2026 Sundance Film Festival Reviews:
The Only Living Pickpocket in New York: 7.75/10
A nice little film that gives its aging criminal protagonist the dignity he deserves. John Turturro great as ever, fun supporting performances from Giancarlo Esposito and Steve Buscemi, and an intimidating yet comedically adolescent supporting turn from actor on the rise Will Price. Always got a soft spot for stories set in New York City, and this is no exception. Love letter to the city it once was and the city it’s become. Great way to start off the second week of the festival!
Antiheroine: 5/10
Fascinating but frustrating, a partial picture of one of the 90s most controversial grunge rock artists. Wish there was more depth or reflection in what often came across as a vanity piece, but was redeemed by intermittent insights from Courtney’s diary and band members. Happy that she’s found a sort of equilibrium, but not sure returning to music will bring the peace she thinks it will.
Little Miss Sunshine (Legacy Screening): 10/10
Wow. Absolute treasure to see in retrospective with a full house. Cherry on top to have cast and crew chat afterwards. I was laughing crying and crying laughing. This movie means so much to me.
The Shitheads: 6/10
An entertaining, dark buddy comedy about two different kinds of fuck ups who come toe to toe with a psychotic teenager they’re put in charge of. Weirder than I expected it to be, not that it didn’t work. Most of the film’s funniest moments come from the strength of the performances as opposed to the writing. The diversions from their journey often felt like they were to pad the run time instead of organic, and the pacing suffered as a result. That said, this is the perfect kind of film to watch with friends. Have a beer, light up, laugh, say “what the fuck”, and riff about the next day. We need more of these kinds of films!
Queen of Chess: 7.75/10
Waitlisted this film just intrigued by the title. Absolutely fascinating story about the best female chess player of all time, Judit Polgar, and her pursuit to defeat arguably the best male chess player of all time, Gary Kasparov. Didn’t understand all of the chess moves but did a good job of capturing the emotional journey of each match. Fun to learn more about this world and see how much of an impact her story had on the game. Made me wish I was even remotely good at chess!
The Weight: 7/10
Clearly inspired by Friedkin’s Sorcerer, a handful of the film’s set pieces are frighteningly immersive. And yet, the gaps between these scenes ring somewhat hollow. It’s like an outline of a story as opposed to a thorough tale. Look, I could watch Ethan Hawke read the phone book. He always brings a level of commitment to a role that elevates whatever he is in. This is no exception. It’s fun to watch his variation on this kind of story, and his interactions with Russell Crowe, Julia Jones, and Austin Amelio bring out a vibrance that isn’t on the page. That said, this film’s parts are better than the sum of the whole. A promising directorial debut, but certainly an example of style over substance. Going to have nightmares about the lightning sequence!
Half Nelson (Legacy Screening): 7.75/10
Gosling as Dunne is a walking contradiction. He thinks one man can’t affect change in the world, and yet he profoundly affects everyone around him. Living in perpetual nihilism, his only happiness comes from teaching. His pain can only be sated by drugs. And yet the way he teaches history is reflected in his world, history as change. His life changes slowly, then fast all at once, just like the events he gets his students to recite. Only in the end do we see the pendulum swing in the opposite direction, as Drey accepts him for all that he is, not what people expect him to be. Defining performance for Gosling, Mackie provides a good foil, and the find Shareeka Epps lends the film its needed rose colored perspective. While it lags at times, it ultimately leads to a cathartic if not slightly unsatisfying conclusion that reflects on the efforts we take to be there for those we care about.
Downhill Racer (Legacy Screening): 7.25/10
A fun, dated tale of an Olympic skier who cares about being the best and not much else. Redford as usual oozes charisma and while the actual story doesn’t provide him with much, this time it’s enough. Hackman as his coach works well as his foil, and the ski sequences were well ahead of their time. A technical achievement in a movie that otherwise works best as a time capsule and an ode to one of the most influential artists of all time. R.I.P. Bob, absolute legend!
Run Amok: 7/10
The fact that this movie works at all is a miracle. The premise alone will steer many clear from engaging with it. Without saying too much, the unsteady tonal shifts keep it from resonating throughout. But when the audience gets to sit in the silent moments, the tough conversations, the processing of childhood and community trauma, it’s brilliant. I wish this had gone through a few more rewrites. It falls off the thin wire it’s walking on a couple too many times by chasing unearned absurdity, tension, and angst. All that said, this is a confident feature debut that takes massive risks. I’d much rather watch something like this than another safe kitchen sink drama. Look forward to seeing this director’s next film, hopefully soon!
