Five films that could rule the Sundance Film Festival
The Sundance Film Festival kicks off in Park City, Utah, on Jan. 20 and runs for 10 days, but buzz has already been gathering around a few films.
amNewYork takes a look at five festival flicks that stand apart from the rest. Chances are you’ll be seeing these soon in a theater near you.
The Music Never Stopped
When a father (J.K. Simmons) learns that his long-estranged son is in the hospital with brain damage, he attempts to reconnect through music therapy — specifically via Bob Dylan, the Grateful Dead and other 1960s counterculture musicians who contributed to their estrangement in the first place. Based on a true story originally told by Dr. Oliver Sacks in his essay “The Last Hippie,” this movie will be released in March.
Between Kevin Spacey, Stanley Tucci and Zachary Quinto, the cast alone is enough to entice you to this Wall Street thriller set during the 2008 financial meltdown. The film takes place over the course of 24 hours, after an entry-level investment banker (Quinto) discovers some damaging information about his firm.
Miranda July’s follow-up to “Me and You and Everyone We Know” centers on a thirtysomething couple who undergo major life changes when they take an ailing cat into their home. The premise is appealing for its simplicity, and it becomes even more intriguing when you throw in surreal elements, e.g. a talking cat.
Anything that Alex Gibney spins is documentary gold, whether it’s about Eliot Spitzer or Enron. As he did with his 2008 Hunter Thompson documentary, Gibney takes a break from politicians and financial bigwigs to document Ken Kesey’s acid-fueled cross-country road trip in 1964. We’re itching to see how Gibney tackles this psychedelic subject with never-before-seen footage and audio.
Excitement over Kevin Smith’s new movie has been building for months, partly because it’s such a departure from anything he’s done before. Branded a horror film, “Red State” follows three teenage boys during a terrifying encounter with extreme fundamentalism. Smith is avoiding the press machine — no reviews, no interviews, nada — which makes the film all the more mysterious.