The 2024 Sundance Film Festival starts tomorrow! It feels like just yesterday that we wrapped up the last one, but here we go again. 2023 was such a great year so it has a lot to live up to. Not all years are created equal, but I hope this year has just as many gems. Here are the ten films from the festival I'm the most excited about. 10. THELMA SUNDANCE SYNOPSIS: When 93-year-old Thelma Post gets duped by a phone scammer pretending to be her grandson, she sets out on a treacherous quest across the city to reclaim what was taken from her. Inspired by a real-life experience of writer-director Josh Margolin’s own centenarian grandmother, Thelma puts a clever spin on movies like Mission: Impossible, shining the spotlight on an elderly grandmother as an unlikely action hero. With affectionate humor, Margolin employs the familiar tropes of the action genre in hilarious, age-appropriate ways to tackle themes of aging, mortality, and human frailty. In the first leading film role of her over 70-year career, Oscar-nominated veteran character actor June Squibb portrays the strong-willed Thelma with grit and determination, demonstrating that she is more than capable of taking care of business — despite what her daughter Gail (Parker Posey), son-in-law Alan (Clark Gregg), or loving grandson Danny (Fred Hechinger) might believe.—BT WHY I'M INTERESTED: If anyone can pull off this role and make this movie work it's June Squibb. She has such great comic timing and can definitely elevate any material she's in. This is most certainly the type of movie that could go either way depending on execution, but I'm optimistic it can be a fun one. 9. LOVE ME SUNDANCE SYNOPSIS: Long after humanity’s extinction, a buoy and a satellite meet online and fall in love. As filmmakers Sam & Andy demonstrate in their wildly imaginative debut feature, telling the love story of a smart buoy and an orbiting satellite that spans a billion years and probes the mysteries of being and consciousness requires legit storytelling dexterity. Love Me’s whimsically philosophical, shape-shifting structure ingeniously weaves together the real, the virtual, and the surreal. Its star-crossed, web-paired metallic protagonists — inhabited in different forms by Kristen Stewart and Steven Yeun — awkwardly navigate romance and companionship, equipped only with untold petabytes of archived web data, social media, and online videos. Awash in these mediated experiences and fabricated expressions of love and identity, they yearn to understand who they are, whether their feelings are real, and for that matter, whether they are real.—JN WHY I'M INTERESTED: I've learned that sci-fi films are usually the most unpredictable with Sundance, yet they always intrigue me the most. Love Me could go a thousand ways, but I’m encouraged by the pairing of Kristen Stewart and Steven Yeun and am very intrigued as to how they pair in this off-the-wall sci-fi romance. 8. A DIFFERENT MAN SUNDANCE SYNOPSIS: Aspiring actor Edward undergoes a radical medical procedure to drastically transform his appearance. But his new dream face quickly turns into a nightmare, as he loses out on the role he was born to play and becomes obsessed with reclaiming what was lost. Writer-director Aaron Schimberg’s latest film is a surreal, singular tale of one man’s desire to self-actualize. Sebastian Stan is Edward, a man overcome by the reality of his appearance, intent on curing his alienation and transcending his self- and socially enforced artistic potential. Adam Pearson and Renate Reinsve carefully embody foils to Edward’s ambition, an artistic and philosophical juxtaposition of his, and our, conceits. Through a haunting score and folkloric magical realism, a unique psychological thriller emerges. A stylish vision of the theatrical currents of New York stages a universe where reality and fiction blend in beautiful ways; where lies, expectations, and internal turmoil weave a man’s consequentially incipient senses of truth and becoming. A Different Man is a reflexive allegory for the modern tortured artist, a subversive, gothic fairytale that deftly begets obsession.—CA WHY I'M INTERESTED: Sebastian Stan always chooses the most interesting indie projects and this one sounds really interesting. There are a lot of ways to tell a story like this, whether it leans into the absurd and is comedic, or if it winds up being more contemplative. Either way, I’m curious to find out. 7. KRAZY HOUSE SUNDANCE SYNOPSIS: When Russian workers in Bernie’s house turn out to be wanted criminals, Bernie has to man up and save his ’90s sitcom family. In their hotly anticipated English-language debut, Dutch directing duo Steffen Haars and Flip van der Kuil (New Kids) spare no one, unleashing a deliriously fucked-up ode to the sanctity of family that consistently outdoes itself. Taking a studio audience–approved world and nuking it from the inside, Haars and van der Kuil bless us with their demented sense of humor and depravity. Nick Frost embodies Bernie Christian with zest, doing justice to his last name as a meek, devout head of household who’s suddenly forced into a bloodcurdling, jaw-dropping crusade when his spiritual foundations fail; Alicia Silverstone matches his madness as his gleefully mischievous wife. Miraculous in its very existence and gloriously unhinged, Krazy House begs to be seen to be believed.—AS WHY I'M INTERESTED: The premise of this sounds so totally wacky, but honestly seeing the clip Alicia Silverstone posted to her Instagram the other day had me sold. Nick Frost is so funny, and the world has been in desperate need of a really good horror comedy. I’m hopeful this one delivers the goods. 6. THE OUTRUN SUNDANCE SYNOPSIS: After living life on the edge in London, Rona attempts to come to terms with her troubled past. She returns to the wild beauty of Scotland’s Orkney Islands — where she grew up — hoping to heal. Adapted from the bestselling memoir by Amy Liptrot. Nora Fingscheidt’s poignant adaptation of Amy Liptrot’s fearless memoir details the author’s liberation from drug and alcohol addiction, a triumph forged on the enchanted, wind-battered coasts of her childhood home. The Outrun traces Rona’s false starts and setbacks on the road to recovery through harrowing flashbacks to her downward spiral in London and her reckoning with reality in a strict rehab program. But Fingscheidt is more concerned with Rona’s final destination — deliverance from personal demons through transcendent communion with nature. Grounded in local lore and rich with Liptrot’s journalistic digressions on the land and its life-forms, The Outrun artfully ties Rona’s healing to her growing environmental stewardship. Four-time Academy Award nominee Saoirse Ronan gives a heartbreaking, humane performance that moves from woozy self-annihilation to serene calm.