2 May 12
4 Feb 12
I managed to catch 12 movies during my 4 days at Sundance but with hundreds of movies playing, it’s impossible not to end up missing out on some things. I think I did a pretty good job of seeing some of the most buzzed about films at the fest but didn’t have a chance to see everything I had planned on, including a few films that ended up getting squeezed out for time, sleep or scheduling conflicts. So here are 5 more films that played the fest that I’ll be looking forward to checking out hopefully in the near future.
1. John Dies At The End (dir: Don Coscarelli) Two college dropouts must try to stop the destruction of mankind from a psychedelic drug called “soy sauce” that lets its users travel across dimensions but may not come back the same, the latest from the director of “Phantasm” and “Bubba Ho-Tep” looks to top even his previous outings for sheer weirdness. And it garnered comparisons to one of my all-time favorites, “Big Trouble In Little China.” Please play at SXSW. Watch the trailer.
2. V/H/S (dir: David Bruckner, Glenn McQuaid, Radio Silence, Joe Swanberg, Ti West, Adam Wingard) Found footage anthology from new wave of indie horror directors of “The Signal,” “House of the Devil,” and the upcoming much buzzed about, “You’re Next” among others. Received raves from horror fans and infamously, someone had to be taken out of the the theatre and resuscitated during one of the screenings (though that may have just been the mountain air).
3. The Surrogate (dir: Ben Lewin) The biggest sale of the fest (to Fox Searchlight for $6 million) features recent Sundance star John Hawkes (“Winter’s Bone,” “Martha Marcy May Marlene”) as a man with iron lung who decides at age 38 to lose his virginity. Helen Hunt (where has she been?) plays his sex surrogate. While I didn’t hear anyone who was extremely enthusiastic about this film, everyone seemed to agree that it would be a player next awards season for the performances alone.
4. The First Time (dir: Jon Kasdan) Kasdan (son of Lawrence, writer of “Raiders of the Lost Ark” and “The Empire Strikes Back”) has written about the high school experience before both as a writer for “Freaks & Geeks” and “Dawson’s Creek” and seems to have brought that experience to his sophomore effort here about two teens falling in love for the first time. Word was pretty positive here too but one hopes he brings more of his ‘Freaks’ experience (instead of his ‘Creek’ experience) to the material.
5. Shut Up And Play The Hits (dir: Will Lovelace, Dylan Southern) Documentary about the final LCD Soundsystem shows at Madison Square Garden last year and their aftermath captures frontman James Murphy both onstage and off, while probing to discover exactly what it must be like to go out on top. Watch the trailer.
More: Compliance, For A Good Time Call…, Arbitrage, Shadow Dancer, Grabbers.
film
listomania
sundance
john dies at the end
vhs
the surrogate
the first time
shut up and play the hits
3 Feb 12
For the second year I attended the Sundance Film Festival, packing 12 films into 4 very full days (+1 after the fact). With hundreds of films playing I made a decision to stick mostly to the U.S. Dramatic category (since that’s where most of last year’s breakouts came from (“Like Crazy,” “Martha Marcy May Marlene,” “Take Shelter”) with a few Premieres thrown in. All in all, I think I did pretty well, between my press pass and the @DorDotson method I was able to see everything I had the energy to show up for. I had a great and exhausting time, caught many of the fest’s most buzzed about films and got the chance to interview a few of the actors/filmmakers behind those efforts. Here, in descending order are my favorites from Sundance 2012.
