Sundance Film Review: Moon (dir by Duncan Jones)


With this year’s Sundance Film Festival getting underway in Colorado, I’m going to be spending the next few days looking at some films that caused a stir at previous Sundance Film Festivals.  Today, I’m taking a look at the 2009’s Moon.

It’s time for all good people to praise Sam Rockwell.

As far as I’m concerned, Sam Rockwell is one of the patron saints of character acting.  Is there anything that he can’t do?  He can do comedy.  He can do drama.  He can play the cool, older guy, like he did in The Way, Way Back.  He can play the nerdy, weirdo as he’s done in too many movies for me to list.  He can play a mentor and he can play a student.  He can make you laugh and he can make you cry.  He’s one of those actors who can seamlessly transition from small indie films to huge blockbusters without missing a beat.  Rockwell won an Oscar for his performance in Three Billboards Outside Ebbing, Missouri and he might just win another one for playing President George W. Bush in Vice.  He can even dance, as anyone who has seen him in Iron Man 2 can tell you.  Rockwell’s been acting since he was a teenager and he’s definitely earned the right to be known as one of our greatest actors.

For that reason, it can sometimes be a little bit difficult to decide just which performance is Rockwell’s best.  He’s appeared in so many different movies and he’s played so many different characters.  Even when the movie’s bad, Rockwell is usually great.  However, if I had to sit down and pick one Rockwell performance as being the epitome of everything that makes him a great actor, I’d probably go with his performance in Duncan Jones’s contemplative sci-fi film, Moon.

In Moon, Rockwell plays a man named Sam.  Sam has spent three years living on the dark side of the moon.  He works for shadowy Lunar Industries.  His job is to mine the moon for helium-3, an alternative energy source that is now all the rage on Earth.  It’s a lonely job for Sam.  He gets up every day.  He rides his lunar rover across the stage.  He returns to the sterile facility, where he lives.  Sometimes, if he’s lucky, he gets recorded messages from his wife and daughter.  His only companion is a robot named GERTY.  Though Sam trusts GERTY, we know better, if just because GERTY speaks with the voice of Kevin Spacey.

From the minute we meet Sam, we can see how living on the Moon has affected him.  He’s quiet and a bit meek.  After three years of isolation, Sam accepts whatever he has to accept to survive.  He doesn’t complain about rarely getting to talk to his family.  He doesn’t question why he has to work alone.  Whatever fight Sam once had in him is gone.  Now, Sam just wants to finish out his time and go home.

And then, one day, Sam is driving the lunar rover when he has a sudden hallucination and then passes out.  He ends up crashing into a crater….

Suddenly, Sam wakes up at the facility.  However, it doesn’t take long to notice that this Sam seems different from the Sam who we met at the start of the movie.  The Sam who wakes up in the facility is younger and angrier than the Sam who we first met.  This new Sam is less willing to accept everything that GERTY tells him.  Even more strangely, this new Sam is convinced that he’s just arrived on the moon….

And then the new Sam meets the old Sam….

In Moon, Sam Rockwell gives two empathetic and memorable performances as the same person.  Old Sam is beaten down by life.  New Sam is angry and just a little bit arrogant.  And yet, what makes the performance so brilliant is that you can easily see how the New Sam could eventually transform into the Old Sam.  Thanks to both Rockwell’s performance and the film’s stark imagery, it’s easy to see how the isolation could eventually rob Sam of his passion, his will to fight, and his intellectual curiosity.  When the Old Sam meets the New Sam, he’s reminded that there used to be more to his life than just the drudgery of his daily routine.  And when the New Sam meets the Old Sam, he’s confronted with what a future of isolation means to him.

Of course, the new Sam and the Old Sam weren’t meant to meet.  And now that they have met, Lunar Industries is on their way to clean up the mess….

Released in the same year as James Cameron’s bombastic Avatar, Moon is a low-key and thoughtful science fiction film, a meditation on isolation and identity.  Duncan Jones directs the film in a stark and low-key style, allowing the film’s story to play out at its own pace.  As visualized by Jones, the lunar landscape is impressive the first time you see it and increasingly bleak with each subsequent look.  Far more than Ridley Scott did in The Martian, Jones captures what it actually is to be totally alone.  (That no critics compared The Martian and Moon, despite their obvious similarities, is astounding to me.)

