John Carney's fourth film, Flora and Son was my most anticipated film to debut at the 2023 Sundance Film Festival since I absolutely adore two of the director's previous films, Begin Again and Sing Street. Carney's last film, Sing Street was truly one of my favorite films I've ever had the pleasure of seeing at Sundance, and it's been a long seven years since without any follow-up. His talents have truly been missed and his return was long-awaited (by me). Add Joseph Gordon-Levitt to the cast and my expectations were sky-high. Flora and Son follows Flora (Eve Hewson), a feisty Irish woman whose been boxed in by her life choices--namely keeping her son Max whom she got pregnant with at 17. The two don't have the smoothest relationship, particularly when she forgets his fourteenth birthday. She tries to make it up to him when she gifts him a second-hand guitar, but he's more interested in hanging around his dad (Jack Reynor) than touching that piece of junk. Instead of letting the guitar go to waste, Flora decides to take up guitar lessons and makes an unexpected connection with her online guitar teacher Jeff (Joseph Gordon-Levitt). Flora and Son fits nicely into the John Carney catalogue. It features his unique brand of catchy music, silly humor, and a touching love story you can't help but root for. Eve Hewson perfectly nails the difficult role of Flora. She's funny and fiery--her performance totally carries the film. Her easy chemistry with a more reserved Joesph Gordon-Levitt is a real highlight of the film, and Carney frustratingly leaves you wanting more. In fact, my only complaint with the film is feeling like the ending snuck up on me to the point where it felt like the entire last act of the film was completely missing. I might make peace with the ending on subsequent viewings, but for now, my initial impression was that it was more of an ellipse and less of an exclamation point than the way his previous films have ended. But, even if I'm undecided about the film's conclusion, I still very much love the rest of it. All of the essential ingredients are there for Flora and Son to become an instant favorite, and it very much is. It's charming and laugh-out-loud funny in a way few movies are these days. Like all of Carney's films, it feels like a gem. While it's certainly more grounded and less idealistic than my personal favorite Sing Street , it's great fun all the same. I can't wait to watch it again. RATING: 8.5/10

Depending on who you ask, Pixar has been in a bit of a slump lately, both creatively and successfully. It all began during the onset of the pandemic in March 2020, when their latest release at the time Onward was pulled from theaters and sent to Disney's brand-new streaming service Disney+. This seemed like a no-brainer at the time since theaters were shutting down and this way audiences could still enjoy their latest offering in the comfort of their own homes. As theaters opened back up, Disney opted to keep releasing their films exclusively to Disney+ and audiences became accustomed to the practice of watching Pixar at home. The studio's following three films debuted straight to the streaming service before Disney decided it was time for Pixar to make its return to theaters last summer with Lightyear . The film massively underperformed, leading many to question if Disney itself had trained audiences to devalue the brand and "wait til streaming". But Lightyear's other problem was it wasn't very good. One year later, they're trying again with Elemental, an animated opposites-attract love story that doubles as an immigration tale. For a studio that once never had a misfire, their offerings since 2010's Toy Story 3 , have been a mixed bag with really great films like Inside Out and Coco becoming more of the exception than the rule. Creatively they've been in a rut, either relying on sequels or formulas that feel derivative, trying desperately to replicate the success of their past hits. Elemental looked very much to fall in the latter category, and the truth is it does more often than not feel like a lesser version of Pixar's previous classics. Yet, it has enough charm and sweetness to elevate a story that feels overly familiar. Elemental follows Ember (Leah Louis), a fire girl whose parents Bernie and Cinder emigrate from their Fire country to Element City to start a brand new life with their child. The town isn't made for their kind, so they have to carve out a place for themselves. They find a community of other firepeople nearby and Bernie opens a shop catering exclusively to their unique needs and tastes. Bernie trains his young daughter to work in the shop, and she spends her years growing up knowing one day, so long as she learns to control her temper, she will inherit her father's shop and legacy. One day, her life is turned upside down when she meets Wade (Mamoudou Athie), a water guy who is her polar opposite in every way. While Ember tends to let her emotions get the best of her in a way that makes her blow up with anger, she learns that Wade will cry at the drop of a hat. She