1. Nobody Walks (dir: Ry Russo-Young) Peter (John Krasinski) and Julie (Rosemary DeWitt) are a Silverlake couple whose marriage is thrown into doubt by the arrival of 23 year old NY artist Martine (Olivia Thirlby). Ry Russo-Young directs this unexpectedly sensual, comic drama that takes a surprisingly mature view of relationships with a sharp script (co-written by Lena Dunham) and pulsing electronic score by Fall On Your Sword. Read My Full Review
2. Smashed (dir: James Ponsoldt) Heartbreaking and oddly hilarious portrait of alcoholism starring Mary-Elizabeth Winstead (in a career-changing performance) and Aaron Paul as a hard-partying married couple. It may sound like an afterschool special but it’s never preachy and perfectly played by an ensemble cast including Nick Offerman (yes, Ron Swanson), Megan Mullalley and Octavia Spencer. Read My Full Review
3. Beasts of the Southern Wild (dir: Benh Zietlin) The most acclaimed of the festival, the story features a 6 year old girl named Hushpuppy (an outstanding Quvenzhané Wallis) who lives in a post-apocalyptic wasteland called The Bathtub on the wrong side of the levee in New Orleans. Light on plotting but heavy on feeling, Benh Zeitlin’s impressive debut is the intersection between Terry Gilliam and Terry Malick. And the score made me cry. Read My Full Review
4. Simon Killer (dir: Antonio Campos) The latest from the Borderline films (“Martha Marcy May Marlene”) crew was one of the most divisive films of the fest. Simon (Brady Corbet) is a college grad who escapes to Paris after a breakup with his longtime girlfriend and while there begins a relationship with a prostitute named Victoria (Mati Diop). Featuring a great indie-dance soundtrack, it starts a little slow but blossoms into an engrossing (but dark) character study. Read My Full Review
5. Safety Not Guaranteed (dir: Colin Trevorrow) Aubrey Plaza, Mark Duplass and Jake M. Johnson star in this film treatment of the infamous classified ad“WANTED: Somebody to go back in time with me. This is not a joke. You’ll get paid after we get back. Must bring your own weapons. Safety not guaranteed. I have only done this once before.” Hilarious and unexpectedly sweet, of all the films I saw at Sundance this year, this was the one with the most commercial potential. Read My Full Review
6. Save The Date (dir: Michael Mohan) Smarter-than-your-average rom-com starring an indie dream team of Lizzy Caplan (“Party Down”), Alison Brie (“Community”), Martin Starr (“Freaks & Geeks”) and Mark Webber (“Scott Pilgrim vs. The World”). Featuring strong performances by Caplan and Brie as sisters, Light without being completely insubstantial, this is what more romantic comedies should aspire to be. Read My Full Review
7. Bachelorette (dir: Leslye Headland) Produced by Will Ferrell & Adam McKay’s Gary Sanchez Productions, Kirsten Dunst, Lizzy Caplan and Isla Fisher star as a trio of bridesmaids behaving badly during a coke and booze filled bachelorette party in this dark comedy. While the synopsis might read like “Bridesmaids” revisited, it’s a much darker film that even makes “The Hangover” trio look kinda like pussies. Read My Full Review
8. Liberal Arts (dir: Josh Radnor) Radnor (“How I Met Your Mother”) writes, directs and stars in his sophomore feature about a 35 year old college admissions counselor (Radnor) who takes a trip to visit his old alma mater only to fall for a 19 year old student (“Martha Marcy May Marlene” star Elizabeth Olsen). He attempts to keep their relationship platonic as he struggles with what it is to be a grown-up in this crowd pleasing comedy. Read My Full Review
9. Hello, I Must Be Going (dir: Todd Louiso) Amy Minsky (Melanie Lynskey) is recently divorced 35 year old who moves back in with her parents so she can put her life back together but finds herself reverting back into her teenaged self. Such a great vehicle for perennial supporting player Lynskey to get her role in the spotlight, she makes you want to overlook some of the films other flaws. Read My Full Review
10. For Ellen (dir: So Yong Kim) Paul Dano (“Little Miss Sunshine”) plays Joby, the struggling frontman of a hard rock band about to lose custody of his young daughter Ellen. Featuring finely tuned performances - including a supporting turn from an unrecognizable Jon Heder - and strangely funny moments, the film nonetheless fails to get into gear. Read My Full Review
11. Celeste & Jesse Forever (dir: Lee Toland Krieger) Rashida Jones and Andy Samberg star as Celeste and Jesse, inseparable former high school sweethearts now in their 30’s who have decided to get divorced. With a starry ensemble including Elijah Wood, Emma Roberts and Ari Graynor, this is a nonetheless disappointing effort from co-writer/star, (the extremely likable) Rashida Jones. Read My Full Review
12. Robot and Frank (dir: Jake Schreier) Set in the near future, Frank Langella stars as Frank a retired jewel thief living out his days in his upstate NY cottage whose son buys him a caretaker robot called simply, Robot (voiced by Peter Saarsgard). Initially resistant to this strange technology, Frank decides to stage a heist with Robot’s help. Liv Tyler and James Marsden co-star in this high concept, low key, heist/buddy film. Read My Full Review
