In years past, the Sundance festival has helped to break the
movies that we’ve wound up falling in love with. Movies like Robot & Frank and Upstream Color. So with this year’s
Sundance in full swing, which movies are you going to be hearing more about?
We’ve rounded up some early reviews.
Top image: Young Ones.
Young Ones
No, it’s not a movie based on the British sitcom about weird
bohemian young people — it’s a Western directed by Gwyneth Paltrow’s brother Jake,
set in a terrible, drought-stricken future. Starring Michael Shannon, Nicholas
Hoult and Kodi Smit-McPhee. Shannon plays a
man with a disabled wife (who walks with an exoskeleton), who buys a robot to
replace his dead donkey and then discovers his daughter’s boyfriend has
betrayed him.
The verdict: Hollywood
Reporter seems to speak for a lot of critics, calling the movie
“ponderous, self-important and thematically narrow,” plus a
“lethargically-paced, dehydrated update of There Will Be Blood.” Variety
says it gets “bogged down” and its futuristic trappings don’t rescue
its thinly drawn characters. Collider
says almost everything in the movie works perfectly, but it still leaves you
cold because it’s not about anything. Indiewire
says it wants to be an epic tale but falls short. The New
York Post calls it “disappointing and dull.” HitFix
calls it “inert” and says it “never
quite finds the happy medium between B-movie splatter and literary
elevation.” But for a dissenting
view, Tim Grierson writes in Screen Daily that Young Ones is “distinctive” and praises its stark story
that builds to a “stunningly simple payoff,” and appreciates its lack
of political message or heavy-handed symbolism. Everyone agrees the
cinematography is lovely and Shannon and Hoult turn in great performances
.
Dinosaur
13
A
documentary about the most complete Tyrannosaurus Rex skeleton ever found, and
the researchers who had
to battle to keep their find after the U.S. government swooped in and
tried to accuse them of stealing it. Basically, a gripping David-vs-Goliath
story with dinosaur bones.
The verdict: Variety
calls it “gripping” and praises this story of “the little guy being
screwed by big government.” Hollywood Reporter finds it
fascinating, but worries the “byzantine” legal battles will turn off
some audiences. They also worry it’s too slanted in favor of the little guy,
something that also bothers Indiewire. Badass Digest also worries the
film doesn’t delve enough into the gray areas raised by this dinosaur find, and
finds it too reliant on talking heads and goofy recreations. Slashfilm warns the film feels
“long and unfocused.” Film School Rejects has a
similar complaint that this film “strays from the meat and
emotion of its story,” and can’t quite make the naturally compelling
underdog story work. Ion Cinema is
even harsher: “the film’s victims begin to grate in their despair… due
to an over emphasis of personal misery and a lack of narrative focus.” So
maybe, expect to see an edited version hit cinemas and CNN later this year or
next.
I Origins
Mike Cahill scored a lot of buzz in 2011 with Another Earth, the indie movie about a
parallel Earth that appears in our sky. Now he’s back with the story of a
molecular biologist who studies the eye, to prove that humans evolved without
any need for Intelligent Design, and has a fling with a supermodel whose face
is covered up except for his eyes. Years later, the biologist has a son, and
discovers an uneasy secret that reopens the “science versus God”
debate.
The verdict: Tim
Grierson with Screen Daily praises the “engaging and
unpredictable” storytelling and says this film has a stronger focus and
clearer philosophical exploration than Another
Earth did. Collider
also likes the strong emotion in the story and the fact that it juggles so many
different ideas but still manages an “emotionally powerful
conclusion.” Hollywood
Reporter also praises the balance of emotional and intellectual elements,
and also loves the “tactile, glowing Terrence Malick-like visuals.” Indiewire
says the faith-vs-science themes are sometimes too “on the nose,” but
says the movie overcomes its shortcomings to become “an intelligent and
ambitious adult drama” in the vein of a young Christopher Nolan or Danny
Boyle. But then there are a couple of dissenting views — Variety
feels that the movie tries too hard to impress you by dragging out its spooky
reveals, while glossing over huge plot holes. “The film amounts to a lousy
sort of magic show, schematically pulling strings to prove its own
points,” Variety adds. And Hitfix
agrees with Variety, saying the film telegraphs its ending an hour ahead of
time and then spins through slow-motion plot mechanics to get there.
The Voices
Marjane Satrapi (Chicken
With Plums) directs this film in which Ryan Reynolds is a murderer who hears
his cat and dog speaking to him and giving him advice.
The verdict: Indiewire
says this movie doesn’t have much to say, but it’s always hilarious, and you
never stop sympathizing with Reynolds even after he does terrible things. The
Hollywood Reporter says the mix of horror and black comedy is a risky one
which pays off because Satrapi and writer Michael R. Perry find the right tone
for the material. Screen
Daily praises Reynolds’ performance as a guy who “never quite
recognizes how demented he is” who just happens to find that killing gets
easier the more you do it. US
Magazine doesn’t like the film as much, saying it falls short and “appeals
to the movie mavens in Park City,
Utah — but in the mainstream,
it’s destined for cult classic status at best.”
Cooties
Elijah Wood is a struggling novelist who goes to work as a
substitute teacher at his old school, where he tries to romance an old flame
(Alison Pill) before discovering she’s already dating the boorish P.E. teacher
(Rainn Wilson). Oh, and some of the kids have eaten tainted chicken nuggets and
are turning into face-eating zombies… and it’s spreading.
The verdict: Hollywood
Reporter compares it to Zombieland
and praises the “well-paced and very funny” zom-com.Indiewire
agrees, calling it a “solid midnight movie, where the laughs outnumber the
body count tenfold.” Hitfix
calls the film “tremendous fun” but also says it gives the proper
amount of weight to the moment when the teachers have to start fighting back
against the zombie kids. Screen
Daily warns that it loses a lot of its bite in the last act, but is a solid
zombie comedy before then. Says Film
School Rejects, “Cooties is
horror comedy done right. It’s laugh out loud funny but never shies away from
the gory, violent bits involving adults and children. See it with a child you
love.” The one dissenting opinion comes from Fangoria,
which complains the film’s satire never has any bite and it never manages to
deliver “true carnage.”