To Hold a Mountain: 6/10
In the mountains of Montenegro, the community of shepherds stand defiant against their government, who want to run military practice drills among their lands. Those are the underlying conditions of this documentary. And yet, what’s striking is how little these circumstances affect their day to day life. Aside from some gatherings as a proof of residency, it doesn’t carry the urgency other ‘issue’ docs often gather from their subjects. That isn’t inherently a bad thing. The focus of this film, a mother and adopted daughter, live a quiet, peaceful life, one that’s fascinating to observe. If one didn’t know the context, you could even be tricked into thinking this was a fictional narrative thanks to the intimacy of the cinematography. However, aside from a background that is slowly revealed over the course of the film, nothing changes, which creates an ultimately frustrating watch. I’m glad these kind of communities are being spotlighted, and winning an award at Sundance will definitely bring attention to their lives. But for now, the battle is won. With everything going on in the world, I can’t help but think this story would’ve been better served as a long form article from a western publication. Want to try some of that cheese!
Shame and Money: 5/10
There are times in this story that you really feel for Shaban and his family. There are many more times where it feels like you’re being hit over the head with a hammer with its themes, ironically. Incited by the betrayal of a family member that robs them of their financial stability, their downward spiral is only perpetuated by his need to earn his keep and refusal to accept any sort of handout. Ultimately, after several false endings, Shaban reluctantly finds himself a cog in the system he worked so hard to avoid with his family on his farm. What’s frustrating about this film is that it’s genuinely effective in communicating the effort individuals scraping by go through to get by with their morals intact. However, while lean in dialogue, there are so many repetitive circumstances that it turns from being a compelling cautionary tale into a confusing and annoying sermon. I appreciated the candid storytelling and building of a world not often seen on screen, but that is overshadowed by a lack of confident directing and played out plot points. Love that Bill Clinton shot though!
Nuisance Bear: 8/10
Nature is always evolving, but since the dawn of mankind we’ve been in the driver’s seat. This is never more clear than in this documentary about the treatment of polar bears in two Canadian towns.
One treats them like a tourist attraction, with buses of visitors rambling around, hoping to catch a glimpse of the endangered species. They aim to control, maintain, and move the bears so that they can live in co-existence with humans. However, after they tag a bear that’s been hanging around the dumps, houses, and refineries, a ‘nuisance bear’, they send it north, where it eventually wanders into another town with a different perspective on their cohabitants.
The majorly native town didn’t used to see polar bears all that often. But after the arrival of ‘white men’ and the infrastructure, technology, and noise they brought, it disrupted the polar bears’ hearing and behavior. This led to more interactions and even fatalities, as the bears become desensitized to the human environment.
Thanks to the well balanced contrasting viewpoints, when the native people begin their annual day of polar bear hunting, we have the context that is sorely needed to understand the reason for their actions. Beautiful landscapes and respectfully shot interactions between bear and nature, bear and man, and bear and our world complement the complex relationship the filmmakers have displayed between us and one of nature’s most iconic animals. Can’t believe this took 10 years to make!
Josephine: 8.5/10
An absolute jolt to the system, this film brings to life childhood trauma in a way that I’ve never seen depicted before. The titular character, played by a magnetic Mason Reeves, lays witness to something that no one, let alone an 8 year old, should ever have to see. What follows is an examination of how to parent through the impossible questions, the youthful processing of what one can’t fully understand, and the way child witnesses are handled within the court system. Its script is delicate and messy, masterfully creating the feeling of a family in crisis. It creates moments of relieving humor that naturally jut against the serious moments of depression. And while all the characters could’ve handled the situation better, they also do so in a way that reminds us that they’re human. It’s that element that makes the film’s events all the more believable. Well, that and the Wasian parents. The director is clearly from the Bay. Wins are well deserved!
The Invite: 9/10
Scored by a quartet of fantastic actors very much still in their prime, this relationship comedy follows a couple that invite their upstairs neighbors down for a dinner party. What starts as a simple premise is colored in exquisitely by the details of the screenplay. A washed up musician and housewife with artistic inspirations that never took off, it’s no wonder they are open to the proposal their neighbors lay out in front of them. However, when fantasy becomes reality, it reveals the unspoken truth between them, warts and all. Rogen is exceptionally great as the straight man, more so than usual, and Wilde effortlessly pulls double duty as his exasperated counterpart and the director. Norton brings his silent gravitas to the role of a retired firefighter with a few secrets, and Cruz uses her physical prowess to smart comedic effect rarely matched in modern films. All this would not be possible without the economic yet purposeful cinematography of Rogen’s longtime collaborator Newport-Berra. It never feels too claustrophobic, and the apartment becomes an almost as enjoyable character alongside the people playing in it. Haven’t laughed this much in a movie theater in quite a minute. What a great way to end the festival!