13. The Comedy (dir: Rick Alverson) A supposed satire of aging hipsters starring Tim Heidecker, Eric Wareheim and LCD Soundsystem’s James Murphy. A series of loosely connected skits featuring Heidecker as a trust fund kid now nearing his 40’s seemingly improvising non sequiturs through each scene. Only intermittently funny, the film was supposed to be a skewering the Williamsburg overgrown hipsters it’s depicting. Read My Full Review
bachelorette
beasts of the southern wild
celeste and jesse forever
film
for ellen
hello i must be going now
liberal arts
listomania
nobody walks
safety not guaranteed
simon killer
smashed
sundance
the comedy
save the date
2 Feb 12
Amy Minsky (Melanie Lynskey) is recently divorced 35 year old photographer who, in a state of depression, moves back in with her parents so she can put her life back together. But living back at home proves to have more than its own share of stresses involved including what amounts to basically reverting to her teenaged self. Her parents (Blythe Danner and John Rubenstein) are supportive but not entirely present for her and the house sterile and incomplete, undergoing major renovations, with jackhammers buzzing away at all hours. Amy is constantly nudged by her family to clean herself up and buy a dress which she finally does for a dinner party with her parents friends where she meets their 19 year old son, Jeremy (Christopher Abbott). Jeremy’s mom believes he’s gay - he’s an actor and she wants to be accepting - but he and Amy instantly share an attraction and begin a secret love affair. Sneaking out of her parents house to see a 19 year old boy is probably the last thing she would have imagined herself doing even a few months earlier.
The contrast between feeling like you’re an adult and suddenly being treated - and finding yourself acting - like a child again is something that probably most young adults deal with at least a few days a year when they go home for the holidays. And admittedly, it’s a very strange contrast. Seeing old friends, you may find yourself falling into old habits before trying to remind yourself ‘I don’t act like this anymore, I’ve changed.’ Amy runs into an old acquaintance from high school who invites her out to drinks with the girls which ends with Amy being coerced into drinking herself sick. (One of the best lines in the movie comes out of this scene.) Directed by Todd Louiso (“Love Liza”) and featuring music by Laura Veirs, ‘Hello’ doesn’t always work - some of the supporting characters are a little too shrill and broad and it shares certain DNA with countless other indie dramedies that make it feel a little bit anonymous - but it’s worthwhile for Lynskey’s performance alone. It’s always great to see a perennial supporting player get their role in the spotlight and Lynskey is such an appealing performer she makes you want to overlook some of the films other flaws.
Check out my interview with actress Melanie Lynskey at The Playlist/Indiewire
film
review
hello i must be going
sundance
In one of the most unusual bits of casting at the fest, 27 year old Paul Dano (“Little Miss Sunshine”) plays Joby, the struggling frontman of a hard rock band (think Buckcherry but less famous) about to lose custody of his young daughter Ellen. With long greasy dyed-black hair, a few whiskers combed into a goatee and a perpetual hangover, Joby does not look like anybody’s idea of a good dad. When he finally shows up from a neverending tour to sign the divorce papers, his wife Claire (Margarita Levieva) will barely look at him, instead letting the lawyers handle the talking. In order to split the house, she wants full custody of their daughter, now 5 or so, who Joby hasn’t seen since she was a baby. Faced with his parental rights about to be revoked, Joby decides he now wants to be a father and decides to stick around until a settlement can be reached. He ends up befriending his lawyer Butler (an unrecognizable Jon Heder), who still lives with his mother. Partially autobiographical, the genesis of the script for writer/director So Yong Kim was her own absent father which may be the reason questions about why Joby abandoned his daughter remain unanswered.
If Dano’s casting is a bit strange (originally the part was written for a much older actor) he carries the film anyway. Joby may be off putting - neither he, the director, nor the intended audience for the film will likely relate to his music - but Dano seems to relish the awkward and embarrassing moments including a fully choreographed drunken bar dance to a Whitesnake song. Likewise his quieter moments with Heder or the young actress who plays his daughter are some of the film’s highlights. Featuring finely tuned performances, quietly observed and strangely funny moments, the film nonetheless fails to get into gear. While I was never bored it does move a little slowly and by the time Joby’s girlfriend (Jena Malone) shows up out of the blue, it’s practically over. Indebted to the films of the 70’s (including a finale cribbed from “Five Easy Pieces”), “For Ellen” is a snapshot of a character in transition but feels like one piece of a larger puzzle.
