Whew. Okay, readers. The last one is right here. This year I saw the most movies I've ever seen at the festival (that number being 8,) and I'm happy to say I capped off the experience on a very high note. Like last year, we decided again to get tickets to a randomly selected screening that shows one of the movies the grand jury awarded the top prizes to, and while I was hoping for a repeat viewing of Me and Earl and the Dying Girl, we ended up with tickets to the documentary The Wolfpack. Usually, I'm not huge on documentaries, but the premise of it was so interesting and the fact it won the grand jury prize for US Documentaries made it pretty much a sure thing right? Yes. In fact, this movie ended up being far more fascinating than I thought it could be. The documentary follows a real-life family of two parents, their six sons, and their lone daughter (actually it doesn't really follow her at all because we rarely see her) and how different their lives are from the average American. You see, the patriarch of this family hoped to raise his children as a type of tribe undefiled from the world. As such, he only let them out in public a few times a year, if at all. And when they were out, they were instructed to trust no one and to even look at no one. He told them to never cut their hair...and well clearly they've also never been to see a dentist. The boys' only link to the outside world is the word of cinema. They have a deep love of movies to the extent that one of their favorite hobbies is to dictate the screenplays of their favorite movies, create the props and costumes necessary to recreate them and film their own versions. They actually made quite the impressive version of The Dark Knight, with one of the sons providing a spot-on impression of Heath Ledger's Joker. This lonely, sheltered existence became too much for one of the sons though, and the movie focuses on his attempts to try and become more familiar with the world and to get his brothers to do the same. This documentary made me feel almost every feeling possible. It made me laugh, it made me want to cry, it made me feel tense, it made me feel disturbed, it made me happy for their small triumphs, and made me really depressed that such an existence is a reality for more people than we may even realize. This movie reaffirmed my stance that bubbles of any kind, are dangerous. Parents who try to protect their children by shielding them from "the world" creates a false reality that can be even more dangerous than what they're trying to protect them from. I'm not sure why exactly this family agreed to have their story told, or under what circumstances this movie came to be... but boy was it filled with moments that will stay with you. There is so much more I could say about this doc--suffice it to say, I'm going to be thinking about that one for a while. EMILY RATING: 9/10

Jared Hess is and always has been, an acquired taste. His first film, Napoleon Dynamite was a smashing cult hit featuring randomly humorous characters and various quotable lines...which distracted a lot of people from the fact that the movie didn't actually have a plot. His subsequent films also have become more focused in terms of plot, but still, have a tendency to meander. I enjoyed Nacho Libre...but found Gentlemen Broncos to be horrendous. After that horrible film, Hess needed a while to recuperate.... which I suppose is what he's been doing the last five years (though his wife directed Austenland in the interim.) I was hopeful that the break did him good.. but a little anxious. Our tickets were for the end of the festival and the reviews that came out to help give me a sense of the film were far from glowing. One list said that Don Verdean was the second-worst film of the festival! Ouch. There went any expectations I had. So where did it fall on the scale of Napolean Dynamite to Gentlemen Broncos? After all this film reteams the Broncos cast of Sam Rockwell & Jemaine Clement (both of whom I love and was shocked when I hated Broncos so much) so that wasn't an encouraging sign right? Well here's the thing. Don Verdean is a movie made for Utahns, by Utahns in Utah. And as a Utahn, I could help but find myself chuckling frequently and smiling often. The thing is when you get an inside joke.. you can't help but appreciate it even if you know it won't be everyone's cup of tea. Such is the case with Don Verdean. It's a quirky, silly movie... but after a lot of the more serious content I've been watching over the last week, it was kind of refreshing. Don Verdean probably won't have the lasting power or impact of Napoleon Dynamite, but for a comedy nowadays you could do a lot worse! In fact, I'd argue that Don Verdean is his most accessible film to date. It has a simple premise (religious archaeologist faces a moral dilemma,) but unlike his other works, more exploring of the initial concept happens (and yes even a structured plot occurs!) Don Verdean also has a great cast! Joining Rockwell and Clement are Amy Ryan, Danny McBride, Leslie Bibb, and Will Forte. All turn in good work, but Ryan in particular as the mousy dedicated Christian servant to Rockwell's Verdean is wonderful. Like his other films, this movie is simply not for everyone (I'm not sure what his fascination is with making everyone look like they live in a time capsule).. and in this case, especially the uber-sensitive might take offense at some of the jabs here. No ethnicity, in particular, is portrayed in a glowing light and that does not exclude Americans. These characters may all, in fact, be caricatures, but at least they're amusing caricatures to watch! Just don't take it too seriously and you'll be fine. RATING: 7/10