Featuring Sam Rockwell at his absolute best, Moon is a sci-fi film that remains haunting and powerful, even after films with bigger budgets and flashier special effects have faded into obscurity.

Sundance Film Review: Searching (dir by Aneesh Chaganty)


With this year’s Sundance Film Festival getting underway in Colorado, I’m going to be spending the next two weeks looking at some films that caused a stir at previous Sundance Film Festivals.  Today, I’m taking a look at the 2018’s Searching.

Searching tells the story of David Kim (John Cho) and his daughter, Margot (Michelle La).

David thinks that he has a close relationship with his daughter but, in reality, they’ve been drifting apart ever since David’s wife died two years earlier.  Now, Margot is away at college and David is alone at home.  They still communicate, of course.  They message each other on Facebook.  They Skype.  David sill sends Margot money for her piano lessons.

And yet, even if he can’t bring himself to fully admit it, David knows that they’re not as close as they once were.  Their conversations are often awkward and he doesn’t really know much about the friends that Margot has made at college.  Too often, he finds himself starting to ask her about what’s really going on in her life, just to then erase the message before sending.  One night, when Margot tells David that she’s going to a friend’s house for a study group, he has no reason not to believe her.  It’s not until Margot fails to return from studying that David is forced to confront how little he actually knows about his daughter’s life.

As a film, Searching is set almost entirely on smartphones and computer screens.  Considering that the movie could have just as easily been called Unfriended 3: Searching, this is a surprisingly good and emotionally resonant film.  We watch as David helplessly sends out messages to his daughters, messages that are destined to be unanswered.  We watch as David looks at old pictures and videos of the family he once had, searching for some sort of answer hidden in the past.  And, as we watch all of this, we come to realize that David is not just searching for his daughter’s whereabouts.  Instead, in a world dominated by social media, he’s also searching for a human connection, for something more than just a tweet or a cryptic status update.

Of course, the film does occasionally threaten to take its format just a bit too far.  Sometimes, you really do find yourself wishing that David would just get offline and go outside and look for his daughter.  (Actually, he does do that but, because of the film’s narrative structure, we don’t really get to witness it.)  By the time David is having nightly FaceTime sessions with the detective (Debra Messing) assigned to his daughter’s case, you can be excused for fearing that the film’s style is going to end up collapsing in on itself.

Fortunately, Searching is held together by the lead performance of John Cho.  Whenever Searching threatens to veer into self-parody, Cho is there to bring it back on track.  Before this film came out, I guess Cho was probably best known for appearing in the Star Trek movies.  Searching made him the first Asian-American to headline a mainstream thriller in Hollywood and Cho gives such a sympathetic and compelling performance that you’re willing to excuse whatever flaws might be present in the film’s narrative.  Because he’s played by John Cho, you want David to find his daughter.  You want him to find that for which he’s searching.

Sundance Film Review: Three Identical Strangers (dir by Tim Wardle)


With this year’s Sundance Film Festival getting underway in Colorado, I’m going to be spending the next two weeks looking at some films that caused a stir at previous Sundance Film Festivals.  Today, I’m taking a look at the 2018 documentary, Three Identical Strangers.

It’s generally agreed that last year was a great year for documentaries.  Between RBG, Would You Like To Be My Neighbor?, and Free Solo cleaning up at the box office, 2018 was the year that proved the audiences were willing to pay money to see reality captured on film.  For me, there was no better documentary released last year than Three Identical Strangers.

Three Identical Strangers starts out like a Hallmark movie and then slowly turns into a horror movie.  In New York, in the early 1980s, three young men who have previously never met discover that they’re triplets.  At first, they’re a media sensation.  Young, handsome, and charismatic, Edward Galland, David Kellman, and Robert Shafran become instantly celebrities.  We watch archival footage of them appearing on a talk show and talking about how they discovered each other and everything that they have in common.  They all smoke the same brand of cigarette.  They all tend to have the same fashion sense and interests.  All three of them smile while announcing that they’re single and they like women, which causes the audience to break into applause.

It was the 80s and we’re told that meant sex, drugs, and rock and roll.  There are the three brothers at a club.  There they are walking down the streets of New York, with three huge grins on their faces.  There they are making a cameo appearance in a film with Madonna.  Soon, they’re opening up a restaurant together, they’re getting married, and they’re starting families of their own….

