Sundance Review: “Middletown” Celebrates Student Journalism

by Abe Friedtanzer

Married filmmakers Jesse Moss and Amanda McBaine are no strangers to the Sundance Film Festival, premiering both Boys State and Girls State in Park City. They also made the documentary The Mission, about missionary John Allen Chau, who is the subject of a narrative film, Last Days, screening this year at Sundance. Moss and McBaine return to a field they know well - education - with a look back at a group of trailblazing student journalists and environmental advocates prepared to take on government systems and the mafia before they even graduated high school...

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Sundance Review: "Sunfish (and Other Stories on Green Lake)" is an Anthology Whose Parts Don’t Quite Make a Whole

by Abe Friedtanzer

Anthologies can be very appealing, probing a number of shorter tales within the span of a feature film. There are no set rules for how they have to connect or whether they really need to, but one particular place is a frequent commonality. Sometimes, however, the uniting force just isn’t all that compelling on its own, and the stories told around it don’t do much to help. There’s nothing inherently wrong with Sundance entry Sunfish (and Other Stories on Green Lake), but none of its four separate segments make much of an impression…

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Sundance Review: "Brides" is a Compelling Chronicle of Friendship with Terrific Leads

by Abe Friedtanzer

There are many stories of people running away from war zones, struggling to adjust to their new surroundings and longing for memories of home. But that’s not the sentiment everyone has, and it can be precisely the opposite for those who have never felt like they belong. Brides spotlights two best friends so disillusioned and unhappy with their lives in the United Kingdom that they decide to run away together to move to Syria and find a community that can truly appreciate them...

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Paul Newman @ 100: "Road to Perdition"

by Cláudio Alves

When was the first time you saw Paul Newman on the screen? It might be hard to remember for some, but I can pinpoint it exactly. It was a summer holiday in those early years of teenhood, when my parents liked to drive across the border into Southern Spain for the afternoon. I loved those day trips for many reasons, and one of them was this big store in town where they sold movies that I couldn't ever find in Portugal. They were cheap, too, the perfect fit for a young cinephile looking to spend his allowance. At the time, I was just starting to get into the Oscars, so I always looked for films I knew AMPAS had honored.

One of them was Road to Perdition. 

When we got home, I remember waiting for nightfall to watch my new treasures in darkness. And then, there he was, Paul Newman. At the time, I was becoming aware of who he and many other Old Hollywood stars were, though I knew very little. Yet, there was a weight to my discovery of Newman. You see, my mom had pointed him out on the DVD case when she saw me with my new picture and waxed rhapsodic about the fellow who happened to be her favorite actor. She called him a legend, one of the most beautiful men she'd ever seen, his eyes piercing, intense, BLUE like nothing else in the world. She wasn't wrong…

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Best Supporting Actor - Strongest Lineup in Years?

by Nathaniel R

Jeremy Strong and Sebastian Stan in THE APPRENTICE © Briarcliff Entertainment

It's that time when you should start voting on the chart polls of "who SHOULD win?" We all know Kieran Culkin has the "supporting" Oscar locked up for his moody insightfulness and purposefully too-much lead performance in A Real Pain. But can we pause for a moment to appreciate that, Category Fraud aside, this is the best Best Supporting Actor lineup we've had in ages. There's not a bad or solid-but-unexciting performance in the bunch, just excellence across the board. Because I was so stunned at the quality of the shortlist, I had to look back through Oscar history to find its equivalent  - a year wherein there's not a single performance nominated that would look bad as a winner. I think you have to go back thirty years to either 1995 or 1993 to find a lineup as consistently strong. This message has been brought to you by a post-nomination viewing of The Apprentice a film I'd been avoiding for trauma reasons around the death of democracy. Strong is just excellent in the awards magnet role of Roy Cohn, a role that's already won Al Pacino an Emmy and Nathan Lane a Tony (both via Angels in America). Strong is so good that it's legitimately surprising that he's not even third best in the category...

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