Beauty and the Remake

Over the years, as Disney has begun remaking each of their former animated classics, I've discovered that my reactions to these remakes fall along a wide scale. There's the one I detest (Maleficent) and the one I adore (Cinderella,) and everything in between (the ambivalence of The Jungle Book and Alice in Wonderland falls here.) From the previews, I got the sense that this film, unlike Maleficent, stayed incredibly true to the source material...so that had to be a good thing right? But the more I saw, the more it seemed that the film was just a literal reenactment of the animated film with little else to offer. After finally seeing it, the best thing I can say is that I didn't feel outraged as I watched it that it was a total ripoff....but I definitely didn't fall in love with it like I did Cinderella either.

Beauty and the Beast is a mixed bag. There are things that it gets right (such as the production design and costumes which really bring the fairy tale to life) and many things that made me scratch my head. Time to air some grievances. Emma Watson certainly makes a likable enough Belle, but she really isn't much of a singer. In fact, some of the musical sequences are the weakest part of the film because they're either TOO much like the original (the opening song Belle being one of the greatest offenders,) or they're new songs that don't manage to resonate or recapture the magic to belong alongside the other classic tunes. Too often the new songs are used to compensate for character development, and in a live action film that just didn't work for me. In many scenes, these new songs are used as placeholders for why characters make certain decisions, or why they feel a certain way...but it just comes across as hollow when some well thought out dialogue could have done the trick and shaved off a few more minutes from the runtime. Other random complaints include that the beast's CGI is a bit all over the place, Emma Thompson plays her part as if just doing a terrible impression of Angela Lansbury, and some of the CGI designs of the furniture just are kinda ugly (again sorry Mrs. Potts.)

The film is best when it's trying not to rely too hard on its source material (minus the new songs), but when in doubt, it is certainly what the filmmakers fall back on. It feels a bit lazy, but at the same time....it's not exactly an unpleasant film experience. I never found myself hating it. I'm sure that's not the greatest praise, but to be honest, I expected this to be as bad as Psycho 1999! Of course I wish it took more risks like Cinderella did, in just making the story their own, yet still honoring the classic its based upon. I feel like ditching the musical aspect of this would have helped, but alas. The filmmakers were too scared to do anything but pay respect to the animated film. EMILY RATING: 6.5/10


My Top Ten Of 2016

My absolute sincerest apologies for not getting this list to you sooner. I had fully intended to post this back in January before I was hit with all the Sundance craziness, but that just didn't happen. Before I knew it, I had like 15 reviews to write, and no time to find to put this list together. Since then, I still figured I needed to catch up on everything  I could...and yet, I still didn't have time to watch everything! Still, as usual, I had a hard time narrowing down some movies, so I cheated and added in a few ties. So this isn't so much a top ten as it is a top twelve. With all that in mind, let's get started shall we?

Originally, I had planned to give Rogue One a spot on the list due to wanting to finally give some Star Wars love after my disappointment with The Force Awakens, but then I ended up seeing these two films and let them steal a tying spot. Silence and Hell or Highwater both feature male duos. However, the duos of each film couldn't be more opposite. Silence focuses on the difficult experiences that two priests have during their mission to Japan in the 1600's. Hell or High Water focuses on two brothers in modern day Texas who rob banks. The films couldn't be more different, but I honestly couldn't choose which film deserved the #10 spot. Silence was an incredible spiritual experience of a film that was very thought provoking and well made. And Hell or High Water was tightly made and highly entertaining. Both are solid films with fantastic performances by their leads. Original review for Silence HERE

The Edge of Seventeen isn't totally a movie that everyone will connect to, or be featured on everyone's top ten list, but it was an extremely personal one for me. The film follows the lead character of Nadine, who certainly wasn't the most likable protagonist, but her lonely high school experience after a fight with her best friend really resonated with me. The Edge of Seventeen felt like a representation of youth that was honest and fresh. I was honestly surprised how much I loved this film, and can only wish for more like it. Original review for The Edge of Seventeen HERE.