—MC WHY I'M INTERESTED: Put Saoirse Ronan in anything and I will watch! This sounds like a different kind of role for her and I’m really interested in what she does with it. Anything that has the possibility of getting her close to that Oscar right? 5. IN A VIOLENT NATURE SUNDANCE SYNOPSIS: The enigmatic resurrection, rampage, and retribution of an undead monster in a remote wilderness. In his directorial feature debut, Chris Nash skillfully flips the slasher genre on its head by shifting the perspective from the victims to the killer with haunting effect. In A Violent Nature upends a formulaic mainstay featured within horror films for decades, minimizing familiar tropes to inject new life into the genre. Instead of dwelling alongside promiscuous young people in a remote forest cabin before they get what’s coming to them, the film keeps their unsuspecting voices in the distance as we follow a maniacal murderer trudging through the woods to stalk his prey. Infusing inventive kills with generous amounts of gore, Nash is methodical in his approach, setting an ominous and ambient tone that will linger within your psyche for a long time to come.—AM WHY I'M INTERESTED: The description of this one was so intriguing to me. Not often do we get the killer's perspective in horror (the only example I can think of is from Tucker and Dale vs Evil which does so in a comedic fashion). But I love the idea of turning the trope on its head and hope this one will be one of the breakout horror films from the festival 4. THE MOOGAI SUNDANCE SYNOPSIS: A young Aboriginal couple bring home their second baby. What should be a joyous time takes a sinister turn as the mother starts seeing a malevolent spirit she is convinced is trying to take her baby. Adapted from his award-winning short and made with the producers of The Babadook and Talk to Me, Jon Bell’s debut feature draws from Indigenous lore for a thematically rich supernatural tale that quickly establishes the lurking menace of a child-stealing spirit. Its simmering suspense empathetically builds around the fragile psychology of a new mother, blurring the lines between exhaustion, paranoia, and postpartum depression. In exacerbating her isolation and hopelessness, Bell shrewdly accentuates traditional tools of oppression to reveal a darker allusion to Australia’s stolen generations — the tens of thousands of First Nations children forcibly removed from their families through the government’s assimilation policies — which the filmmaker calls a “massive wound in the psyche of Australia.” The Moogai bears its terrifying resonance out of sublimated trauma.—JN WHY I'M INTERESTED: Australian horror can go either way at Sundance with the incredible to the disappointing, what gives me hope about this one is seeing that the Sundance programmers had a good consensus that this one leaves you spooked. The plot has all the potential to be great and hopefully, it will be. 3. HANDLING THE UNDEAD SUNDANCE SYNOPSIS: On a hot summer day in Oslo, the newly dead awaken. Three families faced with loss try to figure out what this resurrection means and if their loved ones really are back. Based on the book by John Ajvide Lindqvist. Reuniting Renate Reinsve and Anders Danielsen Lie (The Worst Person in the World, 2022 Sundance Film Festival), Handling the Undead is a visually expansive experience, full of arresting images and subtle performances that collapse the space between the living and the dead. Director Thea Hvistendahl’s steady directorial hand leaves her characters room to breathe, to mediate the moral gray area, letting the minutiae of grief lead them as they feel their way through an extraordinary circumstance. Hvistendahl’s interpretation of Lindqvist’s novel addresses daunting questions about the body, the soul, loss, and moving on, pushing viewers to get to the root of reanimation: What would you do, and how would you feel, if someone you loved returned? WHY I'M INTERESTED: I absolutely loved The Worst Person in the World so I'm so excited to see Anders Danielsen Lie and Renate Reinsve work together again. I had not previously known about this novel, but it sounds incredibly intriguing. 2. PRESENCE SUNDANCE SYNOPSIS: A family moves into a suburban house and becomes convinced they’re not alone. In every project of his legendary career as a director, producer, screenwriter, cinematographer, and editor, Steven Soderbergh has brought a vital energy, curiosity, and unique vision to storytelling that has few parallels in filmmaking history. Following groundbreaking work like sex, lies, and videotape (1989 Sundance Film Festival, Audience Award: Dramatic) and The Girlfriend Experience (2009 Sundance Film Festival), he returns to Park City with a film shot entirely in one location that will haunt audiences with its otherworldly story and constantly awe-inspiring visuals. Working from a taut, mysterious script by David Koepp and featuring an exciting cast of known actors and newcomers, Presence is a thrilling cinematic ride that reifies Soderbergh’s status as an icon of American independent film.—SS WHY I'M INTERESTED: No one does paranoia quite like Steven Soderbergh. Not all of his projects always land for me, but he’s still the type of filmmaker that I’m always excited keen in seeing what he’s up to, and this particular movie seems tailor-made to all of his strengths. Plus Lucy Liu is great and I hope this is a meaty role for her. 1. HIT MAN SUNDANCE SYNOPSIS: A strait-laced professor discovers his hidden talent as a fake hit man. He meets his match in a client who steals his heart and ignites a powder keg of deception, delight, and mixed-up identities. Inspired by an unbelievable true story. In Richard Linklater’s enjoyable comedy noir, Hit Man, which premiered at the 2023 Venice Film Festival, Gary Johnson (Glen Powell) might at first seem like a geeky philosophy professor — and he most certainly is one. But don’t be fooled by his scholarly appearance, quiet life, and cats named Id and Ego. There are many sides to Gary’s personality, thanks to Powell’s and Linklater’s witty script — and arguably, the former’s most versatile and charming performance to date. Gary’s shape-shifting life is turned upside down by a meet-cute with a damsel in distress. But just as with the character of Gary, under layers of physical comedy and goofy humor, Linklater plants questions about identity and self, as well as the idea that, to some extent, we are all performing our roles.—AT WHY I'M INTERESTED: Ever since the rave reviews at TIFF, this movie has been at the top of my anticipated movies list. I adore Richard Linklater and Glen Powell just has so much charisma. He deserves to be a star and I hope this is as amazing a vehicle for him as everyone has been saying. I can’t wait to see for myself This year will be more challenging for me to get as many films in as usual, but I'll do what I can so be sure to check back throughout the fest for all of my reviews.