Happy love day readers! My apologies for not being on the ball in giving you some Valentine-themed posts, but if you so desire, I can make up for it in the time between now and the Academy Awards. You see, I have a series of posts in my brain just itching to come out all about AUSTEN. Jane Austen that is. What better way to celebrate Valentines than by celebrating the woman who has set an impossible standard for modern romance to live up to. With seeing Love & Friendship at Sundance and the subsequent release of Pride & Prejudice & Zombies, my passion for these stories and their adaptations has come alive again. So for all you Austen lovers out there, this COULD be the beginning of a series of posts (akin to my Cinderella Awards from last year...) where I rank all the portrayals of Austen's greatest characters, but for now let me just share my favorite adaptations/inspirations of Austen's works. If you have no way of celebrating the holiday, putting on any one of these is a good way to start. Caution for Jane-ites: I like all the movies you hate. Sorry bout that. 10. TIE: LOST IN AUSTEN Lost in Austen is a fangirl's dream come true. The story centers around a modern Brit named Amanda Price who finds a door in her house that leads to the fictional world Jane Austen created in Pride & Prejudice. She and Elizabeth switch places, and with an Elizabeth-less Pride & Prejudice, it's up to Amanda to make sure the story doesn't get completely screwed up. I have some issues with the ending of this series which elevates the whole thing to glorified fan fiction, but the beginning is really funny to see how different the story could be if certain events didn't transpire the way they're supposed to. Amanda is funny, but frustrates many Austen fans for how bad she is at trying to blend in with her surroundings. Just take this movie as a silly escape and it will be a lot more enjoyable. For years there was talk about an American remake, and I really hope one day it happens. This series isn't perfect, but the idea of it is a lot of fun. Lost in Austen can be found in its entirety on Hulu. 10. TIE: PRIDE & PREJUDICE & ZOMBIES The only way to improve upon Jane Austen's classic novel? Add in zombies of course. Just kidding, it doesn't really improve things... but this version of the tale is really ridiculously entertaining and fun. If anything, it could have had more zombies as far as I'm concerned. But besides the zombie mayhem, it also benefits from a great Elizabeth in Lily James. She's incredibly beautiful and has the perfect amount of spunk and spirit for an Elizabeth to possess. It would rank higher on the list if they had been as lucky in their casting of Darcy and...if ya know, it had more zombies. Pride & Prejudice & Zombies is in theaters now. 9. PERSUASION Persuasion is actually my favorite Jane Austen novel, but unfortunately (as far as I'm concerned,) it hasn't quite been given the justice it deserves in film form. The 2007 version came incredibly close with its fantastic cast...but falls short at the most important moment in the story (Wentworth's letter.) Still, Sally Hawkins plays Anne Elliot exactly as I pictured her and Rupert Penry-Jones makes for a delicious Captain Wentworth indeed. Austen purists hate the last scene, but I'm okay with suspending disbelief in favor of swoons. 8. EMMA APPROVED Pemberley Digital specializes in modern literary adaptations in vlog form. They bring Jane Austen's Emma into the twenty-first century with varying results. Not all the storylines are created equal (I'm looking at you Izzie Knightley's fiasco and Annie Taylor's wedding jitters,) but when they get it right, they get it right. Perhaps their greatest call is in casting. I don't love Frank or Jane, but Emma, Knightley and Harriet are all great. Sometimes Emma can be a frustrating heroine, but so was Austen's Emma. Emma Approved can be found in its entirety on Youtube HERE. 7. NORTHANGER ABBEY Austen's gothic romance tribute gets a delightful adaptation with pre-fame Felicity Jones, Carey Mulligan and JJ Field. Felicity Jones makes a sweet young heroine, but JJ Field steals the show with his adorableness as he did in Austenland. Seeing Catherine's vivid fantasies come to life is so much fun, and sets it apart from the rest of the period dramas. Northanger Abbey can be found on Hulu. 6. THE LIZZIE BENNET