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22 Films We Can’t Wait to Watch at Sundance 2018

By Film School Rejects

Before we head to Park City, here are a few movies we can’t wait to watch.

The annual tradition of traveling to Park City, Utah in mid-January to screen a number of films that will become relevant as the year goes on is upon us. Yes, it’s time for another Sundance. Perhaps even more importantly, it’s time for our team to list the films we can’t wait to see once we pack our bags full of winter clothes and pile into condos full of other film-loving nerds. If we look back to the films that ended up on our 2017 list, you’ll see a few that stuck in the mainstream consciousness, including A Ghost StoryThe Big SickCall Me By Your NameI Don’t Feel At Home In This World Anymore and Mudbound, plus a few others that were released into theaters.

The point is that Sundance is the starting line for the year in film. This includes films that may compete for Oscar gold in 2019, breakout performances from fresh faces, and a bunch of other movies that are likely to be bought by Netflix and Amazon. We’re headed into the mountains to find the best of them, dear readers. But first, here are the ones we’re most looking forward to at this year’s festival.

Red Dots

An Evening With Beverly Luff Linn

An Evening With Beverly Luff Linn Still

The NEXT category of Sundance is often filled with experimental, unusual, and odd little films. It’s where Sundance keeps it weird. But every once in a while, they debut something unexpectedly brilliant. That’s not to say that An Evening with Beverly Luff Linn is going to be that for 2018, but it is a movie starring Aubrey Plaza, Craig Robinson, Emile Hirsch, and Jemaine Clement. Directed by the same guy (Jim Hosking) who gave the world The Greasy Strangler in 2016. So that has to be worth something, especially if you’re a fan of the absurd. – Neil Miller

Red Dots

Assassination Nation

Assassination Nation

I love all kinds of films, but as my heart belongs to all things dark and twisted Sundance’s Midnight section is my sweet spot each year. This is writer/director Sam Levinson‘s second feature to play the fest (after 2011’s Another Happy Day), and it sounds terrifically bonkers. It explores what happens when the anonymity of our online lives is stripped away revealing vicious truths and dirty secrets, and what happens is bloody chaos. Call it a satire or call it a mild exaggeration of real life, but either way I’m excited to watch the madness unfold. – Rob Hunter

Red Dots


Beirut Still

It wouldn’t be Sundance without an appearance from Jon Hamm. The former Don Draper stars as U.S. diplomat in this political thriller scripted by the great Tony Gilroy (Michael Clayton, Rogue One). Being released in April, Beirut has the edge of already having a wickedly cut trailer online. Watching Hamm butt heads with Rosamund Pike (Gone Girl) while navigating deadly terrain sounds unmissable. – Matt Hoffman

Red Dots

The Catcher Was a Spy

The Catcher Was A Spy Still

Spy films come in all shapes and sizes, and while the bigger ones like Steven Spielberg’s terrific Bridge of Spies grab all the attention there’s plenty of room for smaller tales to succeed. This true story sees Paul Rudd playing against type as a professional baseball player pulled into a new world of deception, and what it lacks in grand scale it makes up for with its supporting cast including Jeff Daniels, Guy Pearce, and Paul Giamatti. Here’s hoping it delivers the goods as both a spy story and a biopic of a hero previously lost to history. – Rob Hunter

Red Dots

The Death of Stalin

Death Of Stalin

We’ve already reviewed this film at Fantastic Fest last year, but I was not the person who reviewed it. I didn’t see it. So yes, this is me selfishly wanting to see a film I missed at another festival. Which usually isn’t the case at Sundance. Sundance is where you go to discover films out of nowhere. But for Armando Iannucci, who previously gave us In the Loop and Veep, we’re more than willing to make an exception. – Neil Miller

Red Dots

Eighth Grade

Eighth Grade Still

What Sundance is complete without a coming-of-age film? Eighth Grade, from debuting director Bo Burnham, sounds like this year’s (much younger and less dark) Ingrid Goes West in following a 13-year-old challenged to forge real-life connections in the digital age and own up to her true ‘offline’ identity. This looks like a big deal for young actress Elsie Fisher (Despicable Me, McFarland, USA) and hot indie distributor A24 has already scooped it up. It’s destined to generate some talk out of Park City. Tomris Laffly

Red Dots

The Guilty

The Guilty Still

Truth be told, “World Cinema” generally flies under-the-radar in Sundance. But here is a Danish thriller from a first-time filmmaker that’s worth keeping top of mind. The Guilty sounds like a true nail biter with a kidnapping story unfolding within the confines of a creatively used single location. If our instincts are correct, this can easily become a surprise sleeper hit. We can’t wait to find out. – Tomris Laffly