The festival is still going strong and I'm seeing more movies daily. I'm getting a bit behind with blogging, but I'm doing my best to keep up! So let's crank out a couple more, shall we? Here are some of my thoughts on A Real Pain and Love Me. A REAL PAIN Jesse Eisenberg returns to Sundance with his second directorial effort A Real Pain. Unlike his last film When You Finish Saving the World, where he remained completely behind the camera, this time around he shares the screen with Kieran Culkin in a co-leading role. Eisenberg and Culkin play two cousins whose personalities couldn't be more different as they both attempt to cope with the loss of their recently departed grandmother. Together they decide to travel to Poland, to see where she came from as well as to visit the concentration camp she was forced to endure during World War II. Eisenberg effortlessly examines the messy bonds of family--the relationships we don't choose to be in but want desperately to maintain. Kieran is absolutely magnetic here and Eisenberg gives one of his best performances in ages. He's grown much more assured in his second outing as a director and it really shows in the film. They play off one another so perfectly here and you can really feel the familial tensions between the two. A Real Pain is the perfect dramedy where there are so many moments of laugh-out-loud humor, mixed with actual touching moments of reverence and gravitas. RATING: 8/10 LOVE ME Love Me will inevitably be compared to WALL-E for the rest of time as their concepts are strikingly similar, but Love Me has more of a modern twist. After the earth is destroyed, an inquisitive buoy learns all about humanity by studying YouTube videos and social media. From their research, they decide they'd like to be human and they'd like to be in love with the the only other object they ever communicate with: the satellite in the sky. Together they attempt to live a life based on what the buoy believes is an ideal life: that of an influencer. Love Me is all about living behind the facade we present to the world instead of letting our true authentic selves be known. It is completely a two-person show carried on the backs of Kristen Stewart and Steven Yeun's very impressive performances. It has an important message, though at times can feel a bit repetitive in conveying it. Still, I appreciated where they took the characters and that they did move the story forward in unpredictable ways. I don't see it as the type of film I'll ever come back to, but I appreciated it all the same. RATING: 6.5/10

The festival is now halfway over and I finished my third day of movie watching by adding two more films to my watched list. I didn't really have high expectations for either film I had slated today, and somehow it happened to be my best day yet. WINNER Emilia Jones is back yet again at Sundance starring in her fourth film for the festival. Here she reteams with Cat Person director Susanna Fogel to portray Reality Winner in Winner. Right from the get-go Winner is engaging as it gives a window into who the character is and the family life that shaped her. Winner is at its best when it focuses on these dynamics and it boasts a great supporting cast in these roles with Zach Galifianakis, Connie Britton, and Kathryn Newton. In addition to its cast, it also boasts a sharp script that fluctuates between humourous and poignant moments with ease. Her story is continually captivating in showing the events that led her to make the decisions that ultimately cost her her freedom. I’ll be honest, I didn’t expect much from this film and figured it would be a dour, by-the-numbers espionage thriller. I certainly didn’t expect it to be as funny or entertaining as it was, let alone to have the tender moments that it did. And while it was all of those things, it didn’t sacrifice telling the hard truths of her story either. I was so pleasantly surprised with this film and once again Emilia Jones proves herself to be a Sundance MVP. I hope she keeps popping up in festival films for the foreseeable future because she always turns in really great work. RATING: 8/10 MY OLD ASS Eighteen-year-old Elliott (Maisy Stella) can't wait to leave her small town behind for a bigger and better life away from her family once the summer ends. Then she can finally move away for college to be free to live her life the way she chooses and to finally get some space to become who she wants to be. On the night of her birthday, a drug trip magically allows her to come face-to-face with an older version of herself (Aubrey Plaza) who graciously imparts some pieces of wisdom to the younger Elliott. Newcomer Maisy Stella is really wonderful as young Elliott, and she and Aubrey Plaza have a great rapport playing off one another. They totally have each other's mannerisms down and are believable at playing different versions of the same character. Aubrey’s Elliott feels lived in and she does a great job of conveying the regret one has over taking things for granted in her youth, while Maisy's Elliott is wide-eyed and hopeful at all the potential her future holds. My Old Ass does a fantastic job of exploring the age-old concept of "If I could go back and tell my younger self one thing, what would it be?" The more life we live, the more we are able to see our past from a different perspective than we could while it was our present. So too with wisdom, sometimes the less willing we are to take risks. My Old Ass is surprisingly retrospective in ruminating how continually looking back at the past and only looking forward to the future keeps us from appreciating our present. By the end, My Old Ass becomes a beautiful coming-of-age story and if you know anything about me, when done right, films like these are among my absolute favorites. And yes, I even shed a tear or two in its final scenes. RATING: 8.5/10

My second day of Sundance is in the books and I managed to check off two of my most anticipated films with The Outrun and Presence. Still, a lot more movies to go, but check out my quick reviews of these two solid films. THE OUTRUN Saoirse Ronan stars as Rona, a woman desperately trying to overcome her demons in The Outrun. Told non-linearly, we follow Rona's recollections of her many struggles in her fight against alcoholism. At times it can be difficult to follow where we're at in Rona's journey, with her hair as the main clue to the sequence of events. Because of that, it’s easy to feel a bit lost initially while the story is really finding its feet. In the Q&A, director Nora Fingscheidt said that it was intentional to mimic the fight to attain sobriety— a chaotic beginning that eventually comes into focus and calms down by the end. As a first-time viewer, at times that can feel frustrating, but as the story does come into that focus it’s easier to appreciate the film as a whole and what it’s trying to accomplish. Rona’s battle is not an easy one. It is ruthless and harrowing. She somehow continues to find new ways to reach rock bottom when you think she couldn’t go any further down. It’s a powerful story and incredibly intimate. Needless to say, Saoirse is amazing and excels in the role. Her range is truly impressive and it makes you wonder what she can’t do! She is committed and fearless in showing the ugly side of addiction and how it drags a person