And yet, as we watch all of this happy footage, we’re also watching present-day interviews with David Kellman and Robert Shafran.  It’s impossible not to notice that, in the present, both of them speak in voices tinged with weariness.  In the present day interviews, neither one of the brothers smile.  Both of them have their guard up.  To put it simply, neither one of them appears to be particularly happy.

It’s also impossible not to notice that Edward Galland, who is frequently described as having been the most charismatic of the triplets, is nowhere to be seen.

While the three triplets are becoming celebrities, the families that adopted them are wondering why they never knew about the other brothers.  All three of the brothers were adopted through the same adoption agency and, interestingly, all three of them were put into families that had just recently adopted a daughter as well.  One brother was given to an upper class family while another was adopted by a middle class family and finally, the third brother was given to a lower class family.  It quickly becomes clear that this was not a coincidence.

Instead, the three brothers were a part of a social experiment, one designed to see how growing up at different economic levels would effect them.  And, as quickly becomes clear, Edward, David, and Robert weren’t the only part of that experiment.  Under the direction of psychologists Viola W. Bernard and Peter B. Neubauer, several sets of twins and triplets were separated for the exact same reason….

To say anything else about this haunting documentary would run the risk of spoiling it.  It’s a thought-provoking film, as well as a rather disturbing one.  Watching the film, it’s impossible not to mourn for the childhoods that the brothers lost.  At the same time, you do find yourself wondering if all of the triplets’s subsequent problems can be blamed on the experiment or if they would have happened even if they all had been raised in the same family?  The documentary leaves the answer to that question ambiguous.  Much like the triplets, the audience is left wondering what could have been.

Oddly, Three Identical Strangers was not nominated for the Best Documentary Feature Oscar.  Well, that’s the Academy’s loss because this film was the best documentary of a very good year.

 

Sundance Film Review: The Tale (dir by Jennifer Fox)


With this year’s Sundance Film Festival getting underway in Colorado, I’m going to be spending the next two weeks looking at some films that caused a stir at previous Sundances.  Today, I’m taking a look at 2018’s The Tale.

The Tale is all about memory.

Jennifer Fox (Laura Dern) is, as her mother (Ellen Burstyn) often reminds her, nearly fifty years old and childless.  She’s been engaged to the sensitive Martin (Common) for three years but she’s in no hurry to get married.  As for children — well, she decided a long time ago that she didn’t want to have children.  Jennifer is a documentarian and a teacher.  She not only records real life but she also teaches others how to do the same thing.  She makes films that, in the decades to come, will be used by future students of history who want to know what it was like to live in the late 20th and early 21st Century.  And yet, it’s her own history that Jennifer has never come to terms with.

When her mother comes across a school essay that a 13 year-old Jennifer once wrote about her relationship with her riding instructor, Mrs. G (Elizabeth Debicki), and her running coach, Bill (Jason Ritter), Jennifer dismisses her concerns.  As Jennifer explains it to Martin, her mother is just upset because Jennifer once had a boyfriend who was “older.”  Of course, that older boyfriend was in his 40s.  What’s obvious to everyone but Jennifer is that her coach took advantage of and raped her.  Jennifer, however, refuses to accept that.  She refers to the coach as being her “lover” and, more than a few times, she attempts to dismiss the whole topic by shrugging and saying, “It was the 70s.”

It’s not that Jennifer doesn’t realize the truth about what actually happened.  Laura Dern gives a fiercely intelligent performance as Jennifer, one that slowly and deliberately peels away at the layers of defensive protection that Jennifer has spent the past 35 years developing.  Jennifer knows what happened but she’s allowed her memory to cloud the reality of it, largely because that’s the only way that she could deal with the aftereffects of Bill’s sexual abuse.  When Jennifer thinks back to the summer that she spent with Mrs. G and Bill, she first sees herself as she was when she was 15 years old, curious and headstrong.  It’s only when Jennifer looks at a photograph that was taken that summer that she sees starts to see herself as she really was, an introverted and vulnerable 13 year-old (played by Isabelle Nelisse) who was groomed and abused by two predators.

