Hooray! We've finally made it to my last movie recaps from Sundance 2025! Whew! This wasn't even one of my busier years, but it's still been crazy finding the time to recount everything. Now we've just got three more things to recap before I can share my Top Ten films from the festival. THE LEGEND OF OCHI In The Legend of Ochi , a young girl named Yuri (Helena Zengel) was raised by her father (Willem Dafoe) to fear mysterious creatures called the Ochi. One day when she finds a lost and wounded baby ochi in the woods, she's determined to reunite him with his family, no matter the danger she might face. In defiance of her father, she sets forth on an adventure that will change the way she views the world around her forever. From a visual standpoint, The Legend of Och i is a stunningly lush film full of beauty and wonder. Unfortunately, it suffers from some other issues that dull its magic. Instead of fully immersing us in the story’s lore from the get-go, we instead are given some clunky exposition that totally drags everything else down. While the creature design is admittedly adorable and endearing, the human characters are less memorable, with Willem Dafoe being the only one trying to breathe any life into things. For a kids' film, this definitely could have used more levity and depth to the characters to make this more than just a good-looking movie. The potential was here for a new children’s classic in the vein of ET, but sadly, it will be soon forgotten. RATING: 6/10 THE PERFECT NEIGHBOR In the documentary The Perfect Neighbor, police body cam footage from a two-year period shows us the escalation between a Florida woman and her neighbors--and how it led to a tragic end. Susan Lorincz is the neighborhood Karen in a small Florida town, who constantly wants to speak with the manager over every little inconvenience--only in this case the manager is the police. She's a curmudgeonly lady who may have seen Gran Torino one too many times, as she can't stand any of the neighborhood kids coming near her yard. After years of the police failing to resolve her disputes in her eyes, she is emboldened by the "stand your ground" law to take matters into her own hands. Comprised almost entirely of body cam footage and police interrogations, director Geeta Gandbhir chooses not to fall back on the standard tricks that other true crime documentaries thrive on (techniques which are discussed ad nauseum in fellow Sundance doc The Zodiac Killer Project ). There are no cheesy re-enactments here, or tearful sit-down interviews with the people close to the case--just the actual footage of what went down. Because it's not quite so glossy, it really requires more attention to focus on some details that might seem mundane. But it doesn't take long before the viewer is sucked into this harrowing story and completely invested in what will happen at every turn. RATING: 8.5/10 HAL & HARPER Siblings Hal & Harper are twenty-somethings who were forced to grow up a little too early, due to a rough childhood. The two reflect on their past and contemplate their futures, in the midst of all of their current hurdles. For the first time in my Sundance-watching career, I watched not just a TV show...but an entire season of said show. After watching Hal & Harper , I can't help but wish that it was a movie instead! Granted, I might have felt differently if I could have absorbed this over the same amount of time I would normally digest a show's season, rather than all in one sitting. Hal & Harper requires a lot of reflection between episodes, which I didn't really have time to do. But even so, it doesn't really have the feel of a TV show, as it feels incredibly cinematic by nature. It felt more like watching a long uncut version of a film, as opposed to an episodic show. Yes, I'm harping (no pun intended), on this a lot...but mostly because I think I would have really loved this if some of the fat had been trimmed and it was a little more succinct with what it had to say. Still, there are so many good things here and I'd love to watch it again and spend a little more time reflecting on each episode the second time around. I loved Cooper's last Sundance film Cha Cha Real Smooth and here many of the same things I loved about that film are present here. The show has well-drawn characters and very fine performances from the actors who play them. Cooper takes less of the center stage here and defers the spotlight to his television sibling Harper (Lili Reinhart) who is absolutely wonderful in the role. Mark Ruffalo too does a really nice job here in a supporting role playing their father who still has a hard time letting go of the past. RATING: 7.5/10 Hooray! That's it for my recaps of the 2025 Sundance Film Festival. Be on the lookout soon for my Festival Wrap-up & Top Ten list.

Saturday I got to see one of my strongest lineups of the festival with four films that I was REALLY excited for (all but Sorry, Baby were featured on my Top Ten Anticipated list for the fest, and honestly that film almost made the list but I didn't know what else to write about besides the fact that the still featured an adorable baby kitten and I was instantly sold). So let's take a look at my thoughts on a few of the most buzzed-about movies of the festival. SORRY, BABY The synopsis in the Sundance guide for Sorry, Baby was incredibly vague: "Something bad happened to Agnes. But life goes on - for everyone around her, at least." Yet as I mentioned, it was still on my radar for the still alone. I will take any opportunity to see if I can find another worthy addition to cat cinema. Once Sorry, Baby premiered the buzz was instantaneous and the hype was through the roof. You can't just mention Sundance greats like Past Lives , Call Me By Your Name, and Past Lives in passing and not massively raise expectations. While I still recommend that viewers temper those expectations for best results, I can add another voice to say that this film is exceptional. Writer, director, and star Eva Victor crafts a funny and poignant tale about one of the hardest things a woman can go through, and how one might attempt to pick up the pieces of their life afterward. It's an extremely delicate topic that Victor handles with finesse-- mastering a balancing act of a wide spectrum of complex emotions that both the characters and audience truly feel. In one moment it can be harrowing, while the next might be hilarious. It is truly impressive for a debut feature to have such a handle on juggling so many competing tones so flawlessly, but Victor really makes it look easy. I loved this film all the way through (and yes, for cat lovers you can rest assured the cat moments were marvelous), but it was the ending scene that really clinched it as an all-timer. It doesn't lead up to some grand reveal, but rather an unassuming moment of relatability that endears you to the film. Excited to see the reception for this film when it's released wide, as well as whatever Eva Victor chooses to do next! RATING: 9/10 TWINLESS After unexpectedly losing his identical twin brother Rocky, Roman (Dylan O'Brien who plays both characters) finds an unlikely replacement in Dennis (James Sweeney, who also wrote and directed the film), a man he meets in a twin bereavement group. The two are total opposites-- Roman is tough, surly, and not too bright, while Dennis is a gawky gay man with acerbic wit. Together they must navigate the grief of their respective losses alongside feeling out their growing friendship. Twinless is a very solid dramedy that will surprise you. Both actors are very good here but Dylan O'Brien really shines in what is easily his finest work to date. Meanwhile, James Sweeney shows a lot of promise as a director. One of my favorite scenes in the film coincidentally recalls one of my favorite scenes from (500) Days of Summer (which longtime readers will know is my all-time favorite movie). It's not identical to the Reality vs Expectations scene, but the party scene in Twinless has a kindred feel and analogous results for the characters. Like Eva Victor's debut with Sorry, Baby , Sweeney's sophomore feature similarly does a nice job of balancing tones here... though I do wish that some loose threads had maybe been a bit more neatly tied up by the end. Still, there's just so much to like here. RATING: 8/10 OPUS A reclusive pop legend from 30 years ago (an eccentricly delicious John Malkovich) invites a small group of journalists to his remote compound for a sneak peek at his new album in Opus . Among the group is a young journalist named Ariel Ecton (the always amiable Ayo Edebiri) looking for her big break. Though she's the least seasoned one of the bunch in their career, Ariel is the only one with a discerning enough eye to notice that things are not what they seem. Though her colleagues and peers are taken in by the famous Alfred Moretti's pageantry, Ariel is determined to discover whatever the truth might be that is hiding under the surface. The central concept in Opus has certainly been done before (Twitter likes to bring up The Menu for this discourse, but