DIARIES Pemberley Digital does a perfect job of modernizing Pride & Prejudice via YouTube of all things. Telling the story via 3-5 minute video diaries where Lizzie complains about her life is incredibly clever. You have to wait until each character is close enough to Lizzie for them to start making appearances in her videos... so while you hear about a snobby guy name William Darcy early on, you have to wait quite a long time to see him, and honestly the suspense is the funnest part. Plus, with so many episodes, the filmmakers are able to flesh out pretty much everyone. Charlotte Lucas, Jane and Lydia in particular all are incredibly well rounded here, where in other versions they run the risk of being caricatures. The only con is that with so much of the plot being set around Lizzie complaining all the time, she's not always the most likable version of the character. The Lizzie Bennet Diaries can be found in its entirety on YouTube HERE. 5. AUSTENLAND Austenland is a silly movie that if you don't take too seriously, is tons of fun. It's got that silly Jared Hess humor to it (combined with Jennifer Coolidge one-liners that you've got to be in the mood for,) so it's certainly an acquired taste, but if you're willing to go along for the ride, it's charming and...has some nice romantic moments as well. I prefer this to Lost in Austen because the heroine does actually attempt to learn something here (and does), but still gets to have her cake and eat it too (whereas LiA just gets the cake.) Plus it has that JJ Field power. 4. CLUELESS Clueless isn't just a fun Austen movie, it's a fun movie period. In fact, most people don't really know it is an adaptation of Emma. It's a faithful enough adaptation, even if it doesn't get all the characters exactly like their novel counterparts. Honestly this movie would make my top five for its quotability and wardrobe picks alone. Clueless can be found on Netflix 3. EMMA Again, not the "Janeites" first choice of Emma adaptation, but definitely my favorite. I didn't much care for the Romala Garai adaptation, because its proposal scene couldn't hold a candle in the utterly romantic department. I get wanting to stay true to Austen, but in the film adapting department, I'm definitely okay with punching up the film's romantic climax while staying true to the spirit. In my opinion, the Gwyneth Paltrow version of Emma does that perfectly. Mr. Knightley's speech might be the most romantic speech in film history. Seriously. 2. SENSE & SENSIBILITY Unfortunately for the 2008 adaptation, this version of Sense & Sensibility was far too ingrained in my brain to let go of when considering opening my heart to more versions of the story. I know Emma Thompson isn't the right age to portray the character, but she absolutely nails Elinor Dashwood's feelings and demeanor. Kate Winslet is a wonderful Marianne and makes me feel every pain she feels. This film is probably the best Austen movie to date, but isn't always the easiest for me to watch since I relate so closely with its heroine and the pain she goes through. Therefore... the #1 choice must go to: 1. PRIDE & PREJUDICE It was a hard choice, believe me....and once again I know it's not the popular choice, let alone choosing it to top my list. So many people seem to hate this adaptation for one reason or another. Maybe they're too attached to the '95 version (which yes, I left off my list much to the chagrin of Austen lovers, because I never cared for it,) maybe they hate Keira Knightley's Elizabeth, maybe they feel like it took too many liberties with the story, but for me, it's exactly the Pride & Prejudice I wanted to see when I read the book. Firstly, this movie is absolutely BEAUTIFUL to watch. Both cinematography and score are absolutely perfect and beyond beautiful. Not every character is 100% how I picture them, but the most important ones are. Keira's Elizabeth is not smug, but rather playful and vibrant. She's well informed, but she's not...well you know the word that's not used in polite society outside of a kennel. She's exactly the Elizabeth I picture when I read the book, and as for Darcy...I almost had the exact reaction to Matthew MacFadyen's Darcy as I did to the novel version. In the beginning, I didn't see what the fuss was, but toward the end, he was just what he needed to be. And as we covered, I'm okay with sacrificing the novel for some swoon, so that's not an issue for me either. Isn't that what ADAPTING is all about? After all, if I want to read the book, I'll read the book. Movies serve a different purpose than literature...and I don't need a 6-hour version to experience the story in a different way. Pride & Prejudice can currently be found on Netflix. So that's all friends, Happy Valentine's Day. I hope you enjoyed my Austen Top Ten, I know I left many off the list, so be sure to share your favorites below. And maybe, if you guys want them/I have the strength to write them, this will be just the beginning of my Austen recap posts...until the Oscars that is.