As Jennifer investigates her past and finally begins to understand what really happened over the course of that summer, her memories begin to change.  Hazily-remembered conversations take on new meaning and she begins to understand that terrible truth between the looks that were often exchanged between Bill and Mrs. G.  At times, the older Jennifer finds herself interrogating her memories of Bill, Mrs. G, and even her younger self.  She demands to know how they could have done what they did and their answers leave you wondering whether you’re hearing what they would really say or if your just hearing what Jennifer would hope they would say.  When Jennifer talks to others who were around that summer, she’s shocked to learn that she wasn’t the only one who Bill abused and her insistence that she was Bill’s lover (as opposed to his victim) sounds more and more hollow.  When Jennifer finally does track down some of her abusers, you wonder if their somewhat confused reactions are due to guilt or if it’s possible that there were so many victims that they don’t even remember what they did to Jenny Fox.  And if they do remember, they seem to be either horrifically ignorant or curelly unconcerned about the consequences of their actions.

It’s a brave and powerful film, one that is made all the more disturbing by the fact that director and screenwriter Jennifer Fox is telling her own story.   At least year’s Sundance Film Festival, it premiered to acclaim and controversy.  There was also some surprise when, instead of securing a theatrical release, the film was instead sold to HBO.  At the time, there was a lot of concern that the film’s power would somehow be diluted as a result of playing on television as opposed to a big screen.  However, in hindsight, the small screen — with its unavoidable vulnerability — was the perfect place for this uncompromising and emotionally raw film.

The Tale is not an easy film to watch but it is an important one.  It’s a film for anyone who has ever struggled to come to terms with the past.  It’s both a reminder that you’re not alone and a warning to not ignore or laugh off your suspicions.  It’s also a good example of the type of film that probably would never have been discovered if not for Sundance.  There’s a lot of legitimate criticism that one can direct towards the Sundance Film Festival but occasionally, it does do what it’s supposed to do.

Here’s What Won At The 2018 Sundance Film Festival!


Compared to previous years, the buzz around this year’s Sundance Film Festival has felt pretty subdued.  There haven’t been any headlines about any huge distribution deals.  I haven’t seen many articles declaring that “Next year’s Oscar race has already begun at Sundance!” this year.

That said, Sundance remains the first big event of the film year.  Even if the coverage was unusually subdued this year, it still appears that there were some intriguing films at this year’s festival.  Myself, I’m definitely planning on making the time to see Burden, Blaze, Lizzie, Colette, Eighth Grade, and The Tale.

On Saturday night, the following films won awards at the Sundance Film Festival:

U.S. DRAMATIC COMPETITION

Grand Jury Prize: “The Miseducation of Cameron Post”

Audience Award: “Burden”

Directing: Sara Colangelo, “The Kindergarten Teacher”

Waldo Salt Screenwriting Award: Christina Choe, “Nancy”

Special Jury Award for Outstanding First Feature: Reinaldo Marcus Green, “Monsters and Men”

Special Jury Award for Excellence in Filmmaking: “I Think We’re Alone Now”

Special Jury Award for Acting: Benjamin Dickey, “Blaze”

U.S. DOCUMENTARY COMPETITION

Grand Jury Prize: “Kailash”

Directing: Alexandria Bombach, “On Her Shoulders”

Audience Award: “The Sentence”

Special Jury Award for Social Impact: “Crime + Punishment”

Special Jury Award for Creative Vision: “Hale County This Morning, This Evening”

Special Jury Award for Breakthrough Filmmaking: “Minding the Gap”

Special Jury Award for Storytelling: “Three Identical Strangers”

WORLD CINEMA DRAMATIC COMPETITION

Grand Jury Prize: “Butterflies”

Audience Award: “The Guilty”

Directing Award: Ísold Uggadóttir, “And Breathe Normally”

Special Jury Award for Acting: Valeria Bertucecelli, “The Queen of Fear,”

Special Jury Award for Screenwriting: Julio Chavezmontes & Sebastián Hofmann, “Time Share”

Special Jury Award for Ensemble Acting: “Dead Pigs”

WORLD CINEMA DOCUMENTARY COMPETITION

Grand Jury Prize: “Of Fathers and Sons”

Audience Award: “This Is Home”

Directing Award: Sandi Tan, “Shirkers”

Special Jury Award: Steven Loveridge, “Matangi/Maya/M.I.A.”