Red Dots

Hearts Beat Loud

Hearts Beat Loud Still

The closing night film of Sundance ’18 comes from Brett Haley, who gave us 2017’s The Hero, an excellent dramedy featuring a stellar performance from Sam Elliott. This time around, Haley has Nick Offerman and Kiersey Clemons in front of his camera as a single father and his soon to be pre-med daughter, respectively. What we can expect from these three collaborators, based on their previous work, is warmth, sincerity, and good humor. Which sounds like a great way to end a long, cold week in the mountains. – Neil Miller

Red Dots

I Think We’re Alone Now

I Think We're Alone Now Still

Elle Fanning and Peter Dinklage join forces to face the end of the world in the latest film from Reed Morano. The film will explicitly avoid explaining the cause of the apocalypse, which sort of leaves me expecting something like ‘The Leftovers’ meets The Road. This is Morano’s first feature since her award winning work directing for The Handmaid’s Tale, which is keeping this film a staple on ‘must see’ lists. Morano is also lensing the film, so even if it absolutely bombs we can count on it looking nice. – Matt Hoffman

Red Dots

Juliet, Naked

Juliet, Naked Still

Nick Hornby‘s words have reached the screen with results both fantastic (High Fidelity, About a Boy) and less so (A Long Way Down), but the highs far outnumber the lows. That means we’re excited to check out his latest, and the cast — Rose Byrne, Ethan Hawke, Chris O’Dowd — certainly doesn’t hurt either. Director Jesse Peretz showed himself capable of mixing humor and heart with 2011’s Our Idiot Brother, and I’m betting he’s even more successful this time around. – Rob Hunter

Red Dots

Leave No Trace

My Abandonment

Director Debra Granik is a reliable name to bet on in Sundance. With her 2004 debut, Down to the Bone, she won the US Dramatic Competition’s directing prize. With Winter’s Bone (2010), also a Sundance premiere, she went on to the Oscars with 4 nominations (including Best Picture), and by the way, kicked off the career of the then unknown Jennifer Lawrence. Will Leave No Trace, a quiet tale of an Oregon father-daughter living off the grid, be a similar launch pad for the young Thomasin Harcourt McKenzie? I can’t wait to find out. Tomris Laffly

Red Dots


Lizzie Still

Now more than ever, true crime is certainly in style. Craig William Macneill explores the life of Lizzie Borden (Chloë Sevigny) who was charged with the brutal axe-murders of her mother and father. The media frenzy explored in recent true crime exports I, Tonya and ‘The People vs. OJ Simpson’ will not be found in this film, set in 1892. Instead, Macneill seems to be taking an approach that in interested in exploring Borden’s interiority, which leaves a great opportunity for an excellent performance from Sevigny. Did I mention Kristen Stewart also stars as Borden’s lover? – Matt Hoffman

Red Dots


Mandy Still

Nicolas Cage going full-on nutty can’t make a bad movie good (sorry Mom and Dad), but at the very least it guarantees a movie won’t be boring. His latest sees him focusing that crazy rage in a dark direction as a man seeking revenge for the murder of the woman he loves. The perpetrators are described as “a vile band of ravaging idolaters and supernatural creatures,” and if that doesn’t have you salivating I’m not sure you’re even alive. Director Panos Cosmatos has taken his time since 2010’s Beyond the Black Rainbow, but if he can pair that film’s visual style with Cage’s intensity this might just be the year’s craziest film. – Rob Hunter

Red Dots

The Miseducation of Cameron Post

The Miseducation Of Cameron Post Still

Good news, fans of Appropriate Behavior (hopefully this includes everyone who’s seen writer/director/actress Desiree Akhavan’s 2014 feature debut). She is back with a new film: an adaptation of Emily Danforth’s coming-of-age novel about a gay high school teen (Chloë Grace Moretz), sent to a conversion therapy center by her conservative elders. The Miseducation of Cameron Post promises to be an empathetic portrayal of identity and a young woman owning it with confidence against the odds. Tomris Laffly

Red Dots

Night Comes On

Night Comes On Still

This is a film that I’m pumped to see based on the lead actress alone. Dominique Fishback was incredible in the recent first season of HBO’s ‘The Deuce’. In the David Simon penned epic, Fishback stars as prostitute Darlene. In this film, Fishback plays an 18-year-old who crafts a complicated plan to start anew after being released from prison. It wouldn’t be Sundance without a great coming of age story and I’m hoping this is it. – Matt Hoffman