Check out my interview with writer/director So Yong Kim at The Playlist/Indiewire
film
review
sundance
for ellen
The film with the unfortunate distinction of being the very worst film I saw at Sundance this year was “The Comedy,” a supposed satire of aging hipsters starring Tim Heidecker, Eric Wareheim of “Tim & Eric Awesome Show, Great Job” and LCD Soundsystem’s James Murphy. Only intermittently funny apparently by design, the film is a series of loosely connected skits featuring Heidecker as a trust fund kid now nearing his 40’s. He drinks, hangs out with his buddies and drifts in and out of various situations, provoking others to amuse himself. Whether pretending he’s a landscaper, offering a cab driver hundreds of dollars do drive his cab or applying for a job as a dishwasher, Heidecker seemingly improvises through each scene giving rise to some off the cuff hilarious moments but they’re not consistent and have nothing to build on. The audience afterwards questioned what the differences were between him and his character to which Heidecker responded, “I’m an actor.” To his credit but the film’s detriment, he is so convincing in the part - rattling off horrible offensive things to nearly everyone - you never get the impression the joke is on his character.
If you didn’t know any better (and how would you from the outset) the picture comes across as Heidecker riffing and smartassing his way through the film, drinking and hanging out with his friends. But to hear the filmmakers describe it, the film was supposed to be a skewering not glamorizing the Williamsburg overgrown hipsters it’s depicting. The line between truth and takeoff becomes too blurry and instead of coming off as an indictment of this culture of empty sarcasm, it just looks like the director gathered up some of his hip friends and asked them to fuck around. And they did and he certainly has cool friends - it was kinda great seeing LCD’s James Murphy onscreen - but seems to miss its own point and at feature length, the proceedings become tedious. Though shot quite nicely by DP Mark Schwartzbard and well acted by the cast, co-writer/director Rick Alverson’s shapeless film doesn’t illuminate, instead comes across as VICE Magazine the movie.
Film
Review
Sundance
The comedy
1 Feb 12
Kate (Mary-Elizabeth Winstead) and Charlie (Aaron Paul) are a happily married couple. They’re young, they like to have a good time and they’re blind to the fact that they are both alcoholics. Charlie is a freelance writer so his lifestyle enables him to drink with greater frequency without effecting his work but Kate is an elementary school teacher and after getting sick in front of her class one day, she realizes she may have a problem. After lying to her kids who suggested she might be pregnant - she tells them she is - Kate attempts to get sober even though her husband isn’t interested. She’s introduced to AA by Vice-Principal Dave Davies (“Parks and Recreation“‘s Nick Offerman), himself a recovering addict where she meets her sponsor Jenny (“The Help“‘s Octavia Spencer). This sounds like the setup for either a gritty Sundance drama or a wince-inducing afterschool special but somehow, “Smashed” is neither. It is heartbreaking (and perhaps sobering) but also surprisingly hilarious portrait of alcoholism.
Winstead gives a career changing performance as Kate, completely unglamorous but unmannered, just completely human. Though she’s had a chance to work with some great directors so far (Edgar Wright, Quentin Tarantino), I’m not sure anyone would have predicted she capable of work quite this strong had she not shown it here. Probably the finest performance I saw at the entire festival. Despite the casting of Megan Mullally (as Principal Barnes) and Offerman (who has a few unforgettable scenes) the levity never takes away from the seriousness of the situation, only tempers the feeling that you’re being taught any kind of lesson here. The score by Fruit Bats Eric D. Johnson and Vetiver’s Andy Cabic (which reminded me a bit of Devotchka’s “Little Miss Sunshine” score) goes a long way towards keeping things off kilter if not exactly lightening the mood. But credit is due to director/co-writer James Ponsoldt and co-writer Susan Burke (herself a recovering alcoholic) who have crafted a film that despite treading well covered territory, still feels original.
film
review
sundance
smashed
“WANTED: Somebody to go back in time with me. This is not a joke. You’ll get paid after we get back. Must bring your own weapons. Safety not guaranteed. I have only done this once before.”
