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[Sundance Review] The Bronze

There simply aren't enough female-led anti-hero stories. They're always refreshing to see, because we've already witnessed plenty of tortured males trying to su...

[Sundance Review] Z For Zachariah

At the opening of Craig Zobel’s Z For Zachariah, it’s the end of the world and there is a woman surviving on her own. That woman’s name is Ann (Margot Robbie), ...

[Sundance Review] The Witch

"We will conquer this wilderness. It will not consume us," foreshadows our patriarch in the first act of The Witch, a delightfully insane bit of 17th century de...

[Sundance Review] The End of the Tour

The last two trips director James Ponsoldt made to Sundance it was with two excellent dramas: Smashed and The Spectacular Now. This year, Ponsoldt returns with ...

[Sundance Review] James White

In the five months found within James White, our title character is at the most difficult chapter of his life thus far. Grieving the loss of his father and atte...

[Sundance Review] True Story

Each building up their dramatic profiles as of late, Jonah Hill and James Franco take the next obvious step: teaming up for about as dark a story as Hollywood c...

[Review] Mortdecai

As talented a director as David Koepp is, he’s no Blake Edwards. The screenwriter of many excellent features (Jurassic Park, Carlito’s Way, The Paper, Panic Roo...

[Sundance Review] Girlhood

With Girlhood, writer-director Céline Sciamma (Tomboy, Water Lilies) deepens her preoccupation with coming-of-age stories focusing on strong, young female leads...

[Sundance Review] White God

The darkest retelling of Homeward Bound imaginable, Kornél Mundruczó's Cannes-winning drama White God is equal parts a technically ambitious, but not entirely s...