Coming to Sundance with new films in the Premieres section, both Stephen Frears and Spike Lee were navigating new terrain, a pair of established directors seeking distribution for their independent features. Frears' betting memoir/dramedy Lay the Favorite went first, premiering to dismal reviews Saturday night. Lee's Red Hook Summer, a hotly anticipated entry that brings him back to his Brooklyn wheelhouse after the underperforming WWII pic Miracle at St. Anna, followed Sunday, drawing mixed initial reactions from Twittering press.
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A quick update on the flurry of Sundance deal-making of recent days, with well-received documentaries and less acclaimed but star-driven (read: marketable) narratives sitting pretty with distribution agreements. Will this be, as pundits predicted, a high-volume buying year in Park City?
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The Daily Beast's Marlow Stern reports from Saturday night's hot ticket: "Aziz [Ansari], barely audible over the jabbering crowd and telling jokes skewering everything from the gay hookup app Grindr to the sanctity of marriage, is bombing terribly. He’s visibly annoyed. All of a sudden, Cuba Gooding Jr. bum-rushes the stage out of nowhere, snatches Aziz’s microphone, and yells, 'Everybody, shut the FUCK up! Have some respect for the black men onstage.' Aziz —who is Indian— looks baffled, and when Cuba exits, remarks, 'Y’all would be paying more attention if we were showing Boat Trip up here!' Aziz: 1, Cuba: 0." [Sundance Channel/Daily Beast]
Every so often festivals feature films that so offend the sensibilities of audience members that post-screening Q&As take an ugly turn, with upset viewers voicing their beefs, and loudly, straight to the filmmakers in attendance. This year that provocation came in the form of Craig Zobel's Compliance, a drama based on an outrageous real-life crime that drew immediate backlash from some in attendance. Is being this year's The Killer Inside Me/The Woman a buzz-building coup for the film?
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I ran into Salt Lake Tribune critic Sean Means tonight at Sundance in a packed RV decked out with a mini tiki bar, neon lights, and a booming sound system -- also known as the RVIP Lounge and Karaoke Cabaret, a tricked-out mobile karaoke mecca and the jammingest place you’ll find in Park City all week. Since the word’s out (read his account of the karaoke madness), here are my two cents: You can have your Drizzy Drake concerts and Bing Bar bashes, but for my money there’s no better way to thaw out from the snow and mingle with Sundance strangers than while belting a karaoke jam or two.
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The most polarizing films are often those that dare to push the envelope farther than is expected or comfortable, whether audiences are ready for them or not, and for this reason I tend to find the divisive films more interesting than those with universal praise or derision. Simon Killer, from Afterschool director/Martha Marcy May Marlene producer Antonio Campos, reminded me of this rule when it debuted Friday at Sundance and left critics and bloggers somewhat split.
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Expect Twitter to explode shortly with reactions to the Sundance premiere of Gareth Evans' The Raid, the Indonesian actioner that blew minds at Toronto but has been kept largely under wraps until now by Sony Classics, who smartly snatched up the pic and will distribute it this March. I caught The Raid last week at a pre-Sundance screening with its new score by composer Joe Trapanese and Mike Shinoda -- yes, of Linkin Park -- and can attest that the early praise was well-earned because holy crap, it's amazing. Everything you've heard about it? True.
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“That was excruciating,” exhaled director Kieran Darcy-Smith as the lights came up on the Sundance opening night premiere of his first feature, the Australian dramatic thriller Wish You Were Here. The theater buzzed with appreciation, sure enough, and the film’s emotional blows strike as sharply thanks to strong performances by Joel Edgerton and Felicity Price. But movies like these almost always prompt that irksome question: Are we all at risk of suffering a case of the film festival goggles?
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Park City was eerily peaceful early this morning with nobody around and last night’s dusting of snow on the ground. Soon enough – by this afternoon, or this evening, or certainly tonight – that will all change as filmmakers, press and industry folks roll in and the dreaded promoters (“leveragers,” Sundance founder Robert Redford called them in his inaugural address today) pimp out this snowy mountain town like a toddler in a tiara. Appropriately, Redford pointed to the current hardships for filmmakers, and the world at large. “Times are hard and grim,” he acknowledged, later offering optimism. “Independent film is healthy. That doesn’t mean it’s easy.”
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For Mark and Jay Duplass, the sibling team behind The Puffy Chair, Baghead, and last year's Cyrus, success came only after years of frustration -- and only by happy accident. "All we were doing in the late '90s, in our twenties, was trying to be the Coen brothers," Jay Duplass laughed to Movieline, "and failing at that, because the Coen brothers are awesome and they're already the Coen brothers." It was only when the brothers Duplass stopped trying so hard, at the end of their creative rope and after years of fruitless attempts, that they found the formula for personal filmmaking that would become their signature.
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Congrats to Lynne Ramsay, Tilda Swinton and the rest of Team We Need to Talk About Kevin, which knocked off the awards-y likes of The Descendants, The Artist and Shame to emerge as best in show at this year's BFI London Film Festival. "We were struck by the sheer panache displayed by these great storytellers," said jury chief John Madden. "In the end, we were simply bowled over by one film, a sublime, uncompromising tale of the torment that can stand in the place of love." Yowza! Sounds like my Friday nights. Someone give me a trophy! [THR]
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Kudos to AFI Fest for offering three important qualities next month, when the annual Los Angeles film festival runs November 3-10. For starters, in addition to fest opener J. Edgar, they're programming Shame, one of my fall awards season must-sees and the potentially life-changing opportunity to see Michael Fassbender bare it all. (I mean emotionally, of course. Ahem.). Secondly, it's held right here in Los Angeles -- no pesky traveling to distant, exotic, champagne-sipping lands like France and Italy! Because that must suck. But most importantly, the entire AFI Fest is free. Complimentary. Gratis. Hit the jump to see the recently-announced line-up of must see films you'll want to snag a ticket to.
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Big ups to The Artist, the Oscar-contending silent-film throwback that took home the Audience Award at this weekend's Hamptons International Film Festival. Michel Hazanavicius's film led a class that also included the superb documentarian Marc Levin and breakout stars Emily Browning, Anton Yelchin and Alexander Skarsgård. Read on for the complete list of winners; congrats to all!
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Don't let the audience hijinks fool you: This weekend's chat between Matthew Broderick and Alec Baldwin at the Hamptons Film Festival gave the two old acting chums almost a full hour to catch up -- often hilariously so, with Saturday's ostensible tribute to Broderick generally resulting in a freewheeling gab session between the guys.
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As noted earlier, Emily Browning was among the squad of young talent to storm this year's Hamptons International Film Festival. The Australian actress best known for Hollywood efforts Lemony Snicket's Series of Unfortunate Events and this year's Sucker Punch dropped by this time around for something completely different: Sleeping Beauty, writer-director Julia Leigh's disturbing dive into the realm of somnambulistic sex work.
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