Red Dots


Ophelia Still

William Shakespeare’s Hamlet gets a retelling here with its focus on the lady-in-waiting whose growing love for the young prince leads to devastating consequences. Or does it? The film is described as offering “a fresh and empowering female perspective” so I’m hoping it pulls an Inglourious Basterds and refuses to be beholden to its source. We’ll find out if that’s the case soon enough, but even if it ends as its author originally intended a cast that includes Daisy Ridley, Naomi Watts, and Clive Owen means it’ll still be worth watching. – Rob Hunter

Red Dots


Puzzle Still

Kelly Macdonald goes from devoted housewife to competitive puzzler. Did you know that there are competitive puzzle competitions? Well, now there’s a movie about them. It’s about a woman breaking free from a sheltered life in a boring marriage to become a rogue puzzler. That woman is played by Kelly Macdonald. That’s enough for me to fit this one into my schedule. I have questions about the puzzle competitions. – Neil Miller

Red Dots

Sorry to Bother You

Sorry To Bother You Still

Lakeith Stanfield and Tessa Thompson lead the way in this witty-sounding dramedy (that looks like a total blast on paper) about a telemarketer on the rise and his skeptical gallery artist girlfriend. If this isn’t enough to get you excited, and it should be, take note that according to the film’s synopsis, Armie Hammer plays a cocaine-snorting, orgy-hosting, obnoxious, and relentlessly optimistic CEO” in Boots Riley’s debut. Done deal. Sign us up, please! Tomris Laffly

Red Dots

Summer of ’84

Summer Of

Turbo Kid was one of 2015’s most creative surprises with its retro sci-fi/action and playful spirit, and the film-making trio behind it are now back with something a bit darker. Its setup looks to exist in a similar vein to Among the Living as a group of young friends are forced to grow up fast when faced with a serial killer in their midst. Add in a stylized 80s setting and an awesome synth score, and these Canadian film lovers may have another cult hit on their hands. (Although I’m sure they’d prefer an actual hit.) – Rob Hunter

Red Dots

The Tale

The Tale Still

Perhaps one of the timeliest films of the festival, The Tale stars Laura Dern as a woman who must reevaluate her life after realizing that she may have been sexually assaulted as a child. Dern has been doing some of her best work yet over the past four years, so it’s really exciting to see her continuing to take challenging material, and in a lead role no less. The film also features an impressive supporting cast rounded out by Oscar winners Ellen Burstyn and Common. – Matt Hoffman

Red Dots

Three Identical Strangers

Three Identical Strangers

It’s a completely crazy, only-in-the-movies story. Except, it is 100% true. Tim Wardle’s documentary follows the extraordinary lives of Bobby Shafran, Eddy Galland, and David Kellman, the identical triplets who’ve been adopted by three different NY families in the 1960s and found each other completely by chance at the age of 19. The brothers’ journey might sound like a nostalgic fairy tale at first—the triplets did become the toast of New York for some time, during their good years—but their story takes a dark, well-documented turn fast. This investigative film will surely open up some old wounds and maybe even ruffle certain feathers. Not to be missed. Tomris Laffly

Red Dots


Tyrel Still

This one sounds a bit like Get Out 2.0, but in the hands of Sebastian Silva, I’m sure it will be one of the festival’s best. Jason Mitchell (Mudbound) stars as Tyler (not Tyrel), a black man who goes to a weekend getaway for a friend’s birthday Upon his arrival, Tyler realizes that everyone else at the party is white. Silva is a master of switching tone, so expect Tyrel to start out as a comedy and then suddenly accelerate into madness. The film is also one of FIVE films at this year’s festival to feature the great character actress Ann Dowd. – Matt Hoffman

Red Dots

All images courtesy of Sundance Institute.

The article 22 Films We Can’t Wait to Watch at Sundance 2018 appeared first on Film School Rejects.


HBO’s new teaser for ‘Fahrenheit 451’ movie blazes to life – CNET


Books burn merrily away in this creepy trailer for the upcoming movie based on Ray Bradbury's classic book.


L.A. movie openings, Jan. 12


Jan. 12

Abe & Phil's Last Poker Game

Comedy-drama with Martin Landau, Paul Sorvino, Maria Dizzia. Written and directed by Howard Weiner.


Futuristic indie thriller. Directed by Farasat Khan.

Blur Circle

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This ‘Deadpool 2’ Poster May Reveal Film’s Full Title And Plot Details

Via Fox

While some people were worrying about whether Deadpool movies will continue to be R-rated now that Disney is calling the shots (the answer being, f*ck yeah they will), the talented marketing department for the franchise kept furiously pumping out well hung art. Deadpool 2‘s titular Deadpool, Ryan Reynolds, tweeted a new poster for the sequel which featured a phrase that may end up being the film’s subtitle, and it definitely namechecks a popular storyline from comics.