Sundance is finally over, and the last review I have to give to you is the big winner of the festival, and likely future Oscar contender: The Birth of a Nation. Though the title may strike a familiar chord with film history buffs, the 2016 film is not in fact a remake of one of the first full-length feature films ever made. What Nation is, is a story about the Nat Turner slave rebellion. More specifically, his life story as a young slave who learned how to read, became a preacher, and believed it was his duty to exact vengeance on his white slave owners. The film is an incredibly ambitious and assured debut for a first time writer-director Nate Parker, as well as an obvious passion project. His name appears all over the credits, and yet with his earnest performance it feels nothing like a vanity project. Unfortunately for Nation, inevitable comparisons to 12 Years a Slave are bound to happen, not just due to the subject matter being portrayed so similarly in look and tone, but also being released only a few years apart. As I watched, I couldn't help but feel that the movies are incredibly similar...but let's talk about some of the things that sets it apart from being a clone of the Oscar winner. There's a lot of talk about God in this film and study of the scriptures. Nat Turner believes himself to be a mouthpiece from God, and when he finally starts his rebellion...it's not out of revenge, but out of a belief that this is what God wants him to do. Religion and faith in God play a big part of this film and I really enjoyed it (that is, until the end where it did make my stomach feel a little queasy.) Another thing the film features is a really lovely story about how Nat and his wife fell in love. Their scenes together are very tender and adorable, and in my opinion are among some of the highlights of the film. The other difference between Nation and 12 Years a Slave, if you know anything about the historical significance of this film, is that there's no "Brad Pritt frees the slaves" happy ending to be found for Nat Turner and his followers. Instead, the film culminates in quite the bloody finale. As someone who has a hard time with gore, I ducked under my coat a few times to avoid the brutality. I found the ending to be heartbreaking for both races. This is a period in history where the behavior by the majority was abhorrent, and it's hard to watch. The usual shocking moments of utter disregard of well being is on display, and it's hard to imagine how humanity was ever okay with that. But watching the retaliation when there are some arguably innocent people involved too....well it wasn't an easy thing to watch either. The whole thing, as intended, left me feeling incredibly sad about this period of time in the world's history. The Birth of a Nation gets the period feel just right. There are the usual sweeping establishing shots of the plantation, and in general, the cinematography is very good. But there's also the little details like hiding Armie Hammer's perfect teeth that I really enjoyed. I have no doubts that come awards time, this movie will get a lot of attention, if nothing else to make up for this year's cries of a lack of diversity. On the cons side, there aren't just the similarities to Slave, but also Braveheart, and it's hard to feel like the movie is completely doing its own thing. It basically takes the best of both worlds to tell its tale...not that that's a bad thing...it's just the type of film that makes you feel like you may have already seen it before. Also to its detriment is the pacing. You wish that the rebellion could occur a little sooner, because where it's placed feels somewhat too little, too late. All in all, it's a solid film...even if it feels like something we've seen before. EMILY RATING: 8/10

There are many reasons one might be drawn to the works of Jane Austen. Maybe it's the regency period love stories that strike an Austen lover's fancy. Or maybe "Janeites" just love the strong, yet flawed heroines who were ahead of their time...the heroines who come of age on the pages and learn valuable lessons. Perhaps you love her novels because you find her writing deliciously witty and you enjoy her social satire commentary. Such comedy of errors usually present themselves as a result of the inclusion of token Austen characters, such as: the meddling mothers, scheming villainesses, pompous oblivious fools, etc. Maybe you delight in those characters because there's always that strong heroine observing them and how ridiculous their actions are. Or perhaps there isn't just one thing you like about Austen, but rather the way she takes all these elements together and blends them into the perfect concoction. If you took away any single ingredient, the recipe would feel like it's off. Such is the case in my reaction to Whit Stillman's Love & Friendship, anadaptation of the unpublished (during her lifetime) Jane Austen novella Lady Susan. Before I get into my criticisms of the film, I will admit that the context in which I'm seeing this film most definitely has a strong influence on my reaction here. In the last week, I've seen some truly amazing films and after awhile, it's hard not to pit them against each other and constantly compare the strengths and weaknesses. So understand here that I know I think I might being too harsh...