, "And while Spurlock may not actually answer the question of where, he actually tackles, with humor, probing wit and a certain grace, the much more important question of why."

The Zellner Brothers made their name with a series of shorts -- made on a budget, crafted with verve, full of a very American minimalism. They were shorts where the punchlines were funny, but the long, agonized pause after was what really made you laugh. In their feature-length debut, Goliath, writer-director David Zellener plays our unnamed protagonist, a fussy, perpetually upset high-tech worker facing an ugly divorce, a demotion at work and the general collapse of his life. He has one connection to the world, though -- his cat, Goliath. Goliath is there for him (and what may be more subconsciously important in his darker moments is the fact that he is there for Goliath). Goliath matters.

Goliath is missing.

And with that, things go from bad to worse with startling speed in a journey to the bottom full of the sort of comedy that springs from sincere, writhe-in-your seat discomfort. All the indignities and miseries of modern life are heaped upon our hero in Goliath -- legal troubles, humiliating career setbacks, the collapse of marriage -- and a few new ones are added like sprinkles on top: The sex offender down the street, the grim excitement of found pornography, the background hum of the server farm punctuated only by the sound of your idiot co-workers beatboxing their lunch break away. Things are not good, and Goliath being missing is not helping any.

Anytime you see a film in the New Frontiers category at Sundance, it's a dicey proposition. The category tends to showcase a lot of edgier and experimental films that push the boundaries of filmmaking, and as a result, you never know for sure what you're going to get. Sometimes New Frontier films are intriguing, sometimes puzzling, and occasionally dumbfounding, but they're almost always interesting and a welcome break from the usual fest fare. Sometimes, I'll see a New Frontier film and not be wild about it at the time, but it will linger in my head and make me think long after the typical fest fare has come and gone. Such was the case with Reversion, the second feature directorial effort by Mia Trachinger, whose first film, Bunny, garnered her "Someone to Watch" and "Best Feature under $500,000" nominations at the Indie Spirit awards in 2001.

I caught a public screening of Reversion at the Egyptian near the end of the fest. There were a good many walkouts (though I tend to expect that for New Frontier films, and consider it more a reflection of the diversity and edginess of the category than of the films themselves) but there were far more people who stuck around for the Q&A, and quite a pack who followed Trachinger out of the theater afterward to talk more about her film.