down to the point they feel they can never escape. After Magazine Dreams last year, I'm vowing to never do any more Oscar predictions during Sundance, but it would be lovely if Saoirse got some recognition for her incredible work here come awards season. RATING: 8/10 PRESENCE Somewhere between A Ghost Story and The Others, lies Presence, an experimental ghost story told in reverse by Steven Soderbergh. As seen with Unsane, Soderbergh loves to venture into telling smaller stories with a somewhat scaled-down production. Presence feels like the type of film made spontaneously during a weekend with some friends, and in this case, it doesn't feel like a bad thing. Presence feels fresh and new, but its gimmick may wear out its welcome fast depending on the viewer. The story is told entirely from the perspective of a ghost, haunting the new home of a family. This ghost is a (mostly) quiet observer, gliding from room to room in the house and listening in on conversations from the new owners. At times this approach can feel a bit aimless, and luckily the runtime and pacing keep things quick enough that you can't complain too much. Plus, it does have a point and when it gets there, it all clicks. Presence isn’t really scary because its titular character isn’t a malevolent spirit, but rather a protector. From the beginning, it’s clear that the ghost takes an interest in the daughter of the family. It hangs out most in her room and it wants her to be aware that they’re there, with various attempts at making their presence known. The film is very clever in portraying this unseen character and the whole thing almost feels interactive, that you as the audience ARE the ghost as you see everything unfold from their specific point of view. It's amazing how much we get to know these characters by simply observing them, and the strength of the film is that they are good, interesting characters that you don't mind spending time with. It wasn’t quite what I was expecting, but I’m happy it exists and I’m happy big filmmakers are willing to take risks. RATING: 7/10

I got a bit later of a start than usual this year after a couple of my screening plans fell through the last two days. But I could finally see two films today so my Sundance season has now officially begun. While yesterday was Day 3 for everyone else, it was Day 1 for me so it's time to play catchup by checking out some of the most talked about movies of the festival so far. FREAKY TALES Freaky Tales is a series of seemingly inconsequential vignettes that invariably intertwine as the movie progresses. 1980s Oakland acts as the backdrop here, with plenty of classic metal anthems and synths to accompany the film's frequent scenes of mayhem. The film is told in four chapters and unfortunately, each story is not created equally. In fact, I didn't find myself very interested in the film until the third chapter and by then I wasn't sure I could overcome my apathy. Plus, it doesn't help that when those two storylines do make their way into the others, they still don't really feel justified in existing, rather they just feel roped in and insignificant. That said, its over-the-top violent ending makes up for a lot, so I can see how a lot of people felt so enthusiastic about it and came out of it raving. Ultimately, I'm not the audience for this, though I'm sure it will be beloved by many. There are some really good performances to be found in Freaky Tales. The second half of the film gets the benefit of being supported by strong acting turns from Pedro Pascal and Ben Mendolhsen, while the first two storylines lack characters with much depth. While there are definite highlights as the film does its very best to channel Quentin Tarantino in its last vignette, I just felt overall this film was less than the sum of its parts. RATING: 6/10 IT'S WHAT'S INSIDE It’s What’s Inside is the type of movie that’s so hard to know how to review. Its central concept is one that is better kept a secret, for the viewer to enjoy the surprise of…well what’s inside. But more broadly told, It’s What’s Inside follows the gathering of a group of old college friends getting together to celebrate the upcoming wedding of one of their friends. But the evening takes a turn when one of the members of the group brings along a mysterious suitcase whose contents bring fateful consequences. It takes a little bit to really get going, but once it does It’s What’s Inside is quite the ride. It’s definitely a concept film, and its gimmick is explored fully and well. I would say it’s poised to be the next runaway Sundance horror hit, save for a few snags. The first of which, is that well it’s not really horror. It always feels as though it could veer there, but never quite does. It instead settles more for a mystery whodunnit type of feel. The other issue keeping it from true greatness is that a movie like this would excel with deep complex characters, but instead, they come off as more caricatures. Sometimes in horror movies that doesn’t really matter, but this one in particular you need to really differentiate between these characters and it kind of becomes tough to do. I don’t need my horror characters to be likable, but it helps when there’s more depth to them at least. Still, those things aside, it is an impressive feature! It’s creatively told and continually engaging. It keeps you on the edge of your seat guessing where it’s going to go, and you can never quite predict it. I don’t know what its current plans are for distribution, but I’m excited for this to get a wide release and for more people to see it. But I hope when they do they can keep a secret to preserve its surprises. RATING: 8/10

This year marks the 40th anniversary of the Sundance Film Festival. As a long-time blogger and attendee of Sundance, I and many others were asked to give my top ten list of favorite films I had the pleasure of experiencing firsthand during my years covering the festival. Believe me, when I tell you, It was really not easy narrowing this down! During the past twelve years of attending the festival, not only was I able to see some amazing films from first-time directors who are now major talents, I had the privilege of seeing these incredible gems before they were available to the rest of the world--without any marketing or reviews to shape my expectations. 