(had I seen this in a barren wasteland of a movie month, I might have eaten it up with pleasure,) but as it was I couldn't help but be frustrated with how close Stillman was to getting what I wanted out of the movie, but falling short. When I watched the film, I couldn't help but think to myself "now I know why Jane never published this." Though it certainly has wit and charm to spare, it does not have the lessons or depths that her published novels do. Essentially, it feels like Austen fluff. The problem with Love & Friendship is, it centers around a deliciously scheming villainess but doesn't give you anyone to root for as a foil. Stillman and all the characters try to convince the audience to root for Lady Susan's daughter Frederica...but the problem is she's totally bland and boring as a heroine (I would say largely due to casting.) I understand if you can't have the character be fiery and passionate to take away from Beckinsale's Lady Susan, but characters with a quiet strength and reserve can be someone the audience can still root for (a non Austen-example is Saoirse Ronan in Brooklyn, and an Austen example being Emma Thompson in Sense & Sensibility.) Had the role gone to an actress with a more striking presence, the issues of a lack of heroine and love story wouldn't exist because we'd be rooting for her growth (as well as to be the one to snag the hunk in the end.) Instead, Beckinsale steals the show....and while it's fun to see her schemes play out and to have an Austen film centered around a character like her, it just never seems like it's leading to anything more worthwhile. For what it's worth, Love & Friendship certainly is enjoyable. The film makes use of a visual flair and unique storytelling methods to tell its simple story. For each character, we receive a title card informing us who they are and why they're important to the whole scheme of things. Everything is so breezy, you get the exact sense of what Love & Friendship wants to be and the depth (or lack of,) it's willing to settle for. If it were an original piece without any ties to anyone, it would be unquestioningly delightful; the problem is, in comparison to other works of Austen it simply feels unbalanced. Had Stillman worked a little harder to cast the supporting roles, everything might have been more easily forgiven, but as it is, I can't help but feel that the film just ever so slightly missed the mark. EMILY RATING: 7/10

The last two of years or so, Sundance has managed to get their hands on some pretty solid horror films. In 2014, they premiered The Babadook and in 2015 came The Witch. So does 2016 have a breakout horror film to make it a solid three years in a row? From all accounts I had heard, it seemed to be the case in the form of an Iranian film called Under the Shadow. As an avid lover of the genre, naturally I had to obtain tickets and see for myself how this film stacked up against its spiritual predecessors. I'm delighted to report that Under the Shadow is indeed, as critics have called it "the first great horror film of the year." Set in the 1980's during the middle of the Iraq/Iran war, there is a real dread and uneasiness that invades the picture right from the start. The story is basic, and I won't get into it at length. It revolves all around a woman watching her daughter in their apartment during the war...when creepy stuff starts happening. First-time director Babak Anvari takes his time and opts for a slow burn horror story. As I sat in my seat, I began to feel a little frustrated and wanted the movie to pick up its pace (mostly because I attended such a late screening,) but when the first real scare occurred....I have to admit, it got me good. And I certainly wasn't alone in that either. I heard more than half the audience scream along with me, and breathe a sigh of relief as soon as they could. But little did we know, that was just the beginning and the tension wouldn't truly let up until the credits. Under the Shadow is an impeccably made film no matter who made it, but it's almost mind-blowing when you discover that this was the director's first feature film. His direction and staging are so self-assured, and the performances he got out of his players somehow manages to be pitch perfect. I have to say, I really hope he continues to make films in this genre. Under the Shadow is a beyond effectively made horror film. Other than my impatience at the slow burn (which again, was more due to the hour than the filmmaking,) my only qualm is that I would have loved a stronger finale. [Vague spoilers highlight to read:] I wanted the film to pack a punch at the end, but the filmmakers took the more subtle route.[ /End Spoiler.] Really when it comes down to it, once the film gets going it's hard not to want more of the goods! EMILY RATING: 8.5/10

There's nothing new about The Hollars. The going back home and visiting your family movie has certainly been done before...so the question is if actor and director John Krasinki is able to elevate the overly familiar material. I believe he is, for the most part, successful in his endeavors as he's created a warm and funny movie...yet somehow he winds up with a good film instead of a great one. The reason for this, I 100% believe, is due to the script. The Hollars tells the story of John Hollar (John Krasinski) a man living in New York City who is about to become a father, but struggles with the commitment of marriage to his girlfriend Rebecca (Anna Kendrick.) Suddenly he's summoned back home (wherever that is...) when his mother is diagnosed with a brain tumor and must undergo a life-risking surgery. While home, he realizes the lives of everyone in his past