Special Jury Award for Cinematography: Maxim Arbugaev, Peter Indergand “Genesis 2.0”

Special Jury Award for Editing: Maxim Pozdorovkin & Matvey Kulakov, “Our New President”

OTHER AWARDS

NEXT Audience Award: “Search”

NEXT Innovator Award: “Night Comes On” AND “We the Animals”

Alfred P. Sloan Feature Film Prize: “Search”

Sundance Institute NHK Award: Remi Weekes, “His House”

Sundance Institute/Amazon Studios Producers Awards: Katy Chevingy & Marilyn Ness (“Dark Money”) AND Sev Ohanian (“Search”)

Sundance Open Borders Fellowship Presented by Netflix: Talal Derki (“Of Fathers and Sons”) AND Chaitanya Tamhane AND Tatiana Huezo (“Night on Fire”)

Previous Sundance Film Reviews:

  1. Blood Simple
  2. I Don’t Feel At Home In This World Anymore
  3. Circle of Power
  4. Old Enough
  5. Blue Caprice
  6. The Big Sick
  7. Alpha Dog
  8. Stranger Than Paradise
  9. sex, lies, and videotape
  10. Reservoir Dogs

Sundance Film Review: Reservoir Dogs (dir by Quentin Tarantino)


The Sundance Film Festival is currently taking place in Utah so, for this week, I’m reviewing films that either premiered, won awards at, or otherwise made a splash at Sundance!  Today, I take a look at 1992’s Reservoir Dogs, which premiered at that year’s Sundance Film Festival.

Technically, I guess I’m obligated to start this review with a spoiler alert.  Though, seriously, is there anyone out there who hasn’t seen Reservoir Dogs?  I guess that there may be.  But surely, even if you haven’t seen it, you know everything that happens in the movie.  You know about the Like A Virgin conversation at the start of the movie.  You know about the ear scene.  You’ve seen countless parodies of that scene where the cast walks down the street in slow motion.  I find it hard to believe that there are people who don’t know everything about this film but still, I guess it’s always a possibility.

Reservoir Dogs is a challenging film to review, though not because it’s overly complicated or difficult to follow.  Instead, the problem is that it’s hard to know what’s left to say about Reservoir Dogs.  Just about every crime film that has come out in my lifetime has owed an obvious debt to Reservoir Dogs.  It’s the film that launched the directorial career of Quentin Tarantino.  It’s also features one of the greatest acting ensembles in the history of American film: Harvey Keitel, Tim Roth, Michael Madsen, Steve Buscemi, Chris Penn, Kirk Baltz, and Lawrence Tierney.  Tierney’s presence was especially important.  By appearing in the film, the veteran tough guy actor passed on the torch of hard-boiled crime to a new generation.

At its most basic, Reservoir Dogs is a heist film.  It employs the type of jumbled timeline that has become a Tarantino trademark.  The film starts with a group of 8 criminals eating breakfast and preparing to rob a jewelry store.  Then it jumps forward to immediately after the crime, with Mr. Orange (Tim Roth) shot in the gut and Mr. White (Harvey Keitel) desperately trying to get them both to the safety of a warehouse.  That’s where they are joined by Mr. Pink (Steve Buscemi).  Mr. Pink is convinced that they were set up.  He rants about being a professional.  He asks if Mr. White had to shoot anyone during his escape.

“A few cops,” Mr. White says.

“No real people?” Mr. Pink replies.

Eventually, Mr. Blonde (Michael Madsen) shows up.  We already know, from the film’s first scene, that Mr. Blonde strongly feels that everyone should tip their waitress.  After he arrives at the warehouse, we discover that he also likes good music and torturing hostages.  Meanwhile, the robbery’s mastermind, Joe Cabot (Lawrence Tierney) and his son, Eddie (Chris Penn), are also on their way to the warehouse.  Neither one is happy about how things are going.

And while all this goes on, Mr. Orange continues to bleed in the background…

Reservoir Dogs is known for being a violent film and, even though the movie is 26 years old, some of the violence can still catch you off-guard and make you flinch.  The scene where Mr. Blonde chops off the cop’s ear is still not easy to watch.  However, the scene that always freaks me out is when Mr. White starts shooting at a police car and the windshield is suddenly smeared with blood.  Mr. White is one of the film’s more sympathetic characters but he doesn’t hesitate to kill.

