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

Sundance is finally over, but I have just a few movie recaps left in me before my festival coverage comes to an end...until next year. Saturday I got to see two movies at completely opposite spectrums of the festival: the midnight section and the kids section. Here are my thoughts on 10 Lives and In A Violent Nature. 10 LIVES When kitten Beckett is taken in by a research scientist named Rose, he thinks he's got it made. His life is unexpectedly cut short, but he's given another chance in kitty heaven at another nine lives, but there's a catch. Each time he comes back, he comes back as another animal, with the new life designed with the purpose of Beckett learning a new lesson. Each life is intended as a stepping stone to help him learn how to be more selfless. Meanwhile, he also discovers from his various perspectives that Rose's boss may be out to sabotage her longtime work with nefarious purposes of his own. 10 Lives is a sweet if somewhat forgettable animated tale. It features one of the most adorable segments of an animated kitten ever...until he grows up and becomes more of an obnoxious fat cat. The best bits are the time in kitty heaven and waiting to see what animal he becomes next, but with nine after a while it feels a bit superfluous. The b plot line (pun intended since it's all about bees,) is a bit silly and never feels all that important. Plus, as a cat owner, I have to say it is kind of a bit ridiculous how quickly Rose gives up looking for Beckett once he's missing. I had a fine time with it, though I will add that it did struggle a little bit at times to hold my almost four-year-old's attention. RATING: 6.5/10 IN A VIOLENT NATURE After hearing an urban legend about a necklace in the woods with a mysterious past, a group of friends take it and unknowingly awaken an unstoppable killing machine. Before they know it, they are stalked mercilessly and hunted down one by one, with no hope of survival, by a giant man wearing an old stolen mask. The conceit of In A Violent Nature is that it's a slasher flick told almost entirely from the killer's point of view. That sounds like a great idea in theory until you see it in execution. Part of that is due to the type of slasher villain we're following. The killer in Nature most resembles Jason from the Friday the 13th franchise, so we're not really following some mastermind here, but rather just a lumbering killing giant. As such, much of the runtime is spent simply witnessing this monster trekking through the forest like a bear looking for its next meal. There's no cleverness, no premeditation. No sadistically staging bodies for others to stumble upon in horror. He's a villain with no thought at all and the results are very free from any kind of suspense. While I can appreciate that it's certainly a gorefest and an all-around love letter and homage to slasher films, the result is too boring to justify its existence. RATING: 5/10

Today's the last day of the festival, but as I'm still behind recapping you get a few more blogs from me about Sundance, before I round up my personal top ten films from the fest. Here is my recap of what I watched on Friday. EXHIBITING FORGIVENESS After a rocky childhood, Tarrell (André Holland) works through his past trauma with his art. One day, his life is thrown back into turmoil when his estranged father La'Ron (John Earl Jelks) re-enters his life and vows to make amends. La'Ron swears he's changed, but Tarrell is skeptical of empty promises due to their shared past. Exhibiting Forgiveness is a deeply personal and affecting drama with incredible performances from everyone involved. The script is solid--it's filled with various scenes of familial tensions that feel authentic enough to cut with a knife. These confrontations, as well as the series of flashbacks that reveal Tarrell's youth, are so heartbreaking and just feel so real. The trauma here feels so lived in, yet relatable. We all have those people in our lives who haven't earned forgiveness in our eyes, yet desperately want it. It's not an easy watch, but it is a powerful one and undoubtedly one of the highlights of the festival. RATING: 8.5/10 BETWEEN THE TEMPLES Between the Temples follows a widower cantor named Ben (Jason Schwartzman) who starts spending time with a former teacher Carla (Carol Kane) who despite her age, is eager to have a bat mitzvah. Their time together is filled with conversations and laughter, and more importantly-- a different way to look at life. While some interesting things are going on in the latter half of the film, overall this movie perplexed me with what exactly was the point. It meanders a lot and never feels to be building to anything substantial til it pivots late in the final act. Between the Temples has a style that may be off-putting to viewers. It's calculatedly quirky which just makes the whole thing feel disingenuous. While it's always welcome to see Carol Kane in anything, and Jason Schwartzman is as usual dependable (he has been on a roll in choosing his projects as of late)--I just wish this particular film were more worthy of their talents. RATING: 5/10 YOUR MONSTER After being unceremoniously dumped by her boyfriend of five years, Laura happens upon the most unlikely of rebounds--the monster who has been living in her closet since she was a kid. After getting over the absurdity of her latest prospect being a literal monster, the two start to get closer and Laura begins to wonder if she's living in a new version of Beauty and the Beast with her unconventional happy ending waiting for her in the wings. But though she tries to move on, she keeps feeling the pull to her ex and the Broadway show he wrote for her when they were dating. Your Monster is equal parts romantic, comedy, and horror. It's a tough formula to get the mix just right, but director Carol Lindy is more than up for the task. Melissa Barrera and Tommy Dewey make for a wonderful pair whose chemistry is on fire. The film is continually funny and always engaging. Plus it has a nice commentary on the pressure women have sometimes to please everyone and keep their emotions at bay, and the need to release those in a healthy way. The audience I was with absolutely loved this, so I'm very excited to see what happens next with this movie. RATING: 8/10