Speaking of surprises, 10 Cloverfield Lane had to be the biggest one of 2016. The movie came out of nowhere and ended up being amazingly good. I saw it three times in theaters and it totally held up every single time. It's so gripping and well done, I easily could have given this spot to some of the more Oscar bait films I watched at the end of the year, but this one just won me over and I wouldn't budge. Mary Elizabeth Winstead and John Goodman shine in this movie, and Goodman, in particular, does some of his best work in years. 

Lion is definitely one of the most heart-wrenching films of 2016. The film kinda puts you through the ringer as you witness the true story of a four-year-old Indian boy who winds up miles and miles away from his family and no way of knowing how to get back to them. I found his plight (and the consequences of it) very gripping, and also fascinating. The performances here are also fantastic, and by the end, I found myself (and my mother and stepfather) sobbing. 

Two stories are being told in Nocturnal Animals. One focuses on Amy Adams's character as she receives a manuscript from her ex-husband (Jake Gyllenhaal) that he asks her to read, and the second is the actual story inside that novel of a man heading out on a family vacation with his wife and daughter that turns insanely violent. The second storyline was what hooked me, because it was basically an absolute nightmare turned into film. The film is so gripping, and it left me thinking about it for days afterward. There's so much to dissect here, and that was almost half of the fun.

What a year for horror it was. Even though I saw The Witch two years ago at Sundance 2015, it wasn't released until February of last year, so since it hadn't released to the general public yet, I didn't feel like I could include it on my 2015 list. I was very happy to see it finally released a year ago and get the praise it deserved from film critics and lovers of the genre. It's honestly such a great and unique addition to the horror genre. It's a very slow and moody film that builds up to the incredibly tense finale. But that wasn't all for the year in horror. Don't Breathe, which was released last August somehow managed to be equally wonderful, yet a very different brand of horror. While The Witch took its time to revel in the world it created, the tension in Don't Breathe never lets up and it's an absolute thrill ride. I seriously loved both of these horror films and had to include both on my top ten list. Original review for Don't Breathe found HERE. Original review for The Witch found HERE.

Every year for the last four years, we've had some sort of space movie come out in the fall (see Gravity, Interstellar and The Martian.) Arrival doesn't take place in space but somehow fits among these films. In particular, Arrival felt like a spiritual sibling of sorts to Interstellar. That not be something that everyone loves, but as someone who adored that film, I felt similar adoration with Arrival. The film is beautiful and it works on many levels, but it owes pretty much all of its success to Amy Adam's fantastic and sincere performance. Arrival felt simultaneously realistic and fantastical. Almost as if, should that type of event (the arrival of aliens) really occur, this is how it would go down. This grounded approach was refreshing when the film easily could have felt redundant. Original review of Arrival HERE

Manchester by the Sea is a deeply disturbing tragedy that is quite frankly a masterpiece. The film is so incredibly beautiful, yet affectedly heartbreaking. It works because of Casey Affleck's performance of a man so removed from feeling, that we can't help but feel disconnected with. We know there's more beyond the surface, but never does he want to engage with anyone enough to show it. Michelle Williams too in her small screen time is amazing, and their scene together near the end of the film (you'll know the one) is one of the most personal scenes ever filmed. Honestly, this is just a perfect movie. Original review for Manchester By The Sea HERE.

If Manchester By The Sea is a perfect movie then what other two films can beat that? Just a couple  of other perfect ones. There has been quite a bit of backlash against La La Land, but I refuse to bend to it. I saw it back in November, far ahead of its release date, and was able to appreciate it for what it was before too much of the hype had gotten to people's heads. La La Land is a beautiful film about relationships, and if there's one thing I love, it's a movie about relationships (*cough 500 Days of Summer cough*) It's also about following your dreams. This movie didn't truly GET me until the epilogue, but that ending solidified it as one of my favorite movies about relationships. And that's a big deal to me. 