10. CODA I remember the experience of seeing CODA at the 2021 Sundance Film Festival so vividly. In a way, it was one of the most important films in the festival's history because it was tasked with being the opener during the most unorthodox year they'd ever had! Due to the COVID-19 pandemic, Sundance had to change course and for the first time, it shifted to being an online film festival. As a lover of the festival, I was so skeptical if it could be the same! But CODA was just the right type of Sundance magic to bring attendees together even if we were apart. It had heart, humor and that crowd-pleasing energy that is so special to Sundance and it made me feel all the feels, even if I wasn't sitting in Park City at the Eccles. It quickly won me over and became one of my favorite movies to come out of Sundance, and I wasn't alone! Its overwhelming support eventually carried it to an eventually successful Oscar campaign, resulting in Sundance's first-ever Best Picture win. Read my original Sundance review of CODA HERE 9. MASS Along with CODA, Mass was another reason 2021's festival was so special. If you had told me when that festival ended that one of the movies at Sundance would have ended up the best picture winner of the year, I would have been sure it would have been Mass. It's actually crazy to me to think how ignored this film was by basically everyone after the festival ended! It is such an incredibly powerful film with some of the best acting of that year. Mass is such a devastating heartbreaker. It's truly a shame it seems to be so forgotten, but for those who know... they know! Read my original Sundance review of Mass HERE 8. BROOKLYN Brooklyn is actually one of the few films from the festival that had to grow on me, instead of being instantly enthralled with it. I saw it back to back with the next entry on my list, and I think I was still so absorbed with thinking about that one, that Brooklyn just felt too simple in comparison. But the more time went on the more I appreciated Saoirse Ronan's quietly understated performance as well as the film's beautiful portrayal of the life of a young immigrant, torn between her new home and her old. There are so many wonderfully poignant moments throughout, Brooklyn is just a gem. Read my original Sundance review of Brooklyn HERE 7. THE WITCH On a crisp January day in 2015, I had a double feature of The Witch and Brooklyn. My screening of The Witch has to be among my all-time favorite Sundance experiences. I had no idea what to expect from this film. Was it a historical drama or a horror film? It wasn't placed in the horror section, but with its title and image, I was very hopeful that it would be. The answer came early on in a rather shocking fashion and the tension the audience felt from that point forward was palpable. The Witch was the slowest of slow burns, but oh that payoff was more than worth it. The final images stayed with me for a very, very long time. Plus, seeing then-unknowns Anya Taylor-Joy and director Robert Eggers get their start here is truly incredible to look back and see. Read my original Sundance review of The Witch HERE 6. MANCHESTER BY THE SEA From the moment I read the 2016 Sundance film guide while planning my schedule, I had a really good feeling that Manchester by the Sea would be a really good solid drama. I just could never have foreseen HOW good! Manchester by the Sea is one of the most powerful films I've ever had the privilege of seeing at Sundance and there wasn't a dry eye in the house by the time the credits rolled. It features some of the most incredible performances I've ever seen in my hears at the fest, with Casey Affleck and Michelle Williams giving some of the best performances of their careers. Then newcomer Lucas Hedges in one of his first major roles was excellent too. Casey and Michelle would later be recognized by the Academy with Affleck winning Best Actor, while Michelle was nominated for supporting actress but lost to Viola David in Fences. Read my original Sundance review of Manchester by the Sea HERE 5. PAST LIVES Past Lives is the newest film to join the list, in fact, in the original list I submitted to Sundance I realized I had omitted it. Yet here it is, cracking my top five. Though this might be recency bias talking, the thing is, it's just SO GOOD. From the very first scene, you can just tell that this is something special. The fact that this was Celine Song's directorial debut still absolutely floors me. It has a beautiful simplicity, yet there is so much left unsaid. Everything in Past Lives is happening under the surface and what it accomplishes is truly incredible. Read my original Sundance review of Past Lives HERE 4. THE WAY WAY BACK I have such a special place in my heart for The Way Way Back and the experience of seeing it at the 2014 Sundance Film Festival. The Ogden Egyptian Theater was one of my all-time favorite venues (it's a long shot, but PLEASE bring it back someday!!) and the energy for this film in that theater was infectious. Every joke landed to perfection and it felt like the perfect summer escape on a cold winter's day. What could have been a throwaway generic teen movie was a fantastic coming-of-age film with genuine heart. The ending puts a lump in my throat every time. It's such an underrated film, but one I always look at with fondness. Read my original Sundance review of The Way Way Back HERE 3. SING STREET From the second I saw Sing Street I was absolutely obsessed with it and recognized its potential as a true instant classic. I wasn't alone either, because I could feel the audiences' affection for it growing with every passing minute of screen time. I loved every moment and every song. I couldn't wait for its soundtrack to be released upon seeing it, and when it finally came out it was on repeat in my car for a good two years afterwards. John Carney brought a magic to the festival with Sing Street that I'm not sure anyone else since (including Carney himself with his follow-up Flora & Son), has quite been able to duplicate. Just as with The Way Way Back, I could watch Sing Street at any time and be just as delighted as I was the first time I saw it. I love this movie with all of my heart. and it is truly one of my all-time favorites. Read my original Sundance review of Sing Street HERE 2. HEREDITARY Aside from some amazing coming-of-age films, Sundance also has reliably screened some of the best horror films of the last decade. When I went to a screening of Hereditary in 2018, I expected a run-of-the-mill spooky child horror movie but what I got was so much more. The genius of it is thinking you know exactly which way it’s going to go, only to be completely blindsided midway through. You realize that you are along for a ride and that you have absolutely NO idea where you’ll end up. The utter boldness of Ari Aster had my instant respect, but apart from its originality and unpredictability it also boasted some of the most daring performances ever seen in the genre. Toni Collette gave a performance for the ages and I’m still upset it wasn’t recognized by the academy. Hereditary was one of the most confident debuts I’ve ever seen at the festival and would be the number one debut, if not for my number one pick. Read my original Sundance review of Hereditary HERE 1. WHIPLASH Whiplash was the opener of the 2014 Festival, and from the moment it debuted, it was almost all anyone would talk about the entire festival. It wasn’t really on my radar before that because it just seemed like an average teacher drama, and I didn’t really have any plans to try and see it. But as a Utah local, I received the best of fest passes and was eventually excited when Whiplash was announced to be the film playing at my screening at the end of the festival. None of that small hype I heard beforehand could have prepared for what an absolute ride Whiplash is and how tense it would be! It's more anxiety than most horror films Read my original Sundance review of Whiplash HERE HONORABLE MENTIONS: PALM SPRINGS, ME AND EARL AND THE DYING GIRL, LIBERAL ARTS, NINE DAYS, PROMISING YOUNG WOMAN, BEFORE MIDNIGHT And a special shout out to (500) Days of Summer, my favorite Sundance movie of all time and the one that inspired me to start attending the festival so I'd never miss out on these gems again.

