January 20, 2018 at 10:01 pm #1202472296
Hollywood Reporter: https://www.hollywoodreporter.com/review/wildlife-review-1076443January 20, 2018 at 10:26 pm #1202472306
Screen International: https://www.screendaily.com/reviews/nancy-sundance-review/5125557.article
Hollywood Reporter: https://www.hollywoodreporter.com/review/nancy-review-1074117January 20, 2018 at 11:51 pm #1202472402
Hollywood Reporter: https://www.hollywoodreporter.com/review/colette-review-1076450
Screen International: https://www.screendaily.com/reviews/colette-sundance-review/5125764.articleJanuary 20, 2018 at 11:54 pm #1202472408
Leave No Trace Reviews
Screen International: https://www.screendaily.com/reviews/leave-no-trace-sundance-review/5125510.article
Hollywood Reporter: https://www.hollywoodreporter.com/review/leave-no-trace-review-1075523January 21, 2018 at 1:43 am #1202472472
Sorry To Bother You First Reactions
Tomris Laffly: Sorry to Bother You is the craziest film I’ve seen in Sundance in my 6 years of coming here. Mad fun and totally bonkers. Frenzied social commentary in a trippy, avant-garde package with drugs, orgies, half man/half horse slaves of capitalism….I could go on. Damn!
Alex Billington: Sorry to Bother You – What the crazy?!?! Totally balls-to-the-wall insane social commentary comedy about the capitalist society we live in. Ridiculously wacky, with all kinds of funky touches. Rough around edges but still so massively original.
Tiffany Vazquez: SORRY TO BOTHER YOU is the kind of movie viewing experience I come to film festivals for. Refreshing, thought-provoking, and just so damn fun to watch.
Gregory Ellwood: Sorry To Bother You isn’t very funny but Boots Riley is absolutely visionary. The movie has big ideas, is surreal and bizarre. No idea how to review.
Alison Willmore: SORRY TO BOTHER YOU: Fun, overstuffed, tech-skewering, anti-capitalist, semi-dystopian future cult film that in spirit, if not in any particular granual detail, reminded me of REPO MANJanuary 21, 2018 at 1:48 am #1202472473
Leave No Trace First Reactions
Tomris Laffly: Debra Granik’s ‘Leave No Trace’ is a bit too subdued, but it’s my kind of “living off-the-grid” film (I cringed at Captain Fantastic.) Beautifully reflects the poetry of nature, celebrates communal collaboration & introduces the terrific Thomasin Harcourt McKenzie.
Matt Neglia: Debra Granik is finally back with the poignant, emotional and meditative film LEAVE NO TRACE with a quiet and powerful performance from Ben Foster and a tremendous find (Just as she did with Jennifer Lawrence) in Thomasin McKenzie
David Ehrlich: Debra Granik’s LEAVE NO TRACE finally answers the question: “what if ‘Captain Fantastic’ had taken place on planet earth?” A strong, tough coming-of-age story.
Eric Snider: LEAVE NO TRACE: compassionate, low-key drama about veteran (Ben Foster) & teen daughter (Thomasin McKenzie) living off the grid, each searching for a place to fit. Emotion really snuck up on me in the end. Both leads great.
J Don Birnam: LEAVE NO TRACE is the movie offspring of Captain Fantastic and Winter’s Bone (two other Sundance films). But it’s also less effusive than those two, so it’s more staid and understated. It’s also in more powerful, particularly treatment of veteran depression. Emotional/memorableJanuary 21, 2018 at 2:08 am #1202472479
Wildlife First Reactions
Tomris Laffly: Paul Dano delivers a mature, novelistic (if not a tad underpowered) debut with #Wildlife; a closely studied photographic account of a 1950s American family in shambles. Quiet, tense, with an excellent Carey Mulligan.
David Ehrlich: WILDLIFE rules. A tender, gorgeous, exquisitely understated period drama about a family that stops believing in itself. Paul Dano directs like he’s been doing it forever. Carey Mulligan never better. every frame is deeply felt. Sundance catching fire today.