I'll also add Blink Twice here as another example), where our main everyman character gets invited somewhere both elite and exclusive, while something nefarious is happening behind the scenes. Opus is helped by some nice leading actor performances, and hurt by pretty much everything else. John Malkovich and Ayo Edebiri are great together and certainly are doing their part to try to make this film stand apart, but unfortunately, they have to compete against the film's sluggish pacing. It takes way too long to get the story going, then once it finally gets momentum it rushes to the finish line. It all makes for a less-than-satisfactory horror film, but it does have its moments! Thanks to the efforts of the cast I was still able to have a fun time, even if it didn't come close to my expectations. RATING: 6/10 TOGETHER Longtime couple Millie (Alison Brie) and Tim (Dave Franco), hope their move to the countryside will bring them closer. After many years together, they've lost some of the intimacy they once had, and have found their relationship has become stagnant--more often than not slipping into co-dependency. Soon after the move, they find more than they bargained for after mysterious things start happening to the two of them. Together is an absolute blast of a horror film, that I'm trying very hard to say little about to preserve its many surprises. Each year I come to Sundance hoping one of its Midnight selections will deliver the goods and Together delivered. In addition to the fantastic gross-out body horror you've probably heard mentioned in other reviews, there are also real moments of suspenseful terror, as well as some genuine humor. Alison Brie and Dave Franco are so good here, lending their real-life closeness to their characters. Incredibly, this film is yet another debut feature, this time for writer/director Michael Shanks. He is a promising talent, who hopefully has much more horror in store for audiences in the future. With so many great films I saw, this one somehow edged out everything to become my favorite. See it with a date when it comes out in August because it will be the date night movie of the year. RATING: 9/10 Okay, just a few more films to recap before my final wrap-up! Bear with me, we're almost done!! Check back soon for more Sundance coverage!

Now that the dust has settled after the Sundance 2025 Film Festival has come to a close, I have to say this was definitely a stronger festival than last year's with a really strong selection of films overall. There were very few movies I didn't enjoy on some level (I'm looking at you By Design ). Here are the ten that I loved the most. I can't wait for more audiences to get to enjoy these, hopefully sooner rather than later. 10 - THE UGLY STEPSISTER This dark retelling of the classic Cinderella story is not for the faint of heart, but horror fans (even though this isn't strictly horror at all), will be delighted. I love how we get a different perspective on the fairytale without completely betraying the story we all know and love. Lea Myren makes for a sympathetically awkward protagonist who desperately wants a better life for herself and is convinced the only way she can obtain it is by catching the eye of the prince. The fun (if we can call it fun) is just seeing the lengths she'll go to make that wish come true. You can find more of my thoughts on The Ugly Stepsister HERE 9 - OH, HI! Now, I know this film got a lot of mixed reviews from people who saw it, but I gotta say the group I was with all LOVED this. Molly Gordon and Logan Lerman have such great chemistry, and the movie is really hilarious. As I said in my original recap HERE it really is a movie where you have to suspend disbelief and just roll with how absurd it all is. Look at it as a funny commentary on dating in the digital age where one person is commitment-phobic while the other is all too ready to settle down, and not anything too literal. For anyone who has been there where they felt they'd do anything to make something work, to make someone like them... they'll get it. 8 - TWINLESS This dramedy starring Dylan O'Brien and James Sweeney was one of the most well-received movies at the festival and for good reason. This story of two unlikely friends who meet in the most unexpected of places (a twin bereavement group), is both earnestly funny while simultaneously providing us with a portrait of real grief. This film goes to some interesting places and I'm really excited for more people to see this one and the discourse it will inevitably bring forth. To read more of my thoughts on Twinless click HERE 7 - IF I HAD LEGS I'D KICK YOU Rose Byrne gives a career-best performance in this anxiety attack of a film about motherhood. This is definitely not an easy watch, and certainly not a movie for everyone. Even as a mother who could relate to her struggles and feel some sympathy, it was incredibly hard seeing the character make such destructive choices over and over. At times it felt like an endurance test to see how much of my own goodwill she could squander throughout the course of the film. But the last shot of the film brought it all into focus for me and was the beating heart the film had been looking for all along--really reminding the audience of the reason why moms go through all the hell that they do. To read more thoughts on If I Had Legs I'd Kick You, click HERE 6 - THE PERFECT NEIGHBOR This documentary comprised of police body camera footage chronicles the escalating arguments that led to a tragedy between one cantankerous woman and the neighbors who crossed her. I don't always go for documentaries at Sundance, but when this one started getting some buzz I had to check it out...and I'm so glad that I did. This is not a mindless true crime documentary, but a thoughtfully told real-life story about prejudice that is unfortunately all too common. It sucks you in too its storytelling, and by the end, you're so much more invested than you ever realized. To read more of my thoughts on The Perfect Neighbor click HERE . 5 - TRAIN DREAMS Train Dreams is a meditative drama whose slow pace may turn away viewers (especially casual Netflix watchers who are only half paying attention...which unfortunately may be the film's exact fate). But patient audiences will be rewarded with a gorgeous film in every sense of the word. With beautiful performances, stunning cinematography, and an affecting score, Train Dreams will stay with you. For more of my thoughts on Train Dreams , click HERE . 4 - THE BALLAD OF WALLIS ISLAND Of all the films on this list (apart from maybe my top pick), I am the most excited to see this one again. The Ballad of Wallis Island is a continuously funny film that's all but guaranteed to put a smile on your face at some point. It has such a wholesome and hopeful quality to it that is so rare in a movie these days; it truly feels like a gem. Luckily we won't have to wait long for this one as it is due in theaters sometime this Spring. For more thoughts on The Ballad of Wallis Island click HERE . 3 - SORRY, BABY Sorry, Baby is another one of the most hailed films of the festival, with many critics heaping praise for Eva Victor's debut film. I'll echo their sentiments and count myself as someone who will be watching Eva Victor's career with great interest. Sorry, Baby proves Eva is a true talent, in writing, directing, and acting. It's a powerful film that's both deeply affecting and genuinely hilarious. To read more of my thoughts on Sorry, Baby click HERE 2 - OMAHA Omaha is a deeply beautiful film filled with such heartbreak that I still haven't been able to shake it. This story and the three incredible performances at the center of it have stayed with me to the extent that I found it difficult for any other movie to surpass it. This is one of those movies that as Roger Ebert eloquently put it is "a machine that generates empathy." On paper, a story like this translates so much differently to how it is pulled off on screen, but here we're put into the shoes of a desperate man and asked to sympathize with situations that we might not otherwise ever understand. I can understand the aversion some might have for this just being too much, but I appreciated the filmmakers being willing to tell this story. To read more of my thoughts on Omaha click HERE . 1 - TOGETHER I was really not expecting this to be my top film out of Sundance, but I just had such an absolute blast with this that I couldn't see myself picking anything else in the top spot. This body horror film about a co-dependent relationship taken to the next level is equally funny, horrific, and thrilling. Alison Brie and Dave Franco's real-life familiarity translates effortlessly here and lends their characters some lived-in legitimacy. They're great together and really sell this premise in a truly committed way. I honestly can't wait to see it again. For more of my thoughts on Together click HERE . And with that, I can now finally, at long last declare a wrap on my Sundance 2025 coverage! So fare thee well Sundance, I hope next year is not our last.