finds that the more she's around him, the more they balance each other out and bring out one another's strengths. Wade calms her spirit and encourages her to have her own dreams that play to her own gifts, to do what would actually make her happy. It soon becomes clear that the two have deeper feelings for one another, but their love seems impossible from every standpoint. Elemental's plot feels like a 90's sitcom episode plot dropped into the high-concept creative world-building of a Pixar film. Two well-known storylines are relied on heavily here, the first being a star-crossed romance and the second being a parent pushing their kid to live the parent's dream for the child, instead of encouraging them to pursue their own interests. This makes a movie that's trying so hard to feel original, ultimately feel really unoriginal. Yet somehow, as worn as these tropes are and as heavy-handed as its metaphor and messaging can feel, it really is able to rise above that and draw you into it. What really works with Elemental is the earnest and sentimental way in which Ember and Wade's affection for one another grows throughout the film. From their meet cute, I really wasn't sure if I was going to buy into this relationship whatsoever, but it turned out to be the winning ingredient of the film. Credit must be due to Leah Lewis and Mamoudou Athie's winsome performances in being able to make us root for these characters and their blossoming romance. They have an easy chemistry and you can't help but smile at their scenes together. While I enjoyed Elemental , I must admit that I don't see it having very much rewatchability for either kids or adults, which is essential to a good kid's movie. I just don't see children having any desire to revisit this, which very much makes this a one-time watch. Its story won't resonate with younger viewers and its setting and concept are amusing at best and gimmicky at worst. Still, while it won't inspire repeat viewings, it's still worth it to take the trip to visit Element City at least once. RATING: 6.5/10

Christopher Nolan is back with the biopic Oppenheimer , his first film since Tenet, the action spectacle that Nolan and Warner Brothers hoped would bring people back to the cinema during the height of the global pandemic. Though Tenet fared as well as it could under such conditions, its performance, along with Warner's decision to stream all other theatrical releases to HBO Max on the same date they debuted in theaters (Tenet excluded), left Nolan's relationship with the studio fraught. Upon hearing about the strained relationship, Universal came courting Nolan causing him to break with the studio for the first time in twenty years. It was announced shortly after that his first film for the studio would be a biopic on J. Robert Oppenheimer, the man who would help pioneer the creation of the atomic bomb during World War II. As is Nolan's signature fashion, he doesn't tell his story in a conventional non-linear way. Instead, Oppenheimer jumps around three different timelines. Nolan shows us, in color Oppenheimer's (Cillian Murphy's) life from college up to, and following the creation of the bomb. This is interspersed with a security clearance hearing later in his career, as well as a former colleague's (Robert Downey Jr.) senate confirmation set in black and white. Oppenheimer is a long and sprawling epic, three hours in length, where most of its screen time is devoted to dialogue-driven scenes between characters discussing possibilities and consequences. Yet despite all of that, its fast-paced editing keeps the viewer hooked throughout its hefty runtime. Oppenheimer may be Christopher Nolan's most ambitious undertaking yet, which says a lot since this is the same man who helmed Inception, Interstellar , and The Dark Knight trilogy. The film spans decades and features one of the largest and most talented casts in recent memory. Yet Nolan balances it all effortlessly and manages to inspire some of the strongest performances from each member of his sizeable cast. But everything hinges on the shoulders of Cillian Murphy, who gives the most devoted performance of his career. His take on Oppenheimer anchors the film, as he takes us from a passionate young scientific mind to an ultimately tortured and haunted shell of a man. So much here is shown only in glances, but it's incredible what he can convey. As mentioned previously, the supporting cast is quite impressive and everyone is giving it their all--it's hard to know where to begin when giving praise. Many actors only get a few minutes of screen time, but every single one of them makes the most of their part whether big or small. Matt Damon, Robert Downey Jr., Alden Ehrenreich, Josh Hartnett, and Jason Clarke in particular are all fantastic in their respective roles. As are Emily Blunt and Florence Pugh who portray the women in "Oppie's" life, though admittedly I wish both roles were a bit more fleshed out. But given the story is mostly from Oppenheimer's perspective, I can forgive the limited lens through which we see these women. Oppenheimer is truly Christopher Nolan firing on all cylinders, crafting a film with all of the finest elements of filmmaking on display. From its powerful score, striking cinematography, and its tremendous sound work to name just a couple of standouts--it's hard to think of a category that won't be recognized with the bare minimum of an Oscar nomination. Could this finally be Christopher Nolan's year? We've still got plenty of movies left to come out, but it's hard to imagine what else will be giving Oppenheimer a run for its money. Oppenheimer's subject matter doesn't make it an easy movie to watch, but it is absolutely essential viewing. It's a movie that demands to be seen and when it is, it stays with you and even becomes a part of you. RATING: 9/10