For much of the year, Sing Street had retained the number #1 spot, until La La Land had knocked it to #2. But the more I thought about it, the more this movie was MY movie. I just love everything about it. It's so watchable (it's like my new The Way Way Back,) and has one of the best soundtracks in recent memory. Like La La Land, it too is all about following your dreams and the ending here is just absolutely wonderful. It also features a wonderful brotherly relationship that is one of the highlights of the film, and Jack Reynor just steals every scene he's in. I honestly can't recommend this movie enough, nor stop singing its praises. I just love this movie so much. Original review for Sing Street found HERE



Everything is Batman

Three years ago, The Lego Movie came out and pretty much surprised everyone. Unfortunately this time around, the surprisingly good factor wasn't something that could really happen with The Lego Batman Movie, since Batman ended up stealing all the scenes in The Lego Movie. Basically it was hard for anyone not to have expectations. Because of this, I didn't think there was any way for The Lego Batman Movie to live up to the movie it spun off from.

The Lego Batman Movie chronicles the adventures of Bruce Wayne, and his altar ego Batman as he constantly saves Gotham City from crime. His world is turned upside down when Commissioner Jim Gordon retires and appoints his daughter Barbara, who has a much different view on Batman being the sole person the city relies on to solve their problems, to take his place. Batman prefers to work alone and doesn't want to have any attachment of any kind, or to allow anyone into his life. But when Joker unleashes a terrible chaos onto the city (featuring almost every villain you can think of,) Batman must reconsider the value of being a part of a bigger team.

The Batman Movie is an incredibly funny and enjoyable film. Any Batman fan will totally enjoy this movie because there are homages galore to all of his past movies. However, as fun of a protagonist that Lego Batman is (and yes there's a reason he was one of the highlights in The Lego Movie,) we perhaps get too big of a dose of him here. He was a great supporting character, but having him as the lead wasn't quite as fun as having the more humble everyman Emmet from The Lego Movie. Still, Arnett is absolutely hilarious in this role, and it's fun to see him interacting with his Bat family. Michael Cera's Robin was a fun addition too and brings a good dynamic between the two, but I found myself a little underwhelmed by Rosario Dawson's Barbara Gordon. Still, there's more than enough hilarious cameos to rival the first movie...and it's just really fun to think that the Lego Movie universe is one where almost any single crossover is possible (aside from Marvel....and yes the "Iron Man Sucks!" joke was one of my favorites.) The action that results because of these combinations is seriously fun and it certainly makes me excited for any future Lego installments. So while everything is most definitely awesome, it doesn't quite surprise you the way the first one did. But it's still solidly fun and enjoyable in its own right to be sure. EMILY RATING: 8.5/10

Sundance Review: Crown Heights

Crown Heights is all about the real life story of a man who was wrongfully convicted for murder in the 1980's. His best friend knows that he is innocent, and spends a few decades of his life trying to prove it. The filmmakers behind Crown Heights wisely decided to capitalize off of the success of Serial and Making a Murderer in deciding to tell this story, that it's no surprise a movie about wrongful imprisonment won the Audience Award at Sundance. Seeing one more injustice in the world is something that resonated with audiences, and the efforts one man made to make it right are definitely inspiring.

The story was told a little differently than I expected, with a lot less focus on his original trial, and a lot more about his many years in prison. The second half of the film shifts the focus even further, as the best friend working on his case almost becomes the new main character. At first it was a little odd to me to have the trial over so quickly and not knowing where the film would go, but towards the end as the film concludes its story, I appreciated that decision. It allows the climax of the film to be a lot more impactful, and a lot more interesting.