The 2025 Sundance Film Festival has finally come to a close, but I still have so many more movies to recap (at least two more posts worth...) and a final wrap-up, so please bear with me while I get through them all!!! Here are the films I saw last Friday. IF I HAD LEGS I'D KICK YOU If I Had Legs I'd Kick You is certainly one of the more difficult films to both watch and reflect upon for this year's fest. Rose Byrne gives a tour de force performance as a mom named Linda who is way in over her head. Her life is one mounting pressure after another, with a daughter ill and struggling to put on weight, an absentee husband who is gone for months at a time, a house that's literally falling apart, and a job as a therapist where she takes on even more problems from all her clients. The crushing weight never seems to let up on her and Linda can't help but succumb to all her worst impulses, just so she can have a chance to be the one thing mothers never get to be: selfish. I saw this film described as Nightbitch meets Mother! and I have to say, it is an apt comparison! Director Mary Bronstein is very intentional with each decision here to maximize the audience's ability to understand the absolute anxiety of a mother with too much on her plate and no one to help. The hard part of this film for me wasn't so much all of Linda's difficulties, but seeing her act so destructively during it. She wasn't the easiest character to sympathize with as she's always making horrible decisions, but I understood it as all a part of her journey. As a fellow working mother, I could totally understand where she was coming from, even if I winced at many of the reckless choices she continued to make. Without getting too much into it since I don't want to spoil anything, there was a particular decision I noticed very early on with a certain character that really emphasized how much stress this character put on Linda, without seemingly contributing much else to her life. However, the ending clicks in place when that character is fully revealed, and we again are reminded why mothers endure all that they do; for the love of their children. RATING: 8/10 SUNFISH (& OTHER STORIES ON GREEN LAKE) Sunfish (& Other Stories on Green Lake) starts strong, with a young girl named Lu (Maren Heary) being unceremoniously dropped at her Grandparents' house for two weeks while her mom enjoys her honeymoon with a guy Lu can hardly stand. Her grandparents Nan (Marceline Hugot) and Pop (Adem LeFevre) live a relaxed life filled with lounging and bird watching in their house that overlooks the beautiful Green Lake. It's a common coming-of-age story, yet even in a short amount of time it had a lot of potential to stand apart... that is until we moved on to the next story. You see, Sunfish is an anthology, which hey... I love a good anthology, but in this instance, it left me feeling cold. After starting with a story with so much promise, and then moving along to one vignette after another, each time felt frustrating and worse forgettable. It especially didn't make sense to me when the first story was set up so well that it could easily be a narrative that then weaves in all these other stories by simply having this newcomer meet and interact with all the other characters in various encounters during her short time at the lake. Overall, as is the film felt pleasant but uneven, with each story feeling a little less inspired than the last. I really wish I could have loved this more, as coming-of-age Sundance tales are some of my very favorites. RATING: 6/10 LURKER One day, awkward retail worker Matthew's (Théodore Pellerin) life changes forever when a burgeoning pop star named Oliver (Archie Madekwe) comes into the shop. Though he's actually well acquainted with his music, Matthew plays aloof and impresses Oliver with their seemingly coincidental interests and tastes. Soon he's invited into the coveted inner circle and he finds that once he gets a taste of being near stardom, he will go to any lengths to keep that proximity--no matter how extreme they may be. The end will justify any. means. Lurker is a somewhat familiar tale of obsession. It's not reinventing the wheel, but it does effectively hit the story beats we've come to expect in a satisfying enough way. Plus the performances here are quite good, particularly from Théodore Pellerin, who conveys so much with just his eyes. He takes a role that in someone else's hands could be very over the top, yet he somehow manages to never overact. I especially appreciated the ending in making this film stand apart from other films like it, particularly as it perfectly speaks to the nature of each character. RATING: 7/10 KISS OF THE SPIDER WOMAN Kiss of The Spider Woman takes place in Argentina during a period of civil unrest, as a radical revolutionary named Valentin (Diego Luna) is being imprisoned and tortured. The warden is hoping someone can get some information out of him about his cohorts and promises another prisoner named Luis (Tonatiuh) freedom if he becomes an informant. The two become cellmates and unlikely friends when the flamboyant Luis instead of pumping him for information, starts recounting the plot of one of his favorite golden age musicals starring his most beloved old Hollywood starlet Ingrid Luna (Jennifer Lopez). He recasts himself and Valentin in the roles alongside Ingrid Luna and we witness this spectacle intercut with the dreariness of the prison cell as the two men grow closer and start confiding more in one another. I found Kiss of the Spider Woman's musical sequences to be a glorious throwback to old-school musicals, with fabulous lighting, costumes, and choreography. Jennifer Lopez and Tonatiuh both really give their all to every number, and their scenes are definitely the highlight of the film! The prison scenes are good, particularly because of the strong bond between Luna and Tonatiuh, but towards the third act, you can't help but feel that the whole thing should be a bit tighter. Still, Kiss of the Spider Woman was impressive and felt like the film Emelia Perez is trying to be. RATING: 7.5/10 Whew! Okay a few more films to recap and then I'll share my top ten from the fest! Stay tuned!