When I saw the Marry Me trailer in theaters a few months back I laughed and laughed at the preposterousness of its premise. Superstar pop singer Kat Valdez (Jennifer Lopez), is humiliated moments before tying the knot in front of a sold-out concert when she discovers her husband-to-be Bastian (Maluma) has been cheating on her with her assistant. In an attempt to save face, Kat spontaneously decides to marry a random fan in the crowd instead (Owen Wilson), because who makes level-headed decisions in romantic comedies?? The two must reconcile their spur-of-the-moment decision with their two realities and of course, they find that maybe what they needed all along was each other. As ridiculous as Marry Me looked, it also promised to be a light and fluffy time at the movies, and who could turn that down these days? Turns out, Marry Me feels like an old friend you haven't seen in years who hasn't changed a bit. As someone who loves the genre and has missed its presence in cinemas, something as harmless and dumb fun as Marry Me feels like more than welcome viewing. While the pairing here didn't completely work for me (their chemistry always feels more friendly than romantic), it's honestly nice to see a big-budget rom-com with two big stars again...even if it's nothing new and goes through all the familiar motions. Admittedly though, chemistry is a big element of a romantic comedy to not get completely right, which will keep Marry Me from being very memorable in the long run. Owen Wilson's math teacher and divorcee Dad Charlie just can't help but feel like he's from a different movie altogether with how silly everyone else plays this. He may have worked well with another actress in the part, but with Lopez, their romance just never enters the realm of believable. Marry Me definitely feels self-aware with how absurd it all is, which at times feels like a good thing...but also simultaneously undermines its own heart. It makes us make sure we remember we're watching something fake, therefore nothing that unfolds feels genuine. In the end, it's no Notting Hill , a film that did the celebrity falls for an everyman story with far more success (and this is coming from someone who certainly wouldn't call Notting Hill perfect). However, when it comes down to it, the romantic comedy is such a rarity to find these days, that I'm able to be a lot more forgiving and willing to overlook a lot. While Marry Me is certainly not destined to become an enduring classic--if you're hungry for a rom-com no matter the quality, Marry Me will absolutely do the trick. R ATING: 5/10

Childhood friends Nora (Greta Lee) and Hae Sung (Teo Yoo) are torn apart when Nora's family immigrates from South Korea to North America. Twelve years later they reconnect, but the timing just doesn't feel right since Nora's life and goals are in New York and Hae Sung has plans elsewhere. Can the two connect again? Is there a future for these star-crossed lovers? Past Lives explores the pair's fateful meetings and partings at three different points throughout their lives, and how their choices would shape each other's destinies. From the very first scene of Past Lives , we immediately know we're about to see something special. From a distance, another couple speculates on the lives and relationships of our protagonists. Who are they, and what are they to each other? There's a closeness and chemistry that can't be denied, yet there's a mystery too. Immediately after that scene, we are taken back to the beginning of Nora and Hae Sung's story to witness it all unfold. Throughout the film, we learn how we got to where we are and witness the journey these relationships went through. It's a common framing device, but feels so fresh and perfectly executed here. Every missed opportunity is a knife to the audience's heart. Comparisons to the Before trilogy are inevitable for Past Lives , and while it similarly checks in on characters at different points in their lives who missed the opportunity at love, Past Lives has a different energy to it. Past Lives is less about the intellectual connection the two have than the unspoken love and yearning that's been there all along and has just become a part of them. It's about Nora completely leaving one life and fate for another and who she would have been if she hadn't. It's as much