Another year has come to a close, and as per tradition, it's time to share my annual list of the worst films I saw--according to me. Though it's become mighty unfashionable among the likes of film Twitter for worst lists to exist, the tradition must live on! Screw the haters of the haters! To be fair to 2023 though, most of the movies I saw that made this list weren't even THAT bad...(aside from my #1 & #2 pick) nevertheless here we go. We'll start with the lesser offensive entries and work our way to the top...or bottom, whichever way you want to look at it! 10. THE FLASH There might be a decently okay superhero film underneath all of the garish visual effects and oddball humor stuffed into The Flash. Still, you'd never know it while watching the bloated cut they decided was worthy to release in theaters. The time-traveling story at its core is perfectly fine and even has a touching moment or two--but it's hard to appreciate that amid everything else that just doesn't work here. This is an ugly film, and for whatever reason that seems to be an active choice on the part of the filmmakers, and it's really baffling to try to understand why. While there was much ado being made about the cameos, again for me the number one problem was how hideous they looked. Plus it must be said, while I understand the need for one of the Barry's to have a character arc, I'm not sure he had to be quite as annoying as he was. 9. YOUR PLACE OR MINE I actually find the premise of Your Place Or Mine very grounded and down to earth. It's not an absurd situation and honestly, I didn't mind the separate storyline either character was in. The problem came in bringing together two romantic leads whom we would never believe would be romantic with one another. Their complete lack of chemistry brings down an otherwise decent romantic comedy, but bless Reese Witherspoon's heart because she sure tried. 8. TIE: THE POPE'S EXORCIST & EXORCIST: UNBELIEVER Two exorcism movies made my list for the price of one. The first was actively bad but with an off-the-wall performance from Russell Crowe (acting in a completely different movie than the rest of his co-stars,) and the other so dull it bored me to tears. Both reduced exorcism movies to their very worst tropes, but more importantly, neither one contained a single moment of suspense. But at least The Pope's Exorcist contained various imagery of Russell Crowe riding a moped as a priest, so I'll give it that. 7. PETER PAN & WENDY If you ever wondered what a Peter Pan adaptation would be like without magic and wonder, featuring a Peter Pan with no charisma, look no further than Disney's live-action Peter Pan & Wendy. Of all the stories to bring realism to, why on earth would you pick Peter Pan? While I appreciated it wasn't a beat-for-beat live-action of the original animated classic, it was way too subdued for its own good. Neverland is supposed to be the epitome of every kid's wildest imagination, and instead, it is represented here as a colorless, muted bore. And don't even get me started on the ridiculous backstory they cooked up for Captain Hook. Sorry Jude Law, but you were all wrong for the role. Though I dreaded The Little Mermaid remake far more (and believe me, I hated a lot of that movie too...) Halle Bailey saves it from appearing on this list. But Peter Pan & Wendy has no such saving grace, and thus earns its spot here. 6. TIE: ANT-MAN AND THE WASP: QUANTUMANIA, SHAZAM: FURY OF THE GODS I thought about doing a three-way tie here to include The Flash along with these two, but I was just so much more apathetic about every single thing that happened in these two sequels than The Flash. I can barely muster a thing to say about either because they're both just uninspired duds that helped pave the way for mainstream audience's apparent superhero fatigue. Like The Flash, they too are filled with unsightly CGI designs and humor that doesn't work. 5. RENFIELD Despite inspired performances by Nicolas Cage and Nicholas Hoult as Dracula and Renfield respectively, they just aren't able to overcome its lackluster script. It's such a shame because the trailer looked so funny and had so much potential when in reality the tone of the film was just all over the place. Cage's instincts are spot on for what this movie should be, but unfortunately, he's just not in it enough. As a result, we're left with a derivative unfunny cop/mob comedy with touches of horror here and there. This one disappoints more because it really could have been good. 4. GHOSTED Ghosted feels like the epitome of a fake movie seen in other movies. Nothing about it feels authentic. When it came out, so many people joked about whether or not these two were ever actually filmed together in the same room at the same time, and sometimes you really do wonder! This action rom-com has definitely been done before, but could have been forgiven with better casting and a couple with great chemistry. While Ana de Armas played a believable agent in No Time to Die, she's less so convincing here. But the real problem is Chris Evans, who after playing Captain America for a good decade just isn't believable as a guy who can't take care of himself. But it's also odd how though they shared a good bit of chemistry in Knives Out, they're completely devoid of it here. But perhaps the most distracting part of Ghosted might just be Ana de Armas' horrible wig. 3. YOU PEOPLE A lot of unfunny movies have made this list, but none more unfunny than this one. Awkward, cringey humor definitely can work...but it really helps when there's at least one likable character. But there's none to be found in You People, which feels more like nails on a chalkboard than a movie. With so many talented actors involved, it's truly stunning that it fell so flat. 2. WHAT HAPPENS LATER Poor Meg Ryan. She must have seen last year's Ticket to Paradise and thought, I can do this too! So she found a generic script, signed on to direct, and cast herself along with another 90's rom-com alum David Duchovny. But unfortunately for her, this romantic comedy set entirely in an airport, fails to ever take flight. It's trying so hard to be one of Richard Linklater's Before movies, relying entirely on dialogue and the relationship between characters, but doesn't realize that those things have to also be compelling. It's clear when the two have a chance encounter in an airport that there is a history between the two, and as the film goes along more and more of their past relationship is revealed. Yet instead of feeling more drawn to the characters by each revelation, it feels like more of an endurance test for how stupid this movie can get. Also, its attempt at mixing fate and destiny into the proceedings just feels completely out of place. 1. SKINAMARINK If you've ever been so bored that you decided to do nothing but stare at the ceiling for an hour and a half, congratulations, you've practically already seen Skinamarink. There are few instances where I feel like a movie truly has wasted my time, and not only did Skinamarink do that--it seemed like it was proud to do so. It honestly feels like a con--as if The Emperor's New Clothes was a horror film. You keep waiting for something, ANYTHING to happen and you're left feeling like an absolute sucker by the time we cut to the end slate. Yet people will bend themselves in knots trying to derive any kind of meaning from images of toys scattered on the ground and old cartoons playing on loop rather than admit they've been had. While I understand liking the premise and admiring the style, the execution should produce a movie that's actually watchable and Skinamarink is anything but.