The festival is nearly over now, with only one final day left for movie-watching. I'm way behind on recaps, so it's time to start chipping away at my recap list. OH, HI! Molly Gordon and Logan Lerman play a couple named Iris and Isaac who have a disagreement during their first vacation together. The disagreement? Whether or not they're actually a couple. Iris refuses to give up on the relationship and uses some unconventional methods with the hopes of convincing Isaac that they are meant to be. Meanwhile, her tactics only seem to be having the opposite effect on Isaac, creating a wedge that could be insurmountable. A lot of suspension of disbelief is required to truly enjoy Oh, Hi! The movie goes to some truly absurd and far-fetched places that can easily lose the viewer. But if you're willing to go with it, it's a lot of fun! Molly Gordon and Logan Lerman play off each other very well and have a nice, easy chemistry that feels so relaxed despite all of the crazy things that are asked of them. To me, their performances made this work, as well as the commentary on men and women in relationships during this digital age. RATING: 7.5/10 THE THING WITH FEATHERS Benedict Cumberbatch plays a widower who finds his grief manifest in peculiar ways in The Thing With Feathers. After his wife’s sudden and tragic death, Benedict’s character simply known as Dad, takes to drawing to let his emotions out. Each time he draws, one recurring subject haunts his work: a big black crow. Soon this creation starts haunting him and his sons during their waking life and no matter what they do, they can’t seem to be rid of him.  The Thing With Feathers is a great showcase for Benedict Cumberbatch’s talents as he gets to portray both a grieving widower as well as the voice of his monstrous creation. He’s excellent here, but unfortunately, the rest of the film around him is a bit of a mess. The big problem with Feathers is that it clumsily tries to shift too many tones all at once. It never knows when it wants to commit to pure horror (it has real shades of The Babadook at times…) or, more often than not, psychological drama with random bits of comedy. It all feels too jarring, and like it’s trying to bite off more than it can chew and leaves the metaphor feeling a bit heavy-handed. While it has many impressively breathtaking sequences, it’s just too uneven overall for me to love. RATING: 5/10 TRAIN DREAMS Train Dreams follows the life of a man named Robert Grainier (an understated yet magnificent Joel Edgerton), as he attempts to build a home and provide for his young family during the early 1900s. He leaves his town in Idaho and travels to the Pacific Northwest, working on the railroad to expand access for travel to everyone in the country. His wife Gladys (Felicity Jones) hates that he has to be away for months at a time, but Robert assures her there is no feasible alternative. But after an unspeakable tragedy, Robert closes himself off to the world and has to reconcile his life to a new reality he never imagined.  Train Dreams is a beautiful, contemplative film in every way. With lush cinematography, a haunting score, and beautiful, poignant performances; there is just so much to love here! I honestly hesitate to say too much more because I don't want to spoil the treasures this film has to offer. But suffice it to say, this movie is wonderful and should be seen as soon as it's released. RATING: 8/10 We'll stop there for now, but come back soon for more Sundance recaps!

It's time for another quick Sundance recap! I'm a bit slower at racking up films this year than usual, but will ramp up the movie-watching through Sunday to fit in as many as I can before the festival ends. ATROPIA Alia Shawkat plays an aspiring actress named Fayruz who lives and works inside a war simulation training camp lovingly called Atropia during the early oughts. Every day, she attempts to give her finest performances, though no talent scouts are ever there to see. She does it simply for the love of the craft. One day, when a former Iraqi soldier joins the cast and crew, Fayruz feels an instant connection that she should probably at least attempt to keep in check...but she just can't help herself. Atropia is a straightforward and light satire comedy, opting not to wade into deeper commentary. It's more interested in drawing out the humor of these scenarios and pointing out their absurdities than having anything to say about them, and its pretty aimless in doing so. Still, I had fun with the film, even when not all of the jokes or gags landed (though it must be said, the secret cameo near the beginning definitely had me chuckling). What works is largely due to Alia Shawkat's dedication, and I gotta give her props for that. RATING: 6.5/10 THE BALLAD OF WALLIS ISLAND Two former bandmates (and lovers) reunite to play a private gig at the home of a wealthy lottery winner superfan (Tim Key) in The Ballad of Wallis Island . Herb McGwyer (Tom Basden) and Nell Mortimer (Carey Mulligan) split up professionally and romantically almost a decade ago and haven't spoken to each other since they parted ways. Herb moved on to a solo career, while Nell gave up music to focus on a new partner. Forced under the same roof, they do their best to attempt to recapture the magic they once created effortlessly for the sake of their concert, all while under the watchful and prying eye of their goofy number one fan. The Ballad of Wallis Island is the type of movie I come to Sundance for; the warm, delightful kind of film that I can recommend to anyone and everyone. I've already seen a dozen John Carney comparisons (a compliment of the highest order), and they're absolutely earned as Ballad is a music-focused charmer that leaves you with a smile on your face long after it's finished. Oh, and it features a lovely soundtrack too. The cast is fairly small, but everyone is terrific here, with Tim Key and Tom Basdan's butting-head banter being one of the essential ingredients to the film's success. RATING: 8.5/10 That's it for now, but check back soon for more recaps!

