Although the Sundance Film Festival is still screening until January 26th, like many other press and film critics, I've abandoned the hotel-life and returned to my humble abode. After 17 screenings spanning 5 days of movie-watching, I've decided to complete my 2014 Sundance experience with a tiny blurb about each film I watched. But before I begin, here's a look back at the extensive reviews for the films Whiplash, Blue Ruin, Infinitely Polar Bear, The Skeleton Twins, To Be Takei and Laggies. Also, feel free to check out my personal "Best of Sundance" picks as well.
God's Pocket - 2.3 stars out of 4 - B-
Although something feels remarkably incomplete about John Slattery's Philadelphia-based God's Pocket, Philip Seymour Hoffman, John Turturro, Richard Jenkins and Ray Donovan's Eddie Marsan all headline a fine collaborative effort. There's a small gangster film vibe in this drama about a man named Mickey (Hoffman) who goes through hell trying to plan a funeral after the accidental death of his stepson.
Song One - 2 and a half stars out of 4 - B-
A short-haired Anne Hathaway stars in the touching and sentimental drama Song One. After an accident leaves her brother in a comatose state, Franny (Hathaway) strikes up a relationship with his favorite musician, James Forester (played by Johnny Flynn). While the film is sweet and Johnny Flynn gives a breakout performance, the story is rather flat and simplistic.
Listen Up Philip - 2 and a half stars out of 4 - B-
Jason Schwartzman is downright hilarious in this interesting examination of a young brash author whose actions ultimately push everyone away from him, except for a similar-minded elderly author (played by Jonathan Pryce). The film's mid-section takes Schwartzman out of the film for entirely too long and its pacing plays more like a marathon than a sprint. However, Listen Up Philip is still an enjoyably hysterical ride.
Hellion - 2 and a half stars out of 4 - B-
Kat Candler's Hellion attempts to be bold and daring, yet this slow-burning drama could benefit from a constant intensity much like its third act. Breaking Bad's Aaron Paul isn't as convincing as I'd hope, but youngster Josh Wiggins does a fine job in his leading role as a trouble-maker kid who finds himself one step away from being thrown into a Juvenile Detention Facility.
Happy Christmas - 2 and a half stars out of 4 - B-
While my opinion was on the less-populated side of Joe Swanberg's previous release, Drinking Buddies, I found myself enjoying his Sundance selection, Happy Christmas. Anna Kendrick is stellar as a recently single and irresponsible 20-something year old who moves in with her older brother (Swanberg) just before the holiday to get her feet on the ground. Her effects on his marriage are needed as much as the couple's effect on her. The story is a bit underwhelming and the pacing is slow, but Happy Christmas is still a well-executed drama.
Ping Pong Summer - 2 and a half stars out of 4 - B-
Michael Tully's Ping Pong Summer is a spot-on return to 1985. The set, production and soundtrack are all phenomenal in this ode to the second-rate 1980s underdog formula. The laughs are fairly consistent but the film never leaps into greatness. A solid youth-filled cast follows Rad Miracle (played by Marcello Conte) on his quest to take down the local bully in an epic game of ping pong.
Calvary - 2 stars out of 4 - C+
I find it ironic how the films I was most excited to see at Sundance ended up being some of the most mediocre efforts. One such film was John Michael McDonagh's Calvary. As a huge outspoken fan of McDonagh's last effort, The Guard, I was disappointed to find his newest release as a humor-less and never-ending journey. More so an existential examination than a comedy, Calvary is beautifully shot and strongly-acted by Brendan Gleeson, but the boredom and lack of entertainment is too much to overcome.
Locke - 2 stars out of 4 - C+
Knowing myself pretty well, I can honestly say that there couldn't have been anyone as excited as I was to catch a screening of Locke. After receiving nothing except rave reviews following a 2013 festival tour, I was shocked to find Locke to be a constricted feature. The amazing Tom Hardy is the only actor you see during this 85 minute car ride where we witness his character's life slowly falling apart. It's a daring attempt from director Steven Knight, although it lacks thrills and intrigue.
Cold in July - 2 stars out of 4 - C
I was surprised to hear such praise given to Jim Mickle's Cold in July. Dexter's Michael C. Hall stars as a reserved man who unwillingly murders an intruder in his home one evening, only to discover himself at the center of a much deeper mystery. Cold in July is the tale of two films. What begins as a tension-filled revenge thriller that works quite well, ends up morphing into a tasteless gore-comedy that feels completely out of place. I thoroughly enjoyed the first half of the feature only to watch it steadily decline upon the introduction of Don Johnson's character.
Life After Beth - 1 and a half stars out of 4 - C-
Zombie-mania has reached the "overkill" status much like the Vampire phenomena a few years back. However, Jeff Baena's Life After Beth merely uses the Zombie tag as a backdrop to a different story of regret and making up for lost time. After dying from a poisonous snake-bite on a hike one day, Zach's (played by Dane DeHaan) former girlfriend, Beth (Aubrey Plaza), mysteriously reappears from the dead. Appearing very much "alive" Zach plans to reconnect with Beth and take the time to do all the things he never did before. But much to his and everyone else's surprise, Beth is slowly transforming into a Zombie. Unfortunately, the laughs are almost non-existent in this comedy and, as a result, we're left with very little else to enjoy.
The Foxy Merkins - 0 stars out of 4 - F
I never walk out on movies, but this one was a struggle to get through. The very occasional laugh couldn't help salvage an otherwise unbearable look at two lesbian (or not?) hookers who are trying to survive being homeless in New York. The one joke they have going for them, a mockery of the clothing store Talbots, is beaten to death and overused, clearly illustrating that Madeleine Olnek's poorly shot film, The Foxy Merkins, offers no redeeming qualities whatsoever.
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