Of course, I think it could also be argued that Reservoir Dogs is actually as close as Tarantino has come to making a film that condemns violence.  Not counting the flashbacks, the story largely plays out in real time, which means that we basically spend the entire movie watching and listening as Mr. Orange slowly bleeds to death in front of us.

I rewatched Reservoir Dogs for this review and I have to say that I was really surprised to see how well the film holds up.  I was honestly expecting to be a little bit bored with it, just because I’d already seen it multiple times and I knew who the cop would turn out to be.  I already had all of the film’s great lines memorized.  But, as soon as the film started with everyone arguing about Like A Virgin and whether or not to tip their waitress, I was sucked back into Tarantino’s world.  Once again, I found myself laughing at Steve Buscemi’s brilliant delivery of the line: “Why am I Mr. Pink?”  I was enthralled all over again by Tim Roth’s nervous intensity and Harvey Keitel’s weary integrity.  Even Michael Madsen’s psycho routine felt fresh, despite the fact that he’s played numerous cool-as-ice psychos over the course of his career.  Even the way Chris Penn told the story about Lady E still made me laugh.

(To be honest, the line that makes me laugh the most in Reservoir Dogs — and don’t ask me why because I’m not sure of the exact reason — is when the unseen cop who is heard to say, “Yeah, give me the bearclaw,” while following Eddie’s car.)

It’s just a cool movie.  How can you resist this?

What happen at the end of the film?  Well, we all know the basics.  (And here’s where that probably unnecessary spoiler alert comes into play.)  Mr. White kills Joe and Eddie, all to protect Mr. Orange.  Mr. Pink runs from the warehouse.  The seriously wounded Mr. White cradles the dying Orange in his arms.  Orange confesses to being a cop.  Mr. White lets out a wail of both physical and emotional pain.  The police enter the warehouse and order Mr. White to drop his gun.  Mr. White shoots Orange in the head and is then gunned down by the police.

But what happened to Mr. Pink?

That’s a serious question because Mr. Pink is my favorite member of this band of robbers.  (He gets all the best lines, probably because Tarantino was planning on playing the role himself before Steve Buscemi auditioned.)  A lot of people will tell you that they can hear Mr. Pink being arrested outside of the warehouse, shortly before the cops come in and kill Mr. White.  And yes, I realize that, in at least one draft of the script, that’s exactly what happened.

Well, I don’t care.  We don’t actually see Mr. Pink getting arrested.  We don’t hear him getting shot.  As far as I’m concerned, Mr. Pink made it out of there alive and managed to escape with the diamonds.  The police may have yelled at him to stop but, in the end, they were too busy killing Mr. White to keep an eye on him.  Mr. Pink escaped and is currently living on the beach somewhere.  As a result of selling the diamonds, he’s now financially comfortable but he still doesn’t tip his waitress.  That’s just the way Mr. Pink is.

Finally, one little bit of trivia: Reservoir Dogs may have premiered at the 1992 Sundance Film Festival but it didn’t win any awards at the end of it.  Instead, the big winner that year was a comedy called In The Soup.  The star of that film?  Steve Buscemi.

Previous Sundance Film Reviews:

  1. Blood Simple
  2. I Don’t Feel At Home In This World Anymore
  3. Circle of Power
  4. Old Enough
  5. Blue Caprice
  6. The Big Sick
  7. Alpha Dog
  8. Stranger Than Paradise
  9. sex, lies, and videotape

Sundance Film Review: sex, lies, and videotape (dir by Steven Soderbergh)


The Sundance Film Festival is currently taking place in Utah so, for this week, I’m reviewing films that either premiered, won awards at, or otherwise made a splash at Sundance!  Today, I take a look at 1989’s sex, lies, and videotape, which won both the Audience Award at the 1989 Sundance Film Festival and the Palme d’Or at Cannes!

The directorial debut of Steven Soderbergh, sex, lies, and videotape is considered by many to be one of the most important independent American films ever made.  Not only was it a  success at the box office and nominated for an Oscar but it also won the Palme d’Or at Cannes.  According to Peter Biskind’s Down and Dirty Pictures, the success of sex, lies, and videotape is what convinced Hollywood that independent films could be big business.  The marketing of the film would set the template for almost every independent release that followed.