Another year of Sundance is finally almost upon us! Tomorrow is the day, but first it's time for a sneak peek at the ten films that have me the most excited for the 2025 edition of the fest. We'll work our way up to my most anticipated and start with number 10! So without further ado... 10. TOGETHER SUNDANCE SYNOPSIS: With a move to the countryside already testing the limits of a couple’s relationship, a supernatural encounter begins an extreme transformation of their love, their lives, and their flesh. Writer-director Michael Shanks approaches horror with a devilish exuberance that relishes in creating wildly expressive nightmarish moments. His feature-length directorial debut pulls off an impressive progression of body horror freak-outs as it follows a dysfunctional couple’s big move away from the city to a more isolated existence. As they lose contact with home, friends, and their sense of self beyond their troubled dynamic, Shanks’ clever script grounds their emotional turmoil within its extreme take on the horrors of codependent relationships. With this couple, things will have to get worse — like a lot  worse — before they get better. Bringing an unquantifiable chemistry to their roles, Dave Franco and Alison Brie give their all to this freakish world, diving headfirst into a physical and emotional maelstrom.— Charlie Sextro WHY I'M INTERESTED: While I wasn't keenly impressed with the last time real-life couple Alison Brie and Dave Franco worked together in Franco's 2020 project The Rental , I'm still keen to see them working together again in another horror film. Let's just hope this one is tighter all around with a different writer & director involved (sorry Dave). For more information & showtimes click HERE 9. IF I HAD LEGS I'D KICK YOU SUNDANCE SYNOPSIS: With her life crashing down around her, Linda attempts to navigate her child’s mysterious illness, her absent husband, a missing person, and an increasingly hostile relationship with her therapist. In the second feature film from writer-director Mary Bronstein, life’s responsibilities pile up — parenting alone, house is a construction zone, countless doctors visits, no available parking — all of which grows into an anxiety that overwhelms every aspect of our protagonist’s life. The audience is pushed into a downward spiral of motherhood where there is never any solution or support in sight. But as its title suggests,  If I Had Legs I’d Kick You  is also very funny — very darkly… bizarrely… uncomfortably funny. Rose Byrne’s lead performance brilliantly rides the edge of exhaustion and delirium, bouncing between the pressures of her life that includes two character irritants played by Conan O’Brien and A$AP Rocky, who have memorable supporting roles.— Charlie Sextro WHY I'M INTERESTED: As someone whose life currently revolves around motherhood and knows how utterly exhausting it is, I'm very curious to see the perspective this film will take. Plus, I absolutely adore Rose Byrne and think she should just be in pretty much everything. Also gotta say I'm very curious how Conan O'Brien will fare in this supporting role! Sadly, this one's showtimes pretty much conflict with my entire schedule, so unless a scheduling miracle happens, I may be waiting a long time to see this one. For more information & showtimes click HERE 8. TRAIN DREAMS SUNDANCE SYNOPSIS: Robert Grainier is a day laborer building America’s railroads at the start of the 20th century as he experiences profound love, shocking defeat, and a world irrevocably transforming before his very eyes. Adapted from Denis Johnson’s novella, Train Dreams  finds its center in the mesmerizing figure of Grainier (Joel Edgerton). An ordinary man, a logger, a husband, and a father, Grainier’s life unfolds amid the vast wilderness of the American West — the age of the locomotive, the country’s epic expansion. Despite that grandeur, the film’s lens is focused and intimate. Filmmaker Clint Bentley brings a naturalism to this historical drama, love story, and metaphysical meditation that wrestles with our sense of being , and how we reconcile the immensity of our lives with our barely discernible place in the world, the forces of nature, and the sweep of history. A humble, passively curious man, Grainier is haunted by his past, bewildered by the changing world, and mystified by his own fleeting existence.— John Nein WHY I'M INTERESTED: I love a good period drama with a side of romance! And as far as carrying out such a story, the film is in more than capable hands with Joel Edgerton and Felicity Jones in the lead roles. This backdrop is an interesting one too, where the circumstances around them could be either bleak, or filled with pure innovation. For more information & showtimes click HERE 7. THE BALLAD OF WALLIS ISLAND SUNDANCE SYNOPSIS: Eccentric lottery winner, Charles, dreams of getting his favorite musicians, McGwyer Mortimer, back together. His fantasy turns into reality when the bandmates and former lovers accept his invitation to play a private show at his home on Wallis Island. Old tensions resurface as Charles tries desperately to salvage his dream gig. There is no more picturesque location to set a charming British comedy than this fictional remote Welsh island. It’s a romantic locale that sets the scene for the remarkable chemistry that longtime comedy partners Tom Basden and Tim Key ( Two Films About Loneliness , 2015 Sundance Film Festival), who write and star here, have developed with each other. For  The Ballad of Wallis Island,  Basden and Key reunite with director James Griffiths to adapt the trio’s 2007 shor t film, The One and Only Herb McGwyer Plays Wallis Island. To perfect their winning formula this time around they’ve invited a dream duo of actresses Carey Mulligan and Sian Clifford to come play in their sandbox, creating a tale so humorous and lovely that you’ll be humming its songs long after the credits roll.—Charlie Sextro WHY I'M INTERESTED: This premise kind of reminds me of a past Sundance film I adored, Juliet, Naked. If Wallis Island is even half as charming as Juliet, Naked was we're in for a treat. Not to mention we have the lovely and talented Carey Mulligan in one of the lead roles. She brings so much to everything she's in, I can't wait to see her work here. For more information & showtimes click HERE 6. TWINLESS SUNDANCE SYNOPSIS: Two young men meet in a twin bereavement support group and form an unlikely bromance. Writer-director-actor James Sweeney’s bittersweet tale of trauma-bonding friendship is a smart comedy willing to confront themes like loss, loneliness, and codependency head-on. Sweeney scripts a slippery narrative to mirror his emotionally damaged characters as they struggle for connection, revealing painful personal truths along the way. With his Sundance debut, Sweeney shows major promise both in front of and behind the camera. Dylan O’Brien returns to the Festival after starring in the 2024 U.S. Dramatic Competition entry Ponyboi . O’Brien has quickly established himself as one of the great new actors of his generation. With Twinless  he continues to impress, showing an acting range not only in characters but also between the film’s comedic voice and tender heart.— Charlie Sextro WHY I'M INTERESTED: The plot in this one is so intriguing and has so much potential to be both a solid film and a huge Sundance hit. There may be a bit of a balancing act here with the tones this one tries to tackle, but I'm hopeful it can pull it off. Excited for Dylan O'Brien to flex some acting muscles here. For more information & showtimes click HERE 5. THE THING WITH FEATHERS SUNDANCE SYNOPSIS: Struggling to process the sudden and unexpected death of his wife, a young father loses his hold on reality as a seemingly malign presence begins to stalk him from the shadowy recesses of the apartment he shares with his two young sons. Two-time Sundance Film Festival alum Dylan Southern’s ( Shut Up and Play the Hits , 2012; Meet Me in the Bathroom , 2022) adaptation of the acclaimed Max Porter novella Grief Is the Thing with Feathers  artfully emphasizes the transformative and terrible momentousness of one family’s bereavement. The film’s inspired execution of the physical manifestation of their grief on screen creates an exquisite visual rendering of the sinister reality dominating the family’s unkept home and shattered lives. Benedict Cumberbatch submerges himself in his performance of a shell-shocked father while the film juxtaposes his character’s altered reality with that of his two vivacious boys. The sons, played with sensitivity by Richard and Henry Boxall, grapple with both the enormity of their loss as well as their unmoored father’s attempts to carry on parenting them alone.