Crown Heights is a solid film. It features great performances and a simple, but fascinating story. The two men's plight, one in prison, and the other in his own mental prison until he frees his friend are definitely stories worth telling. Another thing I was intrigued by was that our protagonist was in fact a criminal, just not a murderer, which took the film to other interesting ethical dilemmas. Crown Heights will definitely make an impact on those who view it, but probably isn't one of the strongest winners to come out of Sundance in recent years. EMILY RATING: 8/10


Sundance Review: Rememory

Rememory takes place in a distant future where an invention has been made that can extract pure, unfiltered memories. Unfortunately, the creator of the invention dies under mysterious circumstances before it is released to the public, so a man named Sam Bloom (Peter Dinklage) who has a vested interest in the machine, takes it upon himself to solve the puzzle. After befriending the inventor's widow and "borrowing" the prototype machine, he looks through the recorded memories for clues to figure out what really happened, as well as to solve some of his own inner demons.

Rememory is such a great concept that it's a little disappointing that the filmmakers took it in the easiest route that they could: a simple whodunnit. That doesn't mean it's not an interesting or good film, it's just that it doesn't live up to the potential of its premise. There are so many more fascinating places that this film could have gone with exploring the power of memory. The film definitely touches on some interesting ideas, and in particular, the revelations in the latter half of the film are good. I just couldn't help but wish I could see more movies set in this world, with much different genre focuses.

Still, for what the film actually is, I do feel that it was well made and entertaining enough. It's just not something that's going to stay with me for a long time like it could have. Peter Dinklage certainly gives it his all, and of course, it was nice to see Anton Yelchin again in one of his final roles even if it wasn't the most fleshed out part. EMILY RATING: 7.5/10


Sundance Review: A Ghost Story

Casey Affleck and Rooney Mara play a young couple whose love story seemingly ends abruptly when he dies in A Ghost Story. Affleck's character, who is simply listed as C in the credits, discovers his existence still continues after death, but unfortunately, it consists of witnessing life silently under a sheet. Restricted to the confines of his house, he's forced to watch his former lover grieve extensively. If there's one thing to know about this movie upfront, it's that all scenes (and shots really) are incredibly drawn out and the film really revels in its simplicity and taking its time.  In an early scene in the film, we witness the couple cuddling and it seems so earnest and sincere, and the length of it makes the audience feel uncomfortable--like we're intruding on their intimacy. It's the type of film that asks a lot of its audience because most of the scenes give you plenty of time to think. Also, when discussing Affleck's performance, it's hard to know what to say where his face isn't visible for  90% of the movie. Nor does he talk either. The film is practically a silent film as there is maybe only 10 minutes of dialogue total all throughout.

A Ghost Story is absolutely not a film for everyone.  In fact, I'd definitely say that there is a very small audience for this film. It definitely knows it's an artsy movie and embraces that to a degree that is definitely alienating to a mainstream audience. But Ghost Story definitely doesn't care. However, even indie-loving audiences might find the constant long drawn out scenes to be pretty tedious to sit through. I can certainly understand audiences finding A Ghost Story to be a frustrating film experience, but at the same time, I can't help but admire its boldness and uniqueness. When it comes down to it, even if it wasn't the easiest film to sit through, its true originality is much preferred to some of the more uninspired offerings from Hollywood as of late. EMILY RATING: 8.5/10

Sundance Review: Brigsby Bear

Brigsby Bear is the bizarre tale of a man (Kyle Mooney) who was kidnapped as a baby, and raised by his captors in a bomb shelter. He learned about the world and proper morality through watching his favorite television show, "Brigsby Bear." His life is turned upside down when he's rescued by the cops and discovers that he is the only person in the world who has ever seen or heard of Brigsby, as it was a show that was lovingly produced just for him by his captors. Struggling to cope in life in the real world (or as he sees it, a Brigsbyless existence,) he seeks for closure by creating a film to conclude Brigsby's adventures.

