We are back for another edition of the Sundance Film Festival virtually, which gives us a chance to catch so many great and inspiring films from the comfort of our homes. For this year’s festival, we are going to break our coverage into a section of recap capsule reviews of the films that we catch through the fest.
Here is part 1 of our recap, which kicked off with the opening night selection, Jesse Eisenberg’s When You Finish Saving the World.
When You Finish Saving the World:
(directed by Jesse Eisenberg)
Jesse Eisenberg’s directorial debut does have many of the trademarks of a film festival directorial debut. Eisenberg pulls out great performances from his two leads, Julianne Moore and Finn Wolfhard as a mother and son who are totally different people. Their relationship and opposing personalities are the heart of the film.
Eisenberg, who also wrote the screenplay, seems to have a more fully formed voice as a writer than a director. It’s lacking a more cinematic tone and visual language (despite being shot on film), but the performances and score are enough to keep you engaged.
I was hot and cold on it, with the latter winning out, despite an ending that actually brought it all together in a touching and thoughtful manner.
[6.3/10]
Fresh
(directed by Mimi Cave)
From director Mimi Cave comes a wild ride that makes you think it’s one thing before an epic title drop and then pulls the rug right from under you. Sick funny and twisted in many ways featuring a cheeky Sebastian Stan and a very game(y) Daisy Edgar-Jones.
Perfect midnight festival flick. Wish it was a little shorter and tighter but this is a flick that knows what it is and embraces it to the fullest. A prime example of leaning into knowing what it is and embracing the game(y) nature of the genre and utilizing its two leads to the very fullest.
[7.0/10]
After Yang
(directed by Kogonada)
Yet another moving masterwork from Kogonada that serves as a sci-fi spiritual companion piece of sorts to his debut feature, Columbus.
It’s very much its own thing but equally as touching and complex. His cinematic eye never wavers and it features a subtle but outstanding Colin Farrell.
Kogonada’s cinematic eye is unique and compelling in its framing, telling a story of its own. Then there is the score from Ryuichi Sakamoto and Aska Matsumiya and a killer original song from Mitski that serves as a character in itself and a centerpiece for the emotional convergence of it all.
It notably touches upon what it means to be Asian and does so in a way that is deftly handled and never hamfisted. A lot of reliability for Asians, maybe Asian Americans specifically (full disclosure, I am half Asian).
[8.8/10]
892
(directed by Abi Damaris Corbin)
A never-better John Boyega does his all to carry it but it’s nothing quite new (think John Q meets Thank You For Your Service). Still effective, but it could have been so much more. A great final performance from the late Michael K. Williams is also a plus.
It has its moments that are touching and emotional – but not all of it feels earned. Too often safe and manipulative. Boyega does as much as he can to make it a solid effort but it falls short of being something great.
[7.0/10]
Watcher
(directed by Chloe Okuno)
Chloe Okuno’s debut feature has plenty of dreary atmosphere to put you in the isolated headspace of Maika Monroe’s character, stuck spending her days alone in Bucharest. It doesn’t take long for her to feel as though someone has been watching her from afar, and trailing her every move as she tries to “kill” time as her husband works.
While we all know by now Monroe can play a character distraught as they are being followed, Okuno’s feature doesn’t add much new to the genre but it’s still a mostly effective watch thanks to Okuno’s directorial restraint and tone. It doesn’t surprise or offer enough scares but there is enough here to keep you engaged.
[6.8/10]
Summering
(directed by James Ponsoldt)
James Ponsoldt has his heart in the right place with Summering but the well-intentioned kids’ film feels very middling. It wants to create a Stand By Me for a new audience but does so in a rather flat fashion. The child performances are fine but there is not much new here that you haven’t seen done before much better. It lacks a new cinematic dimension or sense of awe-inspired storytelling to allow it to rise above the rest of the pack.
[4.9/10]
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