A new year is here! And I must admit, I really had to scrape the barrel here to come up with ten movies I was excited about. What are we doing here Hollywood? Still, some of my favorite filmmakers have offerings this year, so hopefully they deliver the goods. Here are the ten films debuting in 2024 that I'm looking forward to the most. 10. A QUIET PLACE: DAY ONE While it's a little disappointing not to be getting a direct sequel to the last Quiet Place film, I'm okay with spending more time with these films, seeing in more detail how their apocalypse began. Plus with Lupita Nyong'o set to star, it's just got to be good right? 9. ALIEN: ROMULUS I'm realizing there's a pattern here with my first few entries (including the one after this): they're all reboot or offshoot films, rather than a true continuation of where the last film left off, and have completely new filmmakers at the helm. To me, that's not a positive aspect of these movies, and I'm excited for them in spite of that. I really enjoyed Alien: Covenant and thought Michael Fassbender was incredible in the role of David. Having that storyline get abandoned to reboot the franchise yet again is such a bummer. However, I do like Fede Alvarez as a director and I'm excited to see his take on the story, so I'm cautiously optimistic. 8. KINGDOM OF THE PLANET OF THE APES So, unlike the last two entries I mentioned... this one did have a proper finale to its current iteration and the need to continue definitely feels unnecessary. A new entry doesn't feel like an organic continuation of the story, but rather a way for studios to squeeze a bit more money out of the franchise while they still deem it profitable. I'm also not keen or confident about Wes Ball helming this film since I never loved the Maze Runner films. All in all, I'm a bit wary of this film, but the reason it's getting a spot on the list is merely from the goodwill I have towards the last trilogy. 7. MAXXXINE Ti West's horror trilogy starring Mia Goth concludes in 2024 with Maxxxine. Though I've been a bit mixed on the trilogy so far--I dug X, and felt a bit disappointed in Pearl-- I'm excited for the finale because Mia Goth has been downright fantastic in both films playing different roles in each. I can't wait to see what she does with the character next and luckily this time (as with X,) she's got a great supporting cast around her to make this one stand out. 6. THE BIKERIDERS I'm so glad that this film is back on the release slate after being pulled last winter because I firmly believe the world needs more Austin Butler in it. Elvis proved the man is a star and festival reviews buzzed that that only continues here and I'm excited to see him play off of Tom Hardy and Jodie Comer as well. Plus I'm a fan of the work of the talented Jeff Nichols and am always game to see his work. 5. JOKER: FOLIE A DEUX Joker is such a polarizing film for the terminally online, dividing people to be passionately for or against it. While I enjoyed it, I felt that both sides made too much of a fuss over it. But casting Lady Gaga in the role of Harley Quinn and casually stating the film was going to be a musical seemed to get everyone excited. Suddenly the project felt much more daring and perhaps purposeful, and less of a way to see if they can catch lighting in a bottle twice. This one could still go either way as far as I'm concerned, but I'm certainly intrigued. 4. HIT MAN I love Richard Linklater and will always be excited when he has a film coming out. Hearing rave reviews out of film festivals last fall certainly added to my own personal hype. Good rom-coms are few and far between in this world, and while having not seen the film and not being completely positive about the precise category the film belongs in, I'm taking the word from those who have seen and loved it that this is a future great for the genre. 3. FURIOSA: A MAD MAX SAGA It's been almost ten years since Mad Max: Fury Road exploded onto movie screens and I'm more than ready to return to its world. Though like everyone else I'm sad to not just see another film with Charlize Theron in the role, I'm sure Anya Taylor-Joy will kill it as a younger version of the character. Plus it's always nice to see Chris Hemsworth outside of a Marvel movie. 2. NOSFERATU Yes, Robert Eggers, you have my complete and undivided attention with every morsel that's revealed about Nosferatu. While I'm sad some of the first-choice cast members were unable to make it work, I'm confident that Eggers is delivering another all-timer and I absolutely cannot wait. Man, I wish this were coming out at Halloween instead of Christmas. 1. DUNE: PART TWO Well, every year for the last couple it seems that one movie from the previous year's list gets delayed to make a re-appearance on the new anticipated list. With all the production strikes last year, this time Dune: Part Two was the ultimate victim of that. So instead of taking a place on 2023's Best list, it gets to show up here--but at least this time it gets to be at the top of the list. The film's predecessor is one of my favorite movie experiences in the last couple of years and I absolutely cannot wait to jump back into the story right where we left off and see what happens next.