Brigsby Bear could have been taken in a lot of different directions. It would be easy to make the film a full-fledged comedy and err on the crass and outrageous side. Fortunately, the filmmakers kept it more honest and warm, while still managing to be pretty funny. I think this decision was the right one, as the combination of humor and drama is able to leave a more lasting impact on the viewer. The film has a capable cast and everyone seems to be having a great time. Nostalgia for 80's tv series abounds whenever we get glimpses of the protagonist's beloved show and you can just sense the care that was put into every aspect of this movie.

The movie definitely has the familiar feel of a quirky, clueless but lovable fish out of water type, akin to Unbreakable Kimmy Schmidt, Elf and Enchanted, but luckily, it manages not to feel tired. Some of that comes in combining that indie with another indie: the making a movie indie (as previously seen in Son of Rambow and Me & Earl & The Dying Girl.) Brigsby Bear accomplishes the rare feat of making a far fetched story feel grounded. It manages to be light hearted and serious all at once, but most importantly to note, it's a fun film. EMILY RATING: 8/10


Sundance Review: The Discovery

Imagine a world where scientific proof of the afterlife has been discovered. Such a world is where the film The Discovery takes place. Human life has considerably altered since the discovery, as many people's views on suicide have evolved. Pure curiosity has enticed people to take their lives, not to end them...but to see how they continue on another plane of existence. Jason Segel plays Will, the son of the acclaimed scientist Thomas Harbor (Robert Redford) who changed the world with his findings. Will has always been skeptical on whether or not his father's evidence should be accepted as fact, and when he meets Rooney Mara's Isla, his beliefs are put even further to the test.

Several films that came to the festival this year had really cool premises, but The Discovery might have explored theirs the very best. The world director Charlie McDowell creates is a fascinatingly bizarre one, yet somehow seems simultaneously seems like a plausible one. He masters the tone of the film in keeping it mysterious enough that the audience isn't sure whether to doubt along with Will or to believe like everyone else. He poses a lot of questions in the film and the joy comes in waiting for the answers.

Jason Segel and Rooney Mara make a strange pair, and occasionally it's hard to buy. Fortunately, though, both actors were dedicated enough to make it work, and their efforts were not in vain. But The Discovery isn't so much about the characters as it is about the journeys they take. I'd heard some mixed reception to the film before I saw it about how they didn't care for the ending, but when I saw it I felt that it only made everything stronger. The Discovery is an interesting film that takes a concept and explores several different facets of it and does it well. Thankfully for those clamoring at the bit to see this film, it will debut in March on Netflix...so you won't have to wait all year to see it. EMILY RATING: 8.5/10


Sundance Review: Band Aid

Hearing the premise of Band Aid it's easy to imagine the film being a broad comedy. The film centers around a married couple who always find themselves at each other's throats. They are helpless to know how to resolve these fights, until one day when one of them decides to use their arguments as inspiration for songwriting. And so, the two of them, along with their kooky drumming neighbor, form a band and use it in getting their anger out at each other. With the people involved (Fred Armisen, Adam Pally and Zoe Lister-Jones,) I definitely expected it to be hilarious, but I found myself caught off guard by its realness in its more serious moments. The sweetness that underlies in some of the more dramatic instances in the film make it more rewarding and memorable than if it had just been a straight comedy.

Band Aid is a very well rounded little film. It's light and funny when it needs to be, but it definitely can pull a dramatic punch. In some of the fights near the end, I was very stunned to see how real these fights were portrayed and how cutting their remarks were to each other. It certainly shows the power of words and how much they can destroy. Band Aid also makes a commentary of the differences between men and women with how they deal with conflict, stress, and grief. I found it all strangely comforting.