—Heidi Zwicker WHY I'M INTERESTED: I'm not sure how much this film will lean into horror since Sundance doesn't label it as such, but from its description, it certainly seems like it may go that way. But whether or not it has a horror element, it will be nice to see Benedict Cumberbatch in a meatier role than what he gets to do with his recurring superhero character in a franchise that will not be named. For more information & showtimes click HERE 4. THE LEGEND OF OCHI SUNDANCE SYNOPSIS: In a remote village on the island of Carpathia, a farm girl named Yuri is raised to fear an animal species known as Ochi. But when Yuri discovers a wounded baby Ochi has been left behind, she escapes on an adventure to bring him home. Where adventure, wonder, and magic converge, the Ochi reside. Writer-director Isaiah Saxon crafts a world that’s rife with imagination — a paradise for fantastical creatures and humans alike, though not without a little danger. Dense forests and alpine terrain give way to one girl’s culture-shifting bravery that serves to light a fire in the parts of us that are keen to go against the grain. Helena Zengel delivers an impassioned performance of defiance and care, opposite the ever-animated Willem Dafoe, her Ochi-crazed father.  Ochi is an environmentalist’s tale, a family’s tale, an animal lover’s tale, and more — reminiscent of our favorite (and now seldom-seen) fantastical family adventure films. The Legend of Ochi  is an adventure in the purest sense, suitable for and sure to enliven most audiences.— Cameron Asharian WHY I'M INTERESTED: It's rare (if ever???) that A24 has ventured into distributing family releases, so I have to think that this one has gotta be really good right? Very rarely are trailers available to view before Sundance for the films premiering (though for this year, three films on my list actually already have trailers!), and even when they are I try to avoid them to preserve the Sundance experience of going in knowing very little. But since there was one available for this film and I was debating bringing my daughter along, I decided to check it out to make sure it didn't look too scary. I was happy to discover that The Legend of Ochi , looked to be a beautiful fantasy adventure for the whole family. While those films aren't completely extinct these days, really well made ones are few and far between... so I'm hopeful that The Legend of Ochi can capture some magic and wonder that's desperately needed in this genre. For more information & showtimes click HERE 3. OH, HI! SUNDANCE SYNOPSIS: Iris and Isaac’s first romantic weekend getaway goes awry. This romantic comedy of miscommunication and mismatched expectations basks in the magnetically charged opposites-attract chemistry between Iris (Molly Gordon) and Isaac (Logan Lerman). When their relationship swiftly unravels, Iris’ desperate hope that her beau’s reluctance to commit is merely curable confusion leads her to take increasingly unhinged actions to solidify her hold on Isaac’s heart. Writer-director Sophie Brooks maintains a sense of cheeky, off-kilter whimsy and twisted humor as the couple’s complete inability to read one another leads to an escalating series of potentially perilous misunderstandings. Oh, Hi! draws us into the pair’s smitten rendezvous at a gorgeous rustic farmhouse amid a picturesque, bucolic landscape, cleverly setting an alluring and refreshing romantic scene before abruptly upending it and sending Iris, Isaac, and the audience hurdling into the emotional chaos that ensues.— Heidi Zwicker   WHY I'M INTERESTED: This simple premise can go so many different ways, and I'm really excited to see which way this one goes. The Sundance entry genre tags give some clues, but you never know what surprises are being preserved. Whatever it is, I can't wait to find out. For more information & showtimes click HERE 2. RABBIT TRAP SUNDANCE SYNOPSIS: When a musician and her husband move to a remote house in Wales, the music they make disturbs local ancient folk magic, bringing a nameless child to their door who is intent on infiltrating their lives. Set in 1976, writer and director Bryn Chainey’s extraordinary debut feature invokes the eerie spirit of British folk horror, conjuring supernatural dread in a fecund Welsh forest. Obsessive avant-garde musician Daphne (Rosy McEwen) toils over reel-to-reel tape machines and oscillators in their cottage while her withdrawn husband, Darcy (Dev Patel), collects field recordings in the nearby woods. Their activities draw the attention of a mysterious young rabbit trapper (an unnerving Jade Croot) who beguiles them, disturbing their fragile peace.  Rabbit Trap casts a spell of haunted sensuality and submerged trauma through cinematographer Andreas Johannessen’s tactile 35mm images, and a synesthetic soundscape made in collaboration between composer Lucrecia Dalt and sound designer Graham Reznick. Patel and McEwen are quietly moving as the young couple, grounding this otherworldly fable with a portrait of a marriage sustained through fraught intimacy and restless creative collaboration.— Matt Cornell WHY I'M INTERESTED: Horror films at Sundance will ALWAYS have my attention, but you put Dev Patel in this and it instantly jumps to the front of the list. Dev's film choices in the last few years have been filled with banger after banger, so I expect no less with this one. The premise sounds like fun and I'm hopeful for a spooky good time. For more information & showtimes click HERE 1. OPUS SUNDANCE SYNOPSIS: A young writer is invited to the remote compound of a legendary pop star who mysteriously disappeared 30 years ago. Surrounded by the star’s cult of sycophants and intoxicated journalists, she finds herself in the middle of his twisted plan. Mark Anthony Green’s feature debut is a bold, fun, and flashy pop-horror. Ayo Edebiri delivers as the meek yet hungry journalist Ariel — her unique charm radiating alongside a distinct final-girl prescience. John Malkovich is effervescent and hypnotic as Moretti, a deified global phenomenon making a dramatically malevolent reintroduction.  Amidst eye-catching, synthy musical numbers and the enigmatic desert compound, the facade of civility gradually erodes between the pair, revealing the underbelly of a tense, psychosocial game of cat and mouse. Opus  offers an electric, clever indictment of the literal cult of celebrity, presenting characters and dangers within a symphonic ambience — giving way to a foreboding ease through which power is generated and embedded within pop culture.— Cameron Asharian WHY I'M INTERESTED: Just as with Rabbit Trap , a horror film starring a fantastic actor or actress with a strong filmography is basically my catnip. The premise here slightly edges out Rabbit Trap for me, though really these two films are virtually a tie in what I'm excited to see at Sundance. In the words of Ayo Edebiri "I am seated." This one has a lot of buzz and is coming out through A24 in March, so luckily normies don't have to wait too long. Like Ochi , it has a trailer as well, but i'm holding off til I can see it all next week. For more information & showtimes click HERE Check back daily throughout the festival for reviews on as many movies as I can see during the fest! Happy Sundancing!