Here’s the new poster, a take on Michelangelo’s fresco The Creation of Adam from the ceiling of the Sistine Chapel, except nobody’s naked and, instead of God surrounded by twelve figures and swooping fabric taking on the shape of a human brain, this version shows Cable hovering in front of one of his time-travel portals:

Some might call this creation a masterpiece, but to me it’s just well hung art to be shared with the world.

— Ryan Reynolds (@VancityReynolds) December 14, 2017

Reynolds tagged several museums in the tweet, as well as tagging Buca di Beppo (in yo’ face, Olive Garden). But more important than shouting out casual family-style Italian dining experiences, the poster included the classy subtitle “The Second Coming.” It wouldn’t surprise us if the sequel ends up being titled Deadpool: The Second Coming, although we were also fond of Untitled Deadpool Sequel.

This may also hint at a possible storyline for the movie. The comics crossover series X-Men: Second Coming involved Cable saving the first mutant born in quite some time (Scarlet Witch remade reality and removed the mutant genome; it’s complicated). Cable takes her to the future, names her Hope, and raises her like a daughter, eventually taking her back to the past when she’s a teenager.

We don’t know if Hope is going to be involved in the movie’s plot, but she does seem to be referenced. Note the teddy bear attached to Cable’s belt in the poster and in this first look photo from August:

DeadPool 2: Your premium #Cable provider. #DeadPool2

— Ryan Reynolds (@VancityReynolds) August 7, 2017

(Via Screen Rant and Nerdist)

filmdrunk?d=qj6IDK7rITs filmdrunk?i=YtKl707Tm4E:XrquM6SHmnQ:V_sG filmdrunk?d=yIl2AUoC8zA filmdrunk?i=YtKl707Tm4E:XrquM6SHmnQ:gIN9 filmdrunk?d=7Q72WNTAKBA


Rogue One is a movie about internet freedom

Sarah Jeong is right (as usual): Rogue One is about internet freedom, a movie about the struggle to upload a large file under time-constraint in a post-Net-Neutrality dystopia where Dropbox is a distant memory and you can't just email a file to yourself for later reference. (more…)


Mary J. Blige Earns Screen Actors Guild Nomination for ‘Mudbound,’ Full List Revealed
Just days after earning two Golden Globe nods, Mary J. Blige notched another prestigious nomination on Wednesday morning (Dec. 13), earning a ...


THE 15:17 TO PARIS Trailer

From Clint Eastwood comes “The 15:17 to Paris,” which tells the real-life story of three men whose brave act turned them into heroes during a highspeed railway ride.

THE 15:17 TO PARIS Trailer
A Movie directed by Clint Eastwood
Release Date : Coming Soon
Genre : Drama
© 2018 - WB

Comedy, Kids, Family and Animated Film, Blockbuster, Action Movie, Blockbuster... We keep you in the know!

Subscribe now to get the best and latest movie trailer !


SHOT IN THE DARK Trailer ✩ Netflix Documentary (2017)

Nightcrawler in real life!

SHOT IN THE DARK Trailer ✩ Netflix Documentary (2017)
Available now on Netflix
Genre : Documentary

SHOT IN THE DARK Trailer ✩ Netflix Documentary (2017)
© 2018 - ✩ Netflix

Comedy, Kids, Family and Animated Film, Blockbuster, Action Movie, Blockbuster... We keep you in the know!

Subscribe now to get the best and latest movie trailer !


Watch George’s Lucas’s 1967 student short-film “Electronic Labyrinth: THX 1138 4EB”

Dust is a YouTube channel for short science fiction movies. Today they are showing George's Lucas's 1967 student short-film "Electronic Labyrinth: THX 1138 4EB"

"While monitored and pursued, a man races to escape through a futuristic labyrinth. "Electronic Labyrinth THX 1138 4EB" by Star Wars creator George Lucas was the student film that helped launch his film career. Dust is proud to present it to you as part of USC Student Week."

From Wikipedia:

Lucas had had an idea for a long time "based on the concept that we live in the future and that you could make a futuristic film using existing stuff". Fellow USC students Matthew Robbins and Walter Murch had a similar idea which Robbins developed into a short treatment, but Robbins and Murch lost interest in the idea, whereas Lucas was keen to persist.