(One person who was definitely not a fan of sex, lies, and videotape was director Spike Lee.  When Lee’s Do The Right Thing lost the Palme to Soderbergh’s film, Lee was informed that the Canne jury felt Lee’s film wasn’t “socially responsible.”  “What’s so socially responsible about a pervert filming women!?” Lee reportedly responded.)

sex, lies, and videotape tells the story of four people in Baton Rouge, Louisiana.

Ann (Andie MacDowell) has a nice house, a successful husband, and an absolutely miserable marriage.  When the film opens, she’s having a session with her therapist (Ron Vawter) and talking about how unfulfilled she feels.  When the therapist asks her questions about her sex life, Ann laughs nervously.  She says that she likes sex but she doesn’t like to think about it.  She says she doesn’t see what the big deal is.  Later, she reveals that she’s never had an orgasm.

John (Peter Gallagher) is Ann’s husband.  He’s a lawyer.  He’s also a materialistic jerk and … well, that’s pretty much the sum total of John’s entire personality.

Cynthia (Laura San Giacomo) is John’s mistress.  She’s a bartender at a rather sleazy little establishment, where she apparently spends all of her time listening to a local drunk (Steven Brill) do a Marlon Brando impersonation.  She is uninhibited and fiercely sexual.  She’s the opposite of Ann, which is why John likes her.  Of course, she’s also Ann’s sister.  Cynthia and Ann have a strained relationship.  Ann describes Cynthia as being “loud.”  Cynthia views Anne as being judgmental.  Secretly, both wish that they could be more like the other.

And then there’s Graham (James Spader).  Graham was John’s friend in college, though it’s difficult to understand why.  Graham has recently returned to Baton Rouge and John, without talking to Ann, has invited Graham to visit them.  Graham is apparently a drifter.  (Ann describes him as being “arty.”)  While Ann is helping him find an apartment, Graham informs her that he’s impotent.  He can’t get an erection if anyone else in the room.

Ann subsequently discovers that Graham deals with his impotence by videotaping women discussing their sex lives.  The video camera allows Graham to keep his distance and not get emotionally involved.  (Of course, it also serves as a metaphor for directing a movie.)  Ann is freaked out by all of Graham’s tapes.  Cynthia is intrigued.  And John … well, John’s just a jerk.

sex, lies, and videotape is a film that’s largely saved by its cast.  Graham is a role that literally only James Spader could make intriguing.  Meanwhile, Peter Gallagher actually manages to bring some charm to John, who is the least developed character and who gets all of the script’s worst lines.  That said, the film really belongs to MacDowell and San Giacomo, who are totally believable as sisters and who, again, bring some needed depth to characters that, as written, could have been reduced to being mere clichés.  (In the scenes between MacDowell and San Giacomo, it was less about what they said than how they said it.)

As I already stated, this was Steven Soderbergh’s feature debut.  Soderbergh was 26 years old when he made this.  Seen today, it’s an uneven but ultimately intriguing film.  There are a few scenes where Soderbergh’s inexperience as a filmmaker comes through.  For instance, John is written as being such a complete heel (and, in his final scene, he wears a ludicrous bow tie that practically screams, “EVIL,”) that it occasionally throws the film off-balance.  You never believe that Graham would have been his friend, nor do you believe that Ann would have spent years putting up with his crap.  The film’s final scene between Cynthia and Ann also feels a bit rushed and perfunctory.  That said, this film shows that, from the start, Soderbergh was good with actors.  Visually, Soderbergh takes a low-key approach and allows the cast to be the center of attention.  It’s an actor’s film and Soderbergh wisely gets out of their way.  In particular, Spader and San Giacomo have a way of making the most heavy-handed dialogue sound totally and completely natural.

It’s hard to imagine Soderbergh directing something like sex, lies, and videotape today.  If the film were made today, Soderbergh wouldn’t be able to resist the temptation to use overexposed film stock and to give cameos to George Clooney as Ann’s therapist and Matt Damon as the drunk.  sex, lies, and videotape is a film that Soderbergh could only have made when he was young and still struggling to make his voice heard.  It’s a flawed by intriguing film.  If just for its historical significance, it’s a film that every lover of independent cinema should see at least once.

Previous Sundance Film Reviews:

  1. Blood Simple
  2. I Don’t Feel At Home In This World Anymore
  3. Circle of Power
  4. Old Enough
  5. Blue Caprice
  6. The Big Sick
  7. Alpha Dog
  8. Stranger Than Paradise