Based on the infamous classified ad heard round the internet, this “Safety Not Guaranteed” brings unexpected sincerity to it’s potentially one-joke premise. Aubrey Plaza stars as Darius Britt an intern at a magazine sent out on assignment to find out exactly who placed the ad and whether it’s a joke or the work of a crazy person. Cocky writer Jeff Schwensen (Jake M. Johnson) takes along Britt and intern Arnau (Karan Soni) to help solve this mystery. Before long they find the man who placed the ad, Kenneth Calloway (indie king Mark Duplass), a mullet & jean jacket wearing loner who really seems to believe it. As Britt gets closer to the story, Jeff goes off on his own to check in on an old high school flame (Jenica Bergere) and help timid Arnau connect with his manhood. Of all the films I saw at Sundance this year, this was the one with the most commercial potential.
It’s a great starring vehicle for Plaza, finally getting the opportunity to bring her droll comic persona to a leading role and Johnson (who co-stars on the hit sitcom “The New Girl”) is funny and charismatic even when his character less attractive. Calloway as portrayed by Duplass is an outsider (perhaps the missing link between MacGruber and Napoleon Dynamite) but the film isn’t interested in making him a total cartoon. Yes, there are even moments of depth in a comedy about an idiot who believes in time travel. But that’s Sundance for you. Bursting with surprising optimism and positivity the film goes where you hope it might but might not expect it to. And though the diversion with Jeff and his love interest takes up a bit too much screen time and only tangentially tied to the main story, the message there is still sweet. It’s a highly impressive debut feature from writer Derek Connolly and director Colin Trevorrow.
film
review
sundance
safety not guaranteed
31 Jan 12
Rashida Jones and Andy Samberg star as Celeste and Jesse, former high school sweethearts now in their 30’s. They’re still best friends who finish each others sentences, share all the same inside jokes and we imagine are probably the envy of all their friends until they decide to get divorced. Only instead of splitting up entirely, Jesse moves into the guest house and the two continue to hang out pretty much every day much to the confusion of their friends (Ari Graynor and Eric Christian Olsen) and the audience. We’re told they’re getting along better now that they’re separated though we’re not shown any example of their married life by which to compare. Celeste is the co-founder of an trend-predicting PR firm while Jesse is still a slacker. (Side note: her job as a trend-predictor may be an real job that a few hundred people have but is also the kind of job that gets represented more onscreen than in real life and the details ring false.) Celeste initially uses the separation to motivate Jesse into doing something with his life but things get complicated when they start seeing other people.
It’s an interesting jumping off point for the film which unfortunately can’t quite mine the premise for all it’s dramatic and comedic potential. Picked up by Sony Pictures Classics with a starry ensemble cast - including Elijah Wood as Celeste’s gay (I think?) co-worker and Emma Roberts as Riley Banks a Ke$ha-ish pop star - the film is not as polished as one might expect. Director Lee Toland Krieger either by design or inexperience shoots the film with the unpolished sheen of an online short which is not a problem as much as keeping track of the various story threads or handling of the tone. The conflict and heartache clearly comes from a personal place but the script (by Jones and co-writer Will McCormack) is too scattered to develop a proper conflict or consistent laughs. Samberg is surprising in this more dramatic role and Jones is eminently likable as always but the script fails her. It’s hard not to love Jones, she’s the type of actress you feel like you could be friends with the minute she appears onscreen, so it’s unfortunate that her first effort as screenwriter lets her down in her first leading role as a performer.
film
review
sundance
celeste and jesse forever
30 Jan 12
Set in the near future, Frank Langella stars as Frank a retired jewel thief living out his days in his upstate NY cottage whose son buys him a caretaker robot called simply, Robot (voiced by Peter Saarsgard). Initially resistant to this strange technology, Frank eventually becomes dependent on Robot, not only as a housekeeper but also as a friend. After a hip developer comes to renovate Frank’s favorite library, run by lovely librarian Jennifer (Susan Sarandon), Frank decides to stage a heist with Robot’s help to seek revenge on the developer. Liv Tyler and James Marsden co-star in this high concept, low key, heist/buddy film.
Check out my review at The Playlist/Indiewire
film
review
robot and frank
sundance
29 Jan 12
Produced by Will Ferrell & Adam McKay’s Gary Sanchez Productions, Kirsten Dunst, Lizzy Caplan and Isla Fisher star as a trio of bridesmaids behaving badly during a coke and booze filled bachelorette party in this dark comedy. First-time writer/director Leslye Headland adapted from her play of the same name and while the synopsis might read like “Bridesmaids” revisited, it’s a much darker film that even makes “The Hangover” trio look kinda like pussies.