I also, of course, must mention the musical aspects of the film. Lister-Jones amazingly was able to pen up lyrics and melodies that managed to be catchy, creative, and funny all at once. The songs are certainly one of the highlights of the film, and seeing how they come up with these songs. You definitely wish there were more of them. I'll definitely be looking for the soundtrack when it comes out. EMILY RATING: 8/10


Sundance Review: Thoroughbred

The simplest way to summarize the plot of Thoroughbred is to say it's a film where two teenage girls strike up an unlikely friendship, then later plot to kill one of the girl's stepdad. The film stars teams up two former Sundance darlings Anya Taylor-Joy (star of The Witch) and Olivia Cooke (star of Me and Earl and the Dying Girl,) and it also happens to be the very last performance of the late Anton Yelchin. Already excited by its cast, I soon saw that Thoroughbred was getting a lot of positive reviews and some modest hype. Many people labeled it a "twisty thriller" and I was surprised to find myself in disagreement to the type of film I thought Thoroughbred was, namely, a more straightforward dark comedy.

Thoroughbred feels like it starts in the middle of a story, which is cool because the characters feel lived in. Cooke's character, Amanda, doesn't have many friends because of her past, as well as the fact that she puts people off because of her inability to feel feelings. She claims she's never experienced fear, sadness or joy and her frankness is a welcome change of pace in the eyes of Taylor-Joy's very polite Lily. The two are almost polar opposites as Amanda always says what she thinks, while Lily is much more the type to want to appear that she's calm and collected. After Lily lets slip her negative feelings towards her stepdad, Amanda nonchalantly suggests to Lily that she try to murder him, and before too long the idea has taken hold in her mind. Amidst the planning, Anton Yelchin's lovable drug dealing character Tim gets shoehorned into the action. Yelchin isn't in the film nearly enough and I have to wonder if he died before all his scenes were shot. He feels set up to have a bigger role in the film, and then he pretty much disappears, and I have to say the film suffers because of it. Luckily though the two leads are terrific and carry the film.

I'll be honest, from what I read prior to seeing the film, I was expecting a little more than what I got from Thoroughbred. That's not to say the film wasn't good or well-made, I just was expecting a very different film. What I got was one that was more simple, but very fun, and one that I wished had a lot more Anton Yelchin in it. EMILY RATING: 8/10.


Sundance Review: Manifesto

Manifesto isn't so much a film as it is a piece of art. And come to find out, that's exactly what it was to begin with. Manifesto wasn't conceived as a feature length film, but rather thirteen separate mini films that artist Julian Rosefeldt created as an art exhibit. The films all featured Cate Blanchett playing different fictional people all reciting various real life manifestos on art that were given throughout history. But it's the settings and situations these people are put in that makes the words they're saying pop and whether the speech fits the situation that it truly makes an impact. Each of these videos were places as separate installations, all unified in theme playing at the same time. Somewhere along the way, someone must have felt that Cate's performance should be seen by a bigger audience and so the footage was re-edited into a feature film.

Knowing Manifesto's history is crucial in being able to appreciate the film on any level besides admiring Cate's versatile performances. It would be easy for most people who saw the film to come away being awed by Cate, but not appreciating the film for its own merits....namely because the film doesn't really act like a normal film. For one thing, there is no storyline in Manifesto, rather we as an audience merely witness several different situations. Also it should be said that while Cate plays every part amazingly, not all of the situations or manifestos recited in the film are created equally. Nor is Cate really playing well-developed characters, but rather character types. Some scenes work better than others, but when Manifesto works it's wonderful.

Manifesto succeeds if you view it more as an art piece than a film. I found much of its experiment to be incredibly fascinating and mostly pretty well done. It was especially interesting to see how these words transformed when recited by these character types and said in their various situations. From drunken rants, to funeral speeches and dinner table prayers, it was truly impressive to see how each manifesto fit. However, if you go into Manifesto expecting to find an incredible narrative where Cate Blanchett morphs into thirteen different characters, you will very much be disappointed. EMILY RATING: 8/10 as a film and 8.5/10 as an art piece.