Amirose Eisenbach: WILDLIFE: many actors try directing but it doesn’t translate. In Paul Dano’s case, his brilliance in front of the lens is matched behind it. A coming of age story about a boy forced to grow up as his parents marriage falls apart. Nuanced & compelling, fantastic film
Eric Kohn: WILDLIFE is a tender, exquisite & ultimately tragic look at the collapse of an early ‘60s American family. Echoes of Miller & Williams. You’ve seen variations of this before, but Paul Dano’s filmmaking debut is confident as hell, & Carey Mulligan has never been better.
Joshua Rothkopf: WILDLIFE is a quietly understated period drama — it has fire (literally, and also in the eyes of Carey Mulligan) but few fireworks. I wouldn’t have guessed that Paul Dano would decide to make this his directorial debut.January 21, 2018 at 3:00 am #1202472502
Colette First Reactions
Anna Klassen: COLETTE is BIG EYES meets PROFESSOR MARSTON & THE WONDER WOMEN, but sadly not enough of its own thing.
David Ehrlich: COLETTE is a 19th century French “Big Eyes” that erupts into something frothy as fuck when Keira Knightley & Dominic West start having sex with everyone. Fun, progressive, and very (ahem) handsomely mounted.
Tricia Tuttle: Keira Knightly has just set the bar for the best actress awards race 2019 very high in Wash Westmoreland’s brilliant Colette
John DeFore: this is not a film for the highest of highbrows. Taken on its terms, it is an engaging literary coming-of-age story, and one embodied ably by its star.
Peter Debruge: Despite the fact she’s frequently cast in period pieces, Knightley possesses an enticingly modern quality in both her stride and the brazen, independent-minded way she engages with men on-screenJanuary 21, 2018 at 3:11 am #1202472506
Nancy First Reactions
Jason Gorber: NANCY – Strong debut from Christina Choe about family identity, finding one’s way through both lies and kindness. A gentle yet powerful film with a strong cast
Kate Erbland: It’s Riseborough who holds the film fast, rooting its seemingly wild twists and character developments into something haunting and, quite often, eerily understandable. The stories she tells might be fake, but the feeling behind them is real.
Amy Nicholson: for all the close-ups of Riseborough’s deliberately deadened face, the script doesn’t let her character come into focus as either a cruel instigator or an isolated woman who desperately wants to believe. Nancy‘s restraint keeps the film closed-off and grim, as muddy gray as the life she’s aching to ditch.
John Frosch: What sticks with you are those moments when Smith-Cameron and Buscemi cut right through the movie’s haze of vagueness, making this slice of American-indie miserabilism feel like something more.
Piers Marchant: NANCY: Enigmatic film about a very enigmatic protagonist. Great performance from Riseborough and Bucemi’s pursed lip look of consternation is a first-ballot hall of famer.January 21, 2018 at 5:34 pm #1202473267
Sorry to Bother You Reviews
Screen International: https://www.screendaily.com/reviews/sorry-to-bother-you-sundance-review/5125765.articleJanuary 21, 2018 at 5:36 pm #1202473282
The Catcher Was a Spy ReviewsJanuary 21, 2018 at 5:44 pm #1202473311
The Guilty Reviews
Hollywood Reporter: https://www.hollywoodreporter.com/review/guilty-review-1075981
Screen International: https://www.screendaily.com/reviews/the-guilty-sundance-review/5125532.articleJanuary 21, 2018 at 5:48 pm #1202473329
TYREL ReviewsJanuary 21, 2018 at 11:00 pm #1202473896
Dead Pigs Reviews
Film Threat: http://filmthreat.com/reviews/dead-pigs/
Screen International: https://www.screendaily.com/reviews/dead-pigs-sundance-review/5125576.article
Hollywood Reporter: https://www.hollywoodreporter.com/review/dead-pigs-review-1075969January 22, 2018 at 2:09 am #1202474031
The Happy Prince Reviews
Screen International: https://www.screendaily.com/reviews/the-happy-prince-sundance-review/5125661.article
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