is basically in shambles. His father is constantly a crying mess on the verge of bankruptcy. His brother was laid off and now with is free time exhibits stalkerish tendencies. His former flame might be unhappily married. And his mother now questions all of her life choices. Witnessing everyone else's troubles, John must decide if he wants to stay on the path where his life is going. Krasinski has assembled himself quite a fine cast, with veteran supporting players. Anna Kendrick, Richard Jenkins, Margo Martindale, Sharlto Copley, Mary Elizabeth Winstead, Charlie Day, Josh Groban and Mary Kay Place all do their best with the roles they're given. The problem is, a couple of these roles are painfully underwritten at the expense of the story. In particular, Mary Elizabeth Winstead is reduced to one scene essentially using her as a punchline, when her character could have been far more integral and key to John's character arc. In a large ensemble piece this happens all the time, but in this case, there was definitely material that could have been cut to incorporate a more meaningful arc between Winstead and Krasinski (I'm looking at you Sharlto Copley and all your cringe-worthy stalking scenes.) Truly, this movie was a couple rewrites away from being great. Still, it's difficult to be too hard on the film when it is a pretty enjoyable watch. John Krasinski, as always is so likable and warm, so as a result the movie feels that way too. As Krasinski himself mentioned in the Q&A afterward, the film often takes sharp hairpin turns between comedy and drama, and I must say it is pretty successful at its attempts. For having heavy material, the film definitely has more than enough humor to lighten everything up. It's basically movie comfort food. And with its easy listening indie music soundtrack, everything goes down smoothly. So when it comes down to it, there are two things really you need to know about The Hollars. Is it original? No. Is it enjoyable? Definitely! EMILY RATING: 7.5/10

When watching so many dramas in such a short period of time, coming across something as purely fun and entertaining as Sing Street is a breath of fresh air. The film comes from John Carney whose previous credits include the highly acclaimed musicals Once and Begin Again. It was the latter that really drove me to wanting to see Sing Street, and as lovely as Begin Again was...Sing Street is going to be the film that really wins over audiences. At least, I hope so. After all, everyone in our theater seemed to be overcome with joy at the 80's pop music tribute. Sing Street is all about a 15-year old boy whose life changes when he falls in love with music...as well as the cool aspiring model (Lucy Boynton, aka a dead ringer for Felicity Jones) who becomes his muse. Our young hero, later nicknamed Cosmo, in an attempt to get closer to his crush, decides to form a band so they can use her modeling services in their music videos. Under the constant advice of his 80's pop music aficionado brother, Cosmo learns how to craft the perfect songs and videos, as well as woo the girl of his dreams. Sing Street is utterly delightful. It's the type of movie that you want to see again the very next day and tell all your friends about. The soundtrack features odes to all your favorite 80's tunes, but it's the new songs on the soundtrack that you'll be craving to listen to after the film ends. If I have a single complaint about the film, it would be that our protagonist's singing voice changes from awful to amazing a little too abruptly, and in general, the band gets pretty good relatively fast. You have to wonder when he found the time to take singing lessons! Minor nitpicks aside, Sing Street is wonderful in so many ways. It's the type of movie that pays reverence to relationships like your first love, but also the familial ties that bind. To me, the core of the story really is the relationship between the two brothers. And in that regard, the ending couldn't be more perfect. Honestly, I left the theater with a big grin on my face, and I can't wait for the rest of the world to see it too. EMILY RATING: 9/10

It's never too soon to start talking awards season...even if the awards season you're discussing is a year away. Manchester by the Sea, as well as Casey Affleck's lead performance that the film hinges on, is already getting a ton of buzz at the Sundance Film Festival with talk about the Oscars in 2017. Speculating so early on isn't exactly anything new. After all, everyone is always trying to find the next big thing before everyone else....especially at Sundance. So is the hype justifiable or are people throwing around the word "masterpiece" again? Manchester by the Sea centers around Casey Affleck's Lee Chandler, a man who unexpectedly finds himself as the guardian to his nephew after his brother passes way. Chandler returns to his former hometown to settle the affairs of his late brother, but finds that coming back isn't as easy as it seems. Cue mysterious backstory. What drew me to Manchester was a fine cast in addition to Affleck (Michelle Williams and Kyle Chandler are both great in supporting roles) and a plot that though the subject matter has been done before (Raising Helen, No Reservations), no one ever seems to get it right. No movie that attempted dealing with the specific theme central to Manchester has really sunk their teeth into the drama. But never fear! Director Kenneth Lonergan knows how to play with all the audience's emotions as we view the