Sundance Review: To The Bone

In To The Bone, Lily Collins plays Ellen, a girl struggling to overcome her anorexia. Apart from her half-sister, her family seems helpless to try to understand her or see her as anything more than a problem to be solved. Ellen has a lot of unresolved issues with her broken family, which makes her feel like her anorexia is the one thing she has control over. Her mother left her father and became a lesbian, marrying her best friend. Her father is too busy to ever bother seeing her but did have the time to remarry a woman she has no connection with. Her stepmom, whom she can't stand, is left with the task of watching Ellen and her only solace is her half-sister. Fed up with Ellen's inability to change, her step-mother seeks the help of a renowned new doctor (Keanu Reeves) to enroll Ellen in a different kind of therapy in hopes of curing her anorexia once and for all.

Some of the structure of To The Bone feels somewhat familiar, while other parts feel fresh.  The movie follows Ellen as she struggles to feel at home with the new system she's entered, yet is able to bond with some of the people around her...which feels like something I've seen before in many an indie film. However, I don't feel like I do see many films that tackle anorexia so I appreciated having a window to look through and learn more about the mindset of someone who struggles with that. What makes the movie work though is the wit of the script combined with Lily Collins wonderful performance. She gives her all to the role, including dangerously transforming her body for it. The family aspect of the film I enjoyed, but for some reason I never really felt much of a connection to the other girls (and guy) that were also in the program with Ellen. One storyline includes a romance that the film kinda hinges on, and I just couldn't buy it. While not everything in this film works for me, Collins' performance makes the film worthwhile.

To The Bone is a nice dramedy, but didn't exactly break new ground for me. If some of the supporting parts had had either a different person cast or more depth to them, I probably would have liked the film more as a whole, because I would have bought how much these relationships affected her. Still, there's plenty here that's worthwhile to see from Collins' performance to the insights of anorexia as well as the extreme harm of unresolved family stress. EMILY RATING: 8/10


Sundance Review: Mudbound

Mudbound is the story of two families whose lives we see moments of before, during and immediately after World War II. These families face many differences in privilege because one family is white and owns a farm, while the other is black and works hard on that farm for their means of living. The film is set in Mississippi where racial tensions were beyond high. On my Twitter feed after seeing Mudbound, I saw someone describe the film as captivating. I found it to be completely the opposite, that is until the last 15 minutes or so. Most of the film is a quiet ponderous drama, until some crazy stuff goes down near the end.

I'll be honest, sometimes viewing conditions can really taint how you experience a film. In this case, I saw Mudbound late at night and was pretty tired. I needed something gripping to pull me in, and that didn't happen early on. Also, I ended up in the balcony seating area of the theater I was in, which happens to have the most uncomfortable seats known to man. I wanted to focus on the film, but my discomfort and lack of leg room was more prevalent. As a result, I really felt the slow pace of the film, and it was hard to watch. However, taking a step back and looking at it, I realize that I'm not being very fair to the film.

Mudbound was based on a book and you can tell. There's so many characters and so much story to tell, the film picks and chooses what to focus on and some things are spread a little thin. It would be interesting to read the book to fill in the missing gaps and see things from a deeper perspective of the characters. The film just grazes the surface, but still manages to do a pretty strong job at that. Mudbound benefits from a solid cast, and I really can't think of a weak link within it. The characters are all very interesting and we get to see them against a backdrop of a time and place that together has seldom been explored in film. Mudbound is a solid film, but not as riveting all throughout as I hoped. EMILY RATING: 7.5/10. (But could possibly raise after a second viewing.)


Sundance Review: Ingrid Goes West

Ingrid Goes West is like All About Eve crossed with Fatal Attraction for the social media age. The film is all about a girl named Ingrid (Aubrey Plaza), who we learn right from the start takes her obsessions with people a little too far. After burning a bridge with her last Instagram idol, Ingrid needs something or someone else to occupy her time. Soon she discovers a new candidate worth stalking: Taylor (Elizabeth Olsen,) a lifestyle photographer with a perfect life. In hopes of becoming Taylor's new best friend, Ingrid takes her inheritance money from her mother's recent passing and moves out west, determined to cross paths with her new fixation.