We're five days into Sundance, and I'm well overdue in posting a recap of what I've seen thus far at the fest. There's still half the festival left and plenty more for me to see, but let's take a second to recap what I've been able to see so far. BY DESIGN Juliette Lewis stars in this bizarre surrealist fantasy about a woman who wishes to switch places with the chair she's recently become obsessed with. An ever-present narrator (wispy-voiced yet monotone Melanie Griffith) over-explains every detail about the life and thoughts of Camille (Juliette Lewis), a woman whose day-to-day life is fairly uneventful. On one particular day, after having lunch with her two best friends (Miranda Bailey and Samantha Mathis) they decide to window shop at their favorite chair store where Camille spots an exquisite chair she wants nothing more than to own. The store owner assures her the chair is too expensive for her, but Camille vows to come back the next day scraping up all the money she can find to purchase it. Her dreams are crushed when she returns to discover it's been sold, and rather than part with it, she wishes to become the chair instead. To her surprise, her wish comes true and her consciousness is placed in the chair, while... the chair's lack of consciousness is placed in her body...leaving her original body in a catatonic state. From there, the story alternates between her friends carrying on life with her catatonic body, with her experiencing her new life as a chair with her new owner...a man who for once is finally giving her the attention that she has so long craved. By Design is an off-the-wall premise that's somehow even more absurd in its execution. It's very intentional and precise in its storytelling, crafting a creation that's an acquired taste for a very specific type of audience. With that said, I was not among the audience whose taste this was made for and could not connect with it whatsoever. While I found certain moments amusing, more often than not I struggled to stay engaged with the narrative and didn't care for it at all. I can appreciate the performances though and what the film tries to achieve, but I think as many other reviews have stated this particular story would have worked better as a stage play. RATING: 4/10 THE UGLY STEPSISTER This retelling of the classic Cinderella story shows us the story from the perspective of the oft-maligned ugly stepsister as she and her stepmother go to dangerous lengths to achieve the beauty necessary to catch the eye of the prince. There's somewhat of a Maleficent approach here in changing how we perceive the events of the familiar tale but done so much more effectively here. There's not so much a good guy and a bad guy as there is understanding the motivations behind the actions of everyone involved. Awkward Elvira (Lea Myren) is hopeful about her new life when her mother, Rebekkah, remarries a suitor. However, soon after the marriage, the family is left in financial ruin when her new stepfather suddenly and unexpectedly passes away. The only hope of securing financial security for herself, her mother, and her sister is to undergo a series of the most painful and gruesome makeovers possible, all while blocking any effort at her perfect stepsister's attempts to compete with her. This version is stylized with an 80s synth score and a dreamlike, technicolor look to the cinematography. It's not your grandmother's Cinderella, yet in some respects, some aspects might actually be closer to some of the darker aspects of the original tale than what we've come to know of the story. Lea Myren is incredible in the lead role and does so much heavy lifting here. She humanizes a traditionally one-note character and really gives a physically committed performance. This movie is not for the faint of heart, and there were MANY audience members with covered eyes throughout (mine included). But, the finale brought it home for everyone and elicited huge reactions from the crowd. A gore-filled crowd-pleaser. RATING: 7.5/10 OMAHA In Omaha , a young widower (John Magaro) hastily packs his two children and all their belongings on a cross-country road trip, while sharing few details with the kids about where exactly they're going or why. We see the events of this story mostly through the eyes of his 9-year-old daughter Ella (a fantastic Molly Belle Wright,) who can sense there is more going on than her father will admit but is too young to comprehend exactly what. Omaha reminded me a lot of Aftersun and comparisons to it may end up being inevitable...though personally, this resonated with me much more. There's an unspoken tragedy in these characters and their circumstances that you can discern just under the surface. Feelings that are carefully kept unspoken, but that you can see in the eyes of a father barely being able to hold it all together. Yet in the eyes of his children, he's still their protector who they depend on, believe in, and trust. He's their world. Though they are passengers in this dire situation, their childlike wonder remains undiminished and they're just excited for any adventure they have with their dad. They still experience the mundane with the magic that only a child's eyes can see (miraculously captured by Paul Meyers' gorgeous cinematography). Omaha is both a tender and heartbreaking portrayal of how beautiful and difficult life can be that would not work without its three superb lead performances. RATING: 9/10 RABBIT TRAP Darcy and Daphne live in a secluded cottage in the Wales countryside, where they devote their lives to finding unique sounds that can fit into Daphne's experimental music. One day, Darcy stumbles upon some noises in the woods that sound disturbing yet alluring. He can't help but bring his discovery to his wife, who insists on using it in a song. Soon after, a mysterious boy shows up in their yard, desperate to befriend them and become a part of their lives. With their insistent desire to be polite (akin to another Sundance midnight alum, Speak No Evil ) they blind themselves to the potential harm they may befall. Rabbit Trap starts strong with a creepy atmosphere and an interesting premise that the film never truly capitalizes on. Instead, it squanders all its goodwill for a baffling and unsatisfying third act that left many in our audience scratching their heads. It must be noted though that the sound design in this film is absolutely excellent and the real star of the show...thought that's not meant as a slight Dev Patel, who just isn't given enough interesting things to do. Rabbit Trap ends up unfortunately being a real missed opportunity that really could have swung for the fences, but instead played it too safe. RATING: 6/10 That's all for now, but check back soon for more. I've got so much more to see!