different stories unfold within their respective times. In my head, I pictured a heavy drama...but what I didn't expect to find would be some really nice moments of humor to lighten the proceedings. That said...while I thought it would be heavy, I certainly didn't expect the film to be as utterly heartbreaking as it was. A couple scenes towards the end, (one in particular) really stuck with me in how real they were portrayed. Characters talk in circles, stammer and repeat themselves. Nothing feels rehearsed. Manchester is a movie that feels lived in...and for a movie such as this, that quality is vital. Affleck isn't just experiencing the tragedy that begins the film, but he is constantly trying to battle his inner demons from the past that keep him from living his life in the present. And yet, with all the feelings we know he has as a result of what he's been through, Affleck remains stoic and emotionless...refusing to verbalize the way he's feeling (only occasionally giving us a glimpse with some moments of physical outburst.) And yet--with his performance, we *know* he feels quite a lot, even if he's not showing it or talking about it. The movie is nearly perfect and among some of the best films I've ever seen at Sundance, but it's not without its flaws. Some of the editing and musical score choices really take you out of the film, and I have to admit, I hope that some of these things are changed for distribution. Also for my own tastes, I felt that the profanity was a little too gratuitous...especially for some of the teenage characters. But then again, this is Boston! Those qualms aside, Manchester by the Sea is a truly wonderful and heartbreaking film. It's definitely set the standard high for the movies I watch the rest of the year. EMILY RATING: 9/10

Four days ago when I made my Sundance preview that had Swiss Army Man topping the list as my most anticipated movie of the festival, I must say I envisioned quite a different movie than the one I ended up seeing. The Swiss Army Man I pictured in my head was to be an interesting drama, in the vein of Cast Away, but perhaps a little bit quirkier. And then....the first reviews came from the Friday afternoon showing. Critics who no doubt had a similar vision as myself, were prepared for a serious Sundance drama and got a bizarre comedy with a lot of humor straight out of an Adam Sandler flick...and let's just say they were not happy about it. Having my expectations thrown out the window, and being replaced with the idea that the film centers around farting corpse jokes had to help me have a better experience right??? While having the critics' tempered expectations certainly did help my own, honestly and truly, nothing can really prepare you for the experience of Swiss Army Man. Let's immediately address the elephant in the room here and say that the humor in these proceedings is incredibly low-brow...there's just no denying that. But the fact that it's done so absurdly and creatively, is....dare I say impressive? Still, because of the nature of the humor, the majority of the laughs that came from me were usually guilty ones....and after SO many of them, there came a point where I just couldn't handle anymore. Most of my time in the theater I sat there watching this film feeling incredulous that it could possibly exist. On the one hand, I think it's amazing that someone could have such imagination and make it come alive....while on the other, it's just too bad that that imagination couldn't be a tad more refined. Swiss Army Man actually has a lot going for it. It features two great performances from its leads Paul Dano and Daniel Radcliffe, an interesting premise, and a pair of directors with an eye for the whimsical much like Michel Gondry and Spike Jonze. You can see "the Daniels" music video influences often in the film, and the movie is definitely the better for it. There are moments that give you glimpses for what this film could have been if it wasn't so content to its potty humor, but unfortunately, every poignant moment usually ends with a fart. I tried to be okay with that and take the movie at its face value, but couldn't help but be frustrated when there were such glimmers of a greater talent beneath the surface. Instead, Swiss Army Man settles so often for stupidity, and you as a viewer have to decide whether to embrace it or be frustrated by it. There are a lot of interesting, if not juvenile ideas to come out of Swiss Army Man, but towards the end of the movie (pardon the appropriate pun...) it all just runs out of gas. In the last fifteen minutes, you can tell this movie kind of had nowhere to go and you just want it to wrap up already. Swiss Army Man is one of the most truly bizarre movies I've ever seen in my life. A lot of its creativity and originality I really appreciated, while a good portion of it I found face palming and rolling my eyes constantly, and towards the end, I just needed it to conclude itself. Sometimes a person can only handle so much absurdity all at once. In the end, I can't help but feel like the movie is somewhat of a missed opportunity. The filmmakers were going for so much shock factor humor (that for some audiences open to it, it will totally work for,) that they didn't craft this movie as tightly or as intelligently as they could have. But then... maybe that wasn't really their goal. "The Daniels" wanted a movie to discuss the things we're "not supposed to talk about" and on that front, they definitely succeeded. EMILY RATING: 6.5/10