Director Matt Spicer achieves the nearly impossible task of being able to both balance, as well as rapidly shift between tones that are as different as day and night. Ingrid does hairpin turns from laugh out loud funny and riotous to downright disturbing, creepy and dark with incredible ease for a first time director. These abrupt turns wouldn't work without the fantastic performances of the two leads. They completely transform into their roles and really sell this story as something you could really see happening. Plus, you can tell they're having a great time, which always makes things delightful. O'Shea Jackson Jr, who plays Ingrid's Batman-loving-landlord and admirer may be having the greatest time of all and really steals every scene he's in. He's definitely the most likable character and gives the film its heart when all of the characters around him are pretty much shallow and terrible.

Ingrid Goes West is so messed up, yet so much fun. It's witty and clever, but most importantly it's timely. Even though we've seen this story told countless times before, this time it feels fresh and it feels important-- especially considering how much time we spend on our devices looking at social media. The fact that Ingrid can surprise us at all is a real triumph, the fact that it happens to be a solid hilarious film is just icing on the cake. EMILY RATING: 9/10


Sundance Review: Killing Ground

The premise of Killing Ground is a simple one. A young couple camping in the woods of Australia discovers an abandoned tent near their campsite. When no one comes back to it, they become increasingly concerned, especially when a toddler wanders onto their campground with no parents in sight. With such a simple story, it would be easy for Killing Ground to be generic. Fortunately, the film doesn't tell the story in typical fashion and leave what happened to the other tent a mystery to the end. Instead, the film cuts back and forth between the couple who stumbles onto the scene and the story of the inhabitants of the tent who went missing. In doing so, it ramps up the tension to an almost unbearing degree as you begin to piece together the danger that the protagonists face.

Killing Ground was a difficult film to watch in its raw, brutal depictions of the utterly hideous side of humanity. It made me feel incredibly uneasy throughout, but the level of tension it creates during the final third of the film was almost excruciating. I was so invested in the characters' fates that I found myself anticipating not being able to enjoy the experience as a whole if certain things didn't happen the way I wanted them too. Fortunately, I walked away satisfied with the film, though deeply disturbed by it.

The film works so well because of how it's told, but also how haunting some of the shots are. It also owes a lot to the performances of some of the darker characters (though I won't get into specifics since I don't want to spoil anything.) If any of the performances had been two-dimensional the film wouldn't have worked, and this is especially true of the film's villains. Killing Ground is basically my worst nightmare and at times deeply disturbing to watch, but is incredibly well made as the type of horror film that it is. EMILY RATING: 8/10 


Sundance Review: I Don't Feel At Home In This World Anymore

I Don't Feel At Home In This World Anymore follows the story of Ruth (Melanie Lynskey), a woman who is constantly losing faith in humanity and wonders if there's really a purpose to life. These feelings only escalate when her house gets robbed and local law enforcement doesn't seem too concerned in solving her case and helping her find justice. She ends up finding an unlikely partner in her neighbor (Elijah Wood) and the two decide to take the law into their own hands and teach the people responsible a lesson.

From reading the synopsis of the film, there is no way I could have predicted how funny it would be. There were moments in this film where I laughed harder and louder than I can even remember (well until I saw another movie I'll be reviewing later in the next few days.) Both Melanie Lynskey and Elijah Wood shine in their roles and make a wonderfully hilarious unlikely duo. Wood, in particular had some really great comic timing that got the better of me more than a few times. Once the story really got rolling, I was 100% invested in their crazy journey.

I Don't Feel At Home is an outrageous riot. Much of the humor comes from pure shock value, but because of our connection to the characters, it elevates it from a one-time watch. Luckily for everyone reading this that won't get the chance to see the movie at the festival, they won't have to wait too long to see it before it debuts on Netflix next month. For fans of the rare combination of crime thriller comedies, I definitely recommend it. EMILY RATING: 8.5/10