Indiewood/Hollywoodn’t film critic Jake Kring-Schreifels has been keeping a regular diary over the course of the 2020 Sundance Film Festival. In his third and final dispatch, Jake shares a range of musings along with seven film reviews. This article offers Jake’s take-away impressions of the festival in Park City, from streaming to shrieking. Jake begins his pondering with a report on The Last Thing He Wanted and Wendy, two Netflix made-for-streaming flicks. Then his experience is buoyed by Minari — an unexpected gem and evidence that festival surprises still exist. As he discusses Horse Girl and Lost Girls, Jake contemplates the importance of actors.. Finishing his week with Us Kids and The Night House, Jake is reminded that despite so many of these films’ online destinations, festivals still offer the thrill of a shared audience experience, sitting in the dark with strangers in a big theater.
Indiewood/Hollywoodn’t film critic Jake Kring-Schreifels is keeping a regular diary over the course of a week at the 2020 Sundance Film Festival, and this is his second dispatch. Jake’s giving our IndieNYC website a Sundance first-look, writing about the movies he’s seeing, his observations around Park City and the excitement surrounding another year of new independent cinema. Today’s report includes: Never Rarely Sometimes Always, Eliza Hittman’s new drama; Worth, a Michael Keaton-led legal procedural; Dream Horse, an uplifting racehorse saga; and Promising Young Woman, a feminist revenge thriller starring Carrie Mulligan. See which film Jake calls “the best thing I’ve seen at the festival.” (And look for some movie trailers at the end of this article.)
Indiewood/Hollywoodn’t film critic Jake Kring-Schreifels is keeping a regular diary over the course of a week at the 2020 Sundance Film Festival. He’s giving our IndieNYC website a Sundance first-look, writing about the movies he’s seeing, his observations around Park City and the excitement surrounding another year of new independent cinema. Check back to IndieNYC throughout the festival for his latest entries from Park City. Today’s report includes the new Taylor Swift documentary Miss Americana, Luxor from director Zeina Durr, La Llorona by Jayro Bustamente and Ironbark by Dominic Cooke.
This review, originally written in May 2019 has been reposted in Jan 2020 for the screening of the “Slay the Dragon” documentary at the NYC CineMatters Social Justice Film Festival. Please pardon the dated TV references, but the gerrymandering issue is more urgent than ever as we approach the 2020 elections.
Helen Highly Recommends “Once Were Brothers,” a documentary that was the opening-night film for DOC NYC 2019 and opens in theaters February 21st, based on the story of The Band (Robbie Robertson, Levon Helm, Rick Danko, Richard Manuel and Garth Hudson). For those who don’t know: the Band originally formed as The Hawk, a backing band for rockabilly singer Ronnie Hawkins but came to prominence during its time backing Bob Dylan on tour and later grew into a legend in its own right, widely credited with being on the forefront of three different musical revolutions. Impressively, the Band was one of the first rock groups to appear on the cover of Time.
America is the country that invented the concept of Baby Boomers, and now that they’re aging and so often becoming a problem for their adult children faced with the challenges of elder care or even elder understanding, it should be surprising but is not that other countries are the ones best at addressing the issue in their artistic expression. “The Disappearance of My Mother” is in theaters now and Helen Highly Recommends you see it, whatever gen-letter happens to define you. It’s an Italian documentary by Beniamino Barrese, a young-adult photographer, about his relationship with his aging, ex-supermodel mother, Benedetta Barzini. This film is as full of contradictions as real life – incongruities rarely acknowledged much less captured with the candor of this cinematic memoir that is both shocking and soft.