Gah! The festival is all but over and I am so behind on my recaps. I've spent so much time seeing movies, that I've had very little time to blog. Here are my thoughts on three more films I saw on Thursday: Handling the Undead, Good One, and A Different Man. HANDLING THE UNDEAD Handling the Undead follows three separate families whose loved ones unexpectedly come back from the dead one day. While they had been deep in the grieving process, they are now faced with a second chance to spend a little bit more time with those whom they had lost. Handling the Undead is a moody contemplation of grief...that moves at the slowest pace you can imagine. Many viewers, myself included will feel frustrated with this and have a hard time connecting to the story and characters. I wish I could say the audience's patience is rewarded, and for some that might be true, but this one just didn't ever take off for me. Nice performances and premise, but just not for me. RATING: 5/10 GOOD ONE Teenager Sam (Lily Collias) goes on an overnight backpacking trip with her father and his friend in Good One. She observes their dynamic, always listening and chiming in her opinions on what they're talking about, while rarely being asked to share much about herself. Through the course of her trip, she learns more about herself, her father, and his friend--and her place in their lives. Good One is slow and slight, but by the end feels meaningful. Lily Collias' performance as Sam is very impressive and surprisingly assured. It's not the showiest movie or role, so what she accomplishes with her expressions really is quite remarkable. You don't quite know where the movie is going until the third act where it reveals itself a bit, so some patience is required to get there. Here it does pay off. Hard to say too much more without showing the movie's cards, so we'll leave it at that. RATING: 7/10 A DIFFERENT MAN A Different Man is certainly one of the most unique films I've ever gotten to see at the festival. Sebastian Stan plays Edward, a man with a facial deformity that he feels keeps him apart from the world. When a new next-door neighbor moves in (Renate Reinsve), Edward makes a connection with her but fears she could never feel the same way about him. A possible solution to this is presented when his doctors share that they have good news for him: a potential cure to his ailment. But the grass is always greener on the other side as Edward finds life as a new man might not be all he imagined. A Different Man is not only full of twists and turns, it's also filled with constant genre changes! From drama to body horror, to black comedy... A Different Man often feels like a different film every 30 minutes...yet somehow it mostly all works. One of its biggest conceits is that it features a career-best performance from Sebastian Stan who fully commits to the role of Edward. The other is Adam Pearson plays Edward's All About Eve-esque nemesis who embraces his condition instead of hiding from it. Pearson is so charismatic here, that he steals every scene he's in. A Different Man has an essential commentary on the portrayal of disability in film and its ethicality. It's bonkers and crazy in how it tells its tale, but it's always entertaining. RATING: 7.5/10

Even though the festival is starting to dwindle down, there is plenty of Sundance left and a good deal of movies for me to recap here on the blog! In fact, I'm getting behind so let's remedy that right now! Here's my recap of another day of movie-watching! THELMA After falling for a phone scam and losing $10,000, Thelma (June Squibb) is determined to track down the thieves responsible and take back what is rightfully hers. Taking inspiration from Tom Cruise in Mission: Impossible, Thelma will do whatever it takes to get the money back and won't let anyone underestimate her--even if she happens to be just a sweet old grandma. Though her family says she should accept the loss, Thelma enlists the help of an old friend (Richard Roundtree) and a scooter to help her catch some bad guys. Thelma is bound to win you over with its adorable geriatric caper comedy shenanigans. June Squibb is so good here as the world's sweetest grandma and the movie just could not work without her. She and Richard Roundtree have the sweetest chemistry and are so fun to see play off of one another. Thelma is a crowdpleaser with so many genuinely funny bits, it's truly impossible to come away from this movie with anything other than a smile. RATING: 8/10 DÌDI From the moment the film opened with Belle & Sebastian's I'm a Cuckoo, I knew Dìdi was gonna be a banger. As a Millennial, this film did such a perfect job of capturing the era of my adolescence--it truly felt uncanny. Dìdi follows teenager Chris Wang who, in his youth, lived with his mother and older sister Vivian. His dad is MIA as he works and provides for his children in Taiwan. Chris often feels alone navigating his life and trying always to fit in. Whether it's with his longtime crush, his trusty friend group, or a group of skaters he wants to impress, Chris is always trying desperately to be accepted. Dìdi is a slice-of-life portrait of life in the oughts. Chris is so relatable as a teen just trying to find his place in his own world His struggles are not unique to a teenager, and especially an Asian teen, but they are so real to him in this formative moment of his life. Dìdi is yet another great coming-of-age film to add to Sundance's storied history. Not only is it a perfect time capsule of what life is like for a teen trying to find themselves in the 00s, but it is also such a touching story of the sacrifices a mother makes for their kids that their kids are not always aware of. I can't wait for this film to find a home and resonate with many others who will see themselves in Chris. RATING: 8 THE MOOGAI After a traumatic birth, an exhausted new mother (Shari Sebbens) thinks she's starting to see things. Is she right or is she suffering from postpartum psychosis? Or perhaps she's being haunted by The Moogai, an evil spirit who wants to steal babies. While there is a cool premise to be found here--particularly playing with what a vulnerable and delicate time post-partum is for women, the execution just isn't here in this movie to make it anything other than forgettable. Horror films cannot be tensionless. they need to be scary! Though it had some moments here and there, ultimately there were one too many fake-outs to have any stakes. While an attempt was made with the creature design, overall it’s just not convincing and neither is the movie. Honestly there's not much more to say, this was definitely one of my biggest disappointments of the festival because I was really craving a great horror film and left empty handed. RATING: 3/10