Sundance 2023 is officially a wrap! I broke my personal record and saw a whopping thirty films this year. Aside from some definite lows (I'm looking at you Bad Behaviour and Landscape with Invisible Hand), 2023 was a really great year for the festival! There are a few I'll catch up with when they eventually come out, but this year I saw pretty much everything I set out to see. I saw some films I absolutely adored that have a great chance at remaining on my top ten list at the end of the year, so let's go over my ten favorite films from the fest. 10. TIE: A LITTLE PRAYER A Little Prayer felt like such a breath of fresh air in the midst of a lot of the weirder, experimental films I saw during Sundance. It's conventionally told and to the point, yet it has a weight to it all. I'm still thinking about a few poignant scenes from this family drama days later because of how well-written and acted they were. Every character is so perfectly cast here, there's not a false note to be found. I look forward to revisiting this movie when it is released by Sony Pictures Classics. You can find my full recap of A Little Prayer HERE 10. TIE: OTHER PEOPLE'S CHILDREN What starts as a breezy French film, ends with a hard dose of reality in Other People's Children. It's such a film that sneaks up on you, making you realize how invested you actually are in Rachel getting her happy ending. You want so much for her to be a part of a family and get a chance at motherhood because of how hard she works to be there for Leila. Like A Little Prayer, there are a few scenes that really got me. Look for a release sometime in 2023. Full recap of Other People's Children HERE 9. CAT PERSON Cat Person seemed to be one of the most divisive films of the festival because of its ever-changing tones and how ambitious a film it was. While not all of it entirely worked (the last act in particular), it totally nailed what it is like to be a single woman navigating the complex world of dating in the twenty-first century. Constantly on your guard, never knowing if you can really trust someone because of all the horror stories you've been told. Cat Person was funny, thrilling, and very relatable. Cat Person is still seeking distribution, but hopefully, it will find a home soon. Full recap of Cat Person HERE 8. RYE LANE Dom and Yas share one of the best days of their lives bonding over the heartbreak of their previous relationships. Of all the films save one, Rye Lane I'm the most excited to revisit. The festival fatigue was hitting me hard, but I knew it was such a special romantic comedy. I loved their spark, I only wish they had a few more tender moments between the two throughout. Look for it hit Hulu end of March. Full recap of Rye Lane HERE 7. YOU HURT MY FEELINGS You Hurt My Feelings was another one of those films that really stood out among heavier subject matter. It's so grounded and relatable--it felt like I was spending an hour and a half with some friends I hadn't seen in a while just catching up. It's a slight film, but still very poignant. I'm excited to watch this one again too when A24 releases it. No word yet on when it will have a wide release. Full recap of You Hurt My Feelings HERE 6. RADICAL I'll be honest, I really wasn't expecting a lot from this film and was so surprised by it. I find inspirational teacher movies to be pretty cliched most of the time, but there was such an earnestness in Eugenio Derbez's performance that left me mesmerized. Plus it really hit me with an emotional gut punch in the final act. No word yet on if it has found distribution. Full recap of Radical HERE 5. POLITE SOCIETY Right from the start, I knew I was going to have a great time with whatever was in store with Polite Society. Its humor and style were instantly reminiscent of one of my favorite movies, Scott Pilgrim vs. The World. While it does lose steam in the middle, it's still such a fun, action-packed silly movie. I can even get behind its crazy twist. Really excited for this to hit theaters and see this one again when it is released through Focus Features on April 28th. Full recap of Polite Society HERE 4. FAIR PLAY Corporate politics and gender bias are under the microscope as a couple's relationship self-destructs in Fair Play. Writer-director Chloe Domont's first-time feature was a knockout and one of the most talked about films of the festival. These characters truly went on a ride from its unforgettable opening to its epic end and their performances captured every nuance wonderfully. Fair Play will hit Netflix sometime presumably this year. Full recap of Fair Play HERE 3. TALK TO ME After a couple of disappointing years for the midnight section, Talk to Me feels like the first horror movie in a while with the potential to make a real splash. While it's not a horror film with a deeper message or metaphor, it's simply a great concept put to screen incredibly effectively. There's some really nightmarish imagery and an ending that leaves you wanting more. This could easily be a franchise film and I hope A24 takes full advantage. Full recap of Talk To Me HERE 2. FLORA & SON John Carney creates a worthy successor to Sing Street with Flora and Son. This film was charming, laugh-out-loud hilarious, and filled with tunes I can't wait to listen to on repeat. I loved every second and really only wanted more. I'm very eager to see if the ending of the film grows on me whenever it makes its way to Apple+. Full review of Flora and Son HERE 1. PAST LIVES Past Lives is the gorgeous debut from Celine Song about missed opportunities and the chances we don't take. I loved the idea on paper, but I loved it even more in execution. Each section was so beautifully told and I can't stop thinking about it. It's a movie that will stay with you for a long time. A24 picked up the distribution rights, so hopefully, the film will release this year. Full review of Past Lives HERE And with that, Sundance 2023 is officially over and we'll have to wait another year for more. I only hope next year's offerings can be just as amazing as what we got this year.

After focusing the last two Insidious entries on other characters, Insidious: The Red Door returns to the story where it all began: The Lambert Family. While James Wan helmed the first two films, the next two films, Insidious: Chapter 3 and Insidious: The Last Key, were essentially spin-off films. The franchise seemed to be on life support until word got out that Patrick Wilson would not only be returning to star...but would be making his directorial debut as well with Insidious: The Red Door. In Insidious: The Red Door, we're re-introduced to the Lambert family nine years after the events of Insidious: Chapter 2. When we last saw father and husband Josh Lambert (Patrick Wilson), he was possessed by an evil entity and was going all Jack Torrence on his family. Here we learn that after that incident, Josh and his wife Renai (Rose Byrne) decide that the best thing to put it all behind them is to suppress Josh and their son Dalton's (Ty Simpkins) memories so that they never have to worry about "The Further" ever again. But Josh and Dalton learn that the truth can only be concealed for so long before they begin to be haunted once more by their past. Patrick Wilson does a really decent job of putting all the pieces into place to set up the story and make the audience feel unnerved. The problem comes with his inability to escalate the tension to the proper amount needed to keep the audience on the edge of their seat. Instead of eagerly awaiting the next scare, midway through I found myself quickly losing interest and feeling frustrated by its sluggish pacing. Wilson clearly has learned some tricks from Wan for setting the stage and he does his best to put them to good use here. A few of the lingering shots we see early on are effectively scary while the audience is left trying to decipher what we're actually seeing. One sequence in particular really got me! The problem is, none of it was enough to keep me invested and all of the goodwill that Wilson achieved in the beginning was pretty much squandered by the end. No doubt that pulling double-duty directing and acting kept Patrick Wilson from having too much screen time here as Ty Simpkins ends up with the majority--but the lack of Father/son scenes really hurt the latter half of the film. We're expected to feel these emotional beats that just don't land. Instead, the film hopes we just rely on the previous entries to fill in the gaps and make us feel affection for the characters. While focusing on Dalton's character is a natural progression for the story and welcome, I still would have liked for his familial relationships to retain focus too. Especially since the ramifications of certain revelations aren't really given any weight at all and need to be! While it was nice to revisit these characters again, ultimately it feels like maybe The Red Door was better off staying closed. There was certainly potential here, but the execution just couldn't elevate it to the quality of the previous first two installments. RATING: 5/10