about abandoning her heritage as it is about leaving her potential love and there's very much a Korean folktale feel about their story. The casting of Past Lives is pitch-perfect. Greta Lee is particularly incredible here and her chemistry with Teo Yoo, both through a computer screen and in person, is so lovely. They're like two magnets that can't help but be drawn to one another. Unlike many romance films with obstacles in the lovers' way, Past Lives stands apart because it actually humanizes one of these barriers. John Magaro's neurotic Arthur isn't an expendable 2D character as seen in countless romantic comedies, he feels like a real person in a committed relationship who loves their partner--which makes the situation all the more impossible. Past Lives is an achingly beautiful and wistful story of love and regret--about the chances we don't take and how they can haunt us. There's an evocative shot that closes out their childhood story--of separate paths laid out in front of two souls who long to be together, yet the two reluctantly and slowly go their separate ways. It stays with you and constantly makes you wonder about all that could have been. Such are the fortunes of Nora and Hae Sung; forced to always play those moments in their minds. Past Lives is an assured triumph from first-time writer-director Celine Song and is already bound to remain one of the year's best films by the time December rolls around again. When it comes out, see it as soon as you can. RATING: 9/10

After months of non-stop promotion, the long-awaited Barbie movie is finally here. The film based on the famous doll has been in development for years but finally took off when director Greta Gerwig came on board, along with Margot Robbie who would both produce the film and star in the titular role. And, from the moment the film's first still was released, the internet collectively realized something special was in store and the anticipation had begun. Each subsequent trailer and poster only built up Barbie's unstoppable momentum. Could it possibly live up to the impossibly high expectations and rise to meet this pop cultural moment? Barbie begins with a brief history of the doll before being whisked off to the whimsical world of Barbieland, where she and all her plastic friends (along with their disposable love interests,) are living their best lives. Barbieland is a female utopia, where each day is perfect and magical. The Barbies rest easy knowing they've inspired countless girls to chase their dreams and become anything they want to be. Everything changes for Barbie (Margot Robbie) when she's plagued with thoughts of death and finds herself facing an existential crisis. Weird Barbie (Kate McKinnon) informs her that she must travel to the real world to find the answers to her questions. On her way, she discovers her Ken (Ryan Gosling) has stowed away to provide her some moral support on her journey. Soon, they'll both discover the real world is far different than the only reality they've known. Barbie has so much going for it. For starters, its two leads Margot Robbie and Ryan Gosling are perfectly cast and give some of the funnest and funniest performances of their careers. Robbie's role is a bit more nuanced and tender, while Gosling can't help but steal the show with his effortless Ken-ergy. In supporting roles, Kate McKinnon is used in just the right amount of doses, meanwhile, more Michael Cera and America Ferrerra would have been welcome. Gerwig undeniably has a vision for this Barbie world and hired some truly talented artists to bring it to life. The production design, costumes, hair, and makeup in this film are all absolutely impeccable. So much care was put into every detail and it's truly impressive the world that Gerwig and her team crafted. As for the subject matter, Gerwig's film is incredibly ambitious, and as such, the film often bites off more than it can chew. Barbie has a lot of ground it attempts to cover, some of which is done more successfully than others. Barbie always manages to be funny, but can't help but be a bit heavy-handed while delivering its message in the final act. Gerwig attempts to bring it all together in the end but doesn't completely stick the landing. Still, I love a lot of what she's trying to say about the crushing expectations society places on each gender. America Ferrera sums it all up with her show-stopping monologue near the end. I only wish the character could have been given more depth to truly give the moment the weight it deserves. Those issues aside, I do consider Barbie to be a triumph. While it is indeed based on existing IP, it still manages to feel wholly original-- a product carefully packaged to the world through the hands of an auteur. Plus, it is wonderful seeing a movie that is so unapologetically feminine, be poised to achieve so much success. Barbie is both a win for cinema and a win for women and I hope Hollywood is paying attention. Women are a valuable audience, and we want and yearn for originality. RATING: 8/10

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!