Check out my review at The Playlist/Indiewire
sundance
film
review
bachelorette
Sitcom star Josh Radnor (“How I Met Your Mother”) writes, directs and stars in his sophomore Sundance feature after 2010’s Audience Award winning “Happythankyoumoreplease” about a 35 year old college admissions counselor (Radnor) who takes a trip to visit his old alma mater only to fall for a 19 year old student (“Martha Marcy May Marlene” star Elizabeth Olsen). He attempts to keep their relationship platonic as he struggles with what it is to be a grown-up in this crowd pleasing comedy that’s garnered comparisons to another neurotic intellectual multi-hyphenate.
Check out my review at The Playlist/Indiewire
Check out my interview with writer/director/star Josh Radnor at The Playlist/Indiewire
Film
review
liberal arts
sundance
28 Jan 12
Starring an indie dream team of Lizzy Caplan (“Party Down”), Alison Brie (“Community”), Martin Starr (“Freaks & Geeks”) and Mark Webber (“Scott Pilgrim vs. The World”), “Save The Date” is a smarter-than-your-average rom-com that mostly avoids cliches in favor of some of life’s actual messiness. Caplan stars as Sarah, an illustrator and book store manager who’s terrified of commitment. After a proposal from her longterm boyfriend goes awry she ends up rebounding quickly with another passionate love affair much to the dismay of her sister (Brie).
Check out my review at The Playlist/Indiewire
film
review
sundance
save the date
Peter (John Krasinski) and Julie (Rosemary DeWitt) are a Silverlake couple whose marriage is thrown into doubt by the arrival of 23 year old NY artist Martine (Olivia Thirlby). Peter — a sound editor — agrees to help Martine complete her short film but the long hours they spend in seclusion begin to reveal the cracks in his seemingly idyllic marriage. Justin Kirk and Dylan McDermott co-star in this unexpectedly sensual, comic drama that takes a surprisingly mature view of relationships. With a sharp script and pulsing electronic score by Fall On Your Sword, this was arguably my favorite of the festival.
Check out my review at The Playlist/Indiewire
film
review
sundance
nobody walks
27 Jan 12
One of the most divisive films at Sundance this year was undoubtedly “Simon Killer,” the latest from the Borderline films crew responsible for last year’s breakout “Martha Marcy May Marlene.” ‘Martha’ producer Antonio Campos steps back into the writer/director’s chair (for the second time after 2008’s “Afterschool”) while ‘Martha’ writer/director Sean Durkin takes the producer role this time. But unlike their surprise hit last year, this film arrives with the weight of expectations. While it starts a little slow - I found the opening scene to have a student film-ish quality to it - it eventually blossoms into an engrossing character study. Simon (Brady Corbet) is a college grad who escapes to Paris after a traumatic breakup with his longtime girlfriend. When he arrives he checks off the obligatory tourist destinations off his to-do list but quickly finds himself out looking for a connection. He tries to make small talk with some attractive French girls but his French isn’t great and his confidence shaky, so before too long he ends up being lured into a brothel in the Red Light District. While there he meets and eventually begins a relationship with a prostitute named Victoria (Mati Diop).
Wandering around Paris, hanging out with a prostitute, listening to his iPod, the film seduces you into spending time with Simon before things start to turn ugly. Much of the film is shot from behind Simon as he walks the streets of Paris, putting you inside the characters head and in a stroke of genius the blaring soundtrack - which features Spectral Display and in an extended sequence, LCD Soundsystem’s “Dance Yrself Clean” - is largely coming from Simon’s iPod. (Midway through a sequence, he changes the song.) The more we find out about Simon that we don’t like, the more the audience starts to turn on the movie (and indeed there were 20+ walkouts during the press screening). Simon reveals himself to be a manipulative, weak and sometimes despicable character in way over his head but by that point I was already hooked. Whether I just preferred spending time in Paris to a rural farm & summer home or a proactive central character, I actually preferred this to “Martha Marcy May Marlene.” One of my favorite films of the festival, IFC has picked the film up for distribution so it will be interesting to see how it plays outside the confines of Park City.
film
sundance
review
simon killer