Another festival has come and gone, and while I'm not sure there were any surprise breakthroughs to the quality of Past Lives , it was still a pretty solid festival. Here are around ten of my favorites (I had to fudge the numbers a bit to get all the best ones in) that I saw this year. So keep an eye out as these films start coming out in the near future. 10. THE OUTRUN Saoirse Ronan's magnificent performance is one of the biggest draws of The Outrun. Always reliable in any project she's in, she once again brings her A-game here and turns in some of the best work of her career, playing a woman who just cannot give up alcohol no matter how hard she tries. It's a harrowing, difficult film but incredibly powerful by the end. More thoughts on The Outrun HERE 9. TIE: THELMA Thelma is such a charming crowd-pleaser, I haven't met a single person who didn't like it. It's a worthy addition to the action-comedy genre as Thelma tries desperately to emulate Tom Cruise every step of the way to bring phone scammers to justice. June Squibb is absolutely wonderful here and it's just such a fun movie for everyone to enjoy. More thoughts on Thelma HERE 9. TIE: DÌDI Dìdi is such a wonderful coming-of-age dramedy from the perspective of a teenage Taiwanese-American boy in 2008. It's a perfect slice-of-life time capsule for Millennials to see the era of their adolescence perfectly captured in film. But it's what the story builds to that makes it stay with me, particularly the bond between Chris and his mother in their final scene together. As hard and awkward as it is growing up, it's our family ties that stay with us long after our school days are over. More thoughts on Dìdi HERE 8. IT'S WHAT'S INSIDE It's What's Inside is one of the most creative and entertaining films I was able to see this year at Sundance. It is very uniquely told and it constantly keeps you guessing throughout. While I had hoped it would veer more squarely into horror instead of being horror-adjacent, I still had a great time with this. Netflix bought this so hopefully it makes a splash when it hits the platform, unlike other festival acquisitions that they've unceremoniously dumped with little fanfare. It certainly has the potential to be a huge hit. More thoughts on It's What's Inside HERE 7. YOUR MONSTER There's nothing out there quite like Your Monster , an almost modern-day Beauty and the Beast retelling with a horror rom-com twist. Thoroughly entertaining with humor, romance, and just enough touches of horror to be completely its own creation. And best of all it tackles female empowerment and the need to not just bottle up our feelings. This was probably one of the biggest crowd-pleasers I saw from gauging how into the movie our audience was. More thoughts on Your Monster HERE 6. WINNER Maybe it's because I had really low expectations for this and that I hadn't seen the other film tackling this subject Reality , but I found myself really enjoying Winner when I got the chance to see it. It might be a bit breezy for its subject matter, but I was thoroughly entertained as well as enlightened. Its wonderful cast led by the talented Emilia Jones really elevates it too and I couldn't help but be pulled into her family dynamics and her moral dilemma. More thoughts on Winner HERE 5. SUNCOAST I know I know, I'm so predictable always going after coming-of-age films, but this one in particular had a different weight to it as its characters are constantly reconciling grief and their impending loss. Suncoast feels reliably made, with wonderful acting veterans (Laura Linney and Woody Harrelson) playing against an up-and-coming talent (Nico Parker). Yes, I absolutely cried while watching this. It actually hits Hulu soon so check it out if you can handle all the feels. More thoughts on Suncoast HERE 4. A REAL PAIN This movie has really stayed with me since I saw it last week. I really love the examination of the relationships we don’t choose but are placed in. The type of people who you would never gravitate towards if not for the circumstances that placed you together. We are connected to these bonds by blood, even when it would be so much easier to abandon them--yet often they are the relationships that teach us the most and we hold the most dear. The film does a great job of showing the pain under the surface that we all feel but may try to conceal. With fantastic performances by Culkin and Eisenberg, this movie is not to be missed when it comes out. More thoughts on A Real Pain HERE 3. EXHIBITING FORGIVENESS Exhibiting Forgiveness is such a quietly powerful film featuring some of the strongest performances I saw from any film during the festival. So much is explored here and somehow it all feels so real and authentic, never manufactured or artificial. How does one contemplate reconciliation when wounds are so deep? The film dives into these questions in such a profound way that it really makes a profound impression. More thoughts on Exhibiting Forgiveness HERE 2. MY OLD ASS I was totally surprised to have this movie resonate with me as much as it did, but I really loved seeing these two versions of the same character with their different perspectives on life, and how they want each other to live it. Life can be full of both potential and regret, but our experiences make us who we are and the only way we learn is by actually living through them. More thoughts on My Old Ass HERE 1. HIT MAN It feels like a cheat to have this as my number one since it wasn’t really a Sundance debut...but it was my favorite movie I saw throughout Sundance and an instant classic. Richard Linklater and Glen Powell are a great director-actor pairing who I hope continue to collaborate for years to come. Glenn really gets the chance to shine here, and he and Adria Arjona are so electric together. Can’t wait to watch it again! More thoughts on Hit Man HERE

Alright, we're FINALLY at the end now of the festival itself, as well as my recaps for movies I saw during my time at Sundance this year! My next post will be a round-up of my top favorites from the fest. I saw a lot of varying quality this year, but luckily I got to end the festival with two really good ones with Suncoast and Hit Man, two films that are sure to make my top ten. SUNCOAST Doris (Nico Parker) desperately wants an average stress-free teenage existence, but life has given her quite the opposite. Doris's life seems to be in a constant state of upheaval as her brother Max is continually fighting a losing battle with brain cancer at the Suncoast Hospice. Doris has been resigned to his death for years and feels as though she's already mentally moved on since Max can't even speak or see at this point and doctors have assured her and her mother that there is no chance of recovery. She can't understand why her mother (Laura Linney) cannot move on like she has and instead choose to focus her energy on her child who still is alive. With her mother spending so much time at the hospice, Doris seizes the opportunity of having limited parental supervision to invite the popular kids to her house and have parties. With them, she can have the life she hopelessly yearns for and just enjoy her youth. But back, at the hospice she's warned by a new friend (Woody Harrelson) that she's not quite as prepared for her brother's loss as she pretends to be and that she needs to find a way to make peace before he departs. Suncoast is a coming-of-age tale that feels familiar but in the best type of way. It's conventionally told with superb performances, both from its young star and its veteran supporting actors. The teenage shenanigans feel typical, but the fact that this carefree life she wants constantly clashes with her caretaking role gives the events so much more weight. Doris wants to be a normal kid, but she is thrust into an experience that will never give her that luxury. No matter how much she wants normalcy, she can't be just like her friends and only just have fun because her circumstances force her to be more grown-up than she is. Her wants are at odds with her reality and only cause a constant wedge between her and her mother who cannot stop caring for her son until he's gone. This dissonance is central to Suncoast and is what makes her coming-of-age story feel so unique and poignant. Suncoast hits all the right beats while never feeling cliche, and it knows just how to get the audience's waterworks going to bring it all home. RATING: 8/10 HIT MAN Nerdy Gary Johnson (Glen Powell) is a professor by day and moonlights in his spare time as a tech guy helping to catch attempted murderers. Usually, an undercover cop poses as a hitman to present potential clients with the opportunity of offing their desired target, while Gary and his team record the conversations as evidence to arrest. Gary's life takes a turn when he's asked to fill in and play the hitman role, and he finds that he has an unexpected new talent. Gary takes on the role indefinitely and begins tailoring his role to his new clients. But he's taken aback when he meets the beautiful Madison (Adria Arjona) asking him to kill her husband. The two have an instant chemistry, and even though it's complicated, want to see each other some more leaving Gary to juggle multiple identities and ethical quandaries. Hit Man is incredibly entertaining and extremely funny. Glen Powell is an absolute star here playing multiple roles with ease and pitch-perfect comic timing. He's so charismatic here and his chemistry with Arjona is off the charts. She too is excellent here though she's not given quite as much to do. The ending is a bit tidy but it doesn't detract from any of the fun had before. Hit Man is without a doubt one of the highlights of this year's festival and easily Richard Linklater's best work since Boyhood. RATING: 9/10