One of Lucas' USC instructors suggested an opportunity for Lucas to make the short film that he had in mind: since the 1940s, the USC film school had had a working arrangement with the US Navy, whereby Navy filmmakers attended USC for additional study. Teaching the class was not popular amongst USC staff, as the Navy filmmakers often had rigid, preconceived ideas about filmmaking, and sometimes misbehaved in class. But the Navy paid for unlimited color film, and lab processing costs, for their students. Lucas offered to teach the class, and was allowed the opportunity.

The Navy men formed the crew of the film, and some appeared in the cast. Because of the Navy connection, Lucas was able to access filming locations which would not otherwise have been available to him: the USC computer center, a parking lot at UCLA, the Los Angeles International Airport, and the Van Nuys Airport. Much of the filming was done at night, with some at weekends.

The film was completed in 12 weeks, with Lucas editing it on the Moviola at the home of Verna Fields, where he was working during the day editing United States Information Agency films under Fields' supervision.

Image of George Lucas on the set of "Electronic Labyrinth: THX 1138 4EB" provided by Dust


‘The Severed Arm’ Beats Other 70s Slashers to the Punch

By Rob Hunter

“Mister you don’t know how close you came to getting it!”

Welcome to Missed Connections, a weekly column where I get to highlight films that are little known and/or unfairly maligned. I’ll be shining a light in two directions — I hope to introduce you to movies you’ve never seen and possibly never heard of, and I’ll attempt to defend films that history, critical consensus, and maybe even your own memories haven’t been very kind to.

This week’s pick is a slasher? Kind of? Characters are killed off by a madman with a hatchet, and as would become a common staple for the sub-genre in the following years, the killer’s motivation is one of revenge. Think Prom Night, Terror Train, I Know What You Did Last Summer, but with an older, less attractive roster of victims, and you’ll have a good idea what to expect with 1973’s The Severed Arm. Well, kind of?

Everyone likes getting packages in the mail, but when Jeff receives an arm-long box hand-delivered by the postman he’s shocked by what he finds inside. That’s right, it’s a severed human arm, and he knows exactly who sent it too. A few years prior Jeff and five other men were trapped in a mine after a cave-in. Days and weeks went by without rescue, and as their water supply came to an end the majority ruled that someone had to sacrifice his arm to feed the group. Ted drew the short straw, and despite his protestations the other men held him down and sawed off his arm.

They were rescued a few minutes later.

Ted was understandably pissed, and while he reported what happened the others claimed his arm had to be amputated due to injury. The five men went on with their lives while Ted went in and out of hospitals, but now years later it appears he’s gone missing and is no longer in a forgiving mood. The random human arm in the mail was just a warning, but after the men gather to discuss Ted’s return one of them is attacked and left one arm short. Can the other four find and stop their one-armed assailant before he strikes again? (Nope.)

Tom Alderman‘s The Severed Arm — his second and last feature as director — is an odd little slasher that moves from inspired setup to somewhat simple execution to a bonkers third act, all under ninety minutes. It’s a fun watch, and in addition to a pretty stellar finale it sees a couple beats serve as precursors to two far better-known slashers.

We’re told in no uncertain terms that an angry and disturbed Ted is the killer working his way through the other survivors, but if that’s the case why do we only see the attacker’s feet and hatchet-wielding arm? Suspicious! Enough information is offered early on to leave sharp-eared viewers confident and at least partially correct in their theories, but the eventual reveal is only half the fun. The film takes some interesting and fun turns whether or not you have the killer pegged before the reveal. A plan to lure Ted by making him think one of them is boning his daughter? A Disney joke involving “Beauty and Obese?” A lively score by a composer whose only other films are Messiah of Evil and Kiss of the Tarantula?

The acting and direction don’t do the film any favors, and they’re most likely to blame for its lack of wider praise., but that doesn’t stop it from being something of an inspiration for later slashers. It beats When a Stranger Calls by six years to the “call coming from inside the house” bit — granted, here it’s “the call is coming from inside the radio station,” but still, credit where credit’s due. We even get creepily-voiced phone calls a year before Bob Clark’s Black Christmas… which also featured a killer calling from inside the house. Fans of Stephen King and Clive Barker might even note a minor inspiration for two of their respective short stories (which I won’t identify to avoid possible spoilers).

The Severed Arm may not seem like much at first glance, but it takes hold early on and moves quickly towards a terrifically entertaining final twenty minutes. The mystery reveals itself, the pieces fall into place, and we’re left with a fistful of fun.

Follow along every Monday with Missed Connections — my appreciations of movies that failed to find an audience for one reason or another.

Poster The Severed Arm

More to Read:

The article ‘The Severed Arm’ Beats Other 70s Slashers to the Punch appeared first on Film School Rejects.


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