Slumdog Millionaire

Slumdog Millionaire feels so accomplished, you are so completely overwhelmed by the storytelling and visuals that you have no choice but to surrender to its message. Danny Boyle has directed thrillers, sci-fiers, horror and fantasy and (with the exception of the zombie genre) he seemingly combines all these elements to tell the story of a chaiwalla (tea server) who wins the top prize in India's version of Who Wants To Be A Millionaire?
Jamal, an orphan from the slums of Mumbai, rises penniless to be a contestant on the show vying for 20-million rupees. The show's host and producer (Anil Kapoor) has Jamal arrested because he thinks the kid is somehow cheating. The police literally torture Jamal to get him to admit his crime yet the chaiwalla won't break - because he's innocent. The entire movie unreels in a non-linear fashion as the audience sees Jamal's life story (he's played by three actors as a youth, a teen, and a young adult). Through events that shape Jamal's personality we learn how he came to know the answers to the various questions.
But that's not what the film's about. Slumdog Millionaire is a remarkable story of enduring love. Boyle ratchets the tension to edge of your seat levels and you watch in anticipation, not of Jamal getting the answer right (although that's certainly a consideration) but whether he's able to reunite with his lost childhood love.
The story's taken from the novel by Indian diplomat Vikas Swarup titled Q&A and the script by Simon Beaufoy (The Full Monty) suggests that everything is one, from the lowest dregs of society to the highest aspirations as gleamed by great minds. Boyle provides urgency by constantly adjusting the shutter speed of this digitally shot film. The slow motion's no longer a camera trick but rather totally integrated into the action and through its layers remeniscent of the castes of society that play about in Boyle's self-proclaimed Dickinsonian creation.

Un Secret

Un Secret or A Secret as it's billed in an exclusive engagement at the Angelika Film Center weaves a moody tale that revolves around a Jewish family during and after WWII. Directed by Claude Miller and featuring a tony French cast A Secret gives you thematic reason to like it even though the story uses a disconcerting flashback narrative structure that makes its characters a cypher.
The story unfolds from the point of view of a character played by Matthieu Amalric (François) as an adult, and two younger actors as a youngster and a teen. Some scenes are told in black and white while other sequences from a past time period are nuanced color. This scheme doesn't really compel your attention.
The head of the family, Maxime (Patrick Bruel) is torn between two women during the war. Both Cecile de France (High Tension) and Ludivine Sagnier (current French It Girl) vie for his attention. The disjointed remembrance by young François clouds the audience's ability, at first anyway, to know what parts of the story are real and what parts young François makes up to fill his imagination.
At some point the family's Jewishness comes into question and Maxime, a non religious type anyway, disavows his heritage. Miller adds ghastly real footage of concentration camp victims during a couple of montages to make sure we're on the same page.
A Secret never overwhelms the viewer by trying to be strictly a mystery, and once the boy's story comes full circle the story plays more as a domestic drama. The actors are the main reason to see the film, especially de France's turn as an athletic swimmer.

The Day the Earth Stood Still

I wanted to really like this film, after all it's a remake of a bona fide Hollywood classic. In 1951 The Day the Earth Stood Still defined modern sci-fi, complete with a director who'd cut Citizen Kane (Robert Wise) and an unparalleled theremin score. Just a year after the original film was released the White House was buzzed by UFOs (July 22, 1952), an event that was widely reported in the mainstream media and that mirrored the spine of the film.
Fast forward to the present and UFOs are a fringe belief. Frankly even if flying saucers landed tomorrow on the White House lawn would people care when the economy is about to crater? Are the aliens going to revive General Motors? That would actually make for an interesting film. Not even superior alien intelligence can save the new The Day the Earth Stood Still. The film starts out in the Himalayas in the 1920s where we see Keanu Reeves alone on a mountain top. He sees mysterious lights, goes outside his tent to investigate, sees a giant glowing orb and abruptly loses consciousness. When he wakes up there is a small scar on the back of his hand. This is the filmmaker's idea of providing a backstory.
I caught TDTESS in the IMAX version and this is the worst job of blowing up a 35mm film to the 70mm IMAX format I've ever seen. For instance The Dark Knight was partially filmed in IMAX, but most films presented in this format are merely blown up to the larger format. The night scenes looked especially bad, with the city lights all blurry like the film was shot with a video camcorder. On a side note I saw the film at the Edwards Marq*e IMAX theater which is the largest IMAX screen in town. By contrast the new AMC IMAX theaters in Houston that just opened are not as large. In fact the manager at the Edwards calls them Baby IMAX.
Anywho, there are moments where the film seems like it might come alive, like the sequence where Keanu (playing Klatuu, the role played by Michael Rennie in the prototype) is taken to a secret lab by the military who ascertain that his body contains three different sets of DNA. The film never again reaches this level of sophistication.
This film is going to open big because 20th Century Fox knows how to market crap. But once word gets out that there is no logic to its science fiction it will be regulated to the bargain bin of life support systems. Kathy Bates looks embarrassed to be in the film and Jennifer Connelly just goes through the motions. Then there's her son who's positively annoying. Keanu has little to do except run from a nation wide manhunt once he escapes the military's lair. In the film's worst moment a wave of microscopic bugs mow down anything in their path like a giant storm leaving nothing but waste in their wake. Only in the next scene when they buzz across New York City to Central Park they seemingly leave all the buildings standing. Even the original movie's giant robot is miscast.
If there is any hope for humanity it would be that people forget this film and seek out the Wise version.

Cadillac Records

It must be apparent in this day and age, but growing up I had no idea that Led Zeppelin stole "Whole Lotta Love" from Willie Dixon and that the Beach Boys, ah, appropriated "Sweet Little Sixteen" from Chuck Berry for their hit "Surfin' USA." Both Berry (Mos Def) and Dixon (Cedric the Entertainer) are portrayed in Cadillac Records, the story of Chess Records. With a narrative told in voice-over by Dixon the film weaves a documentary style recounting of the record company with Adrien Brody at the center as founder Leonard Chess.
Brody's Chess has his own way of stacking the deck that includes burning down his nightclub for the insurance money to start a recording studio and record label. The behavior of Chess's top artists, like Muddy Waters (Jeffrey Wright), Howlin' Wolf (Eammon Walker), and Little Walter (Columbus Short) runs the gamut from murder to womanizing and when Etta James (Beyonce Knowles) signs up add drug addiction. Knowles has been taking acting lessons because she's stealing scenes here. Walker demonstrates an amazing ability to channel Wolf's musical genius while Def is a dead ringer for Berry. Wright, as always, demonstrates acting moves that show his versatility. Wright's diction may remind some of Robert Downey Jr. in Tropic Thunder.
Chess takes money from Peter to pay Paul and nobody seems to mind. The topic of artist equality is briefly touched upon but the movie really wants to concentrate on the legacy of music that these brilliant musicians created.
Director Darnell Martin has been working mostly in television since her early feature I Like it Like That in 1994, but Cadillac Records shows her to be the equal if not capable of greater reach than other femme helmers like Kimberly Peirce or Catherine Hardwicke. With its unblinking evocation of the 50s and 60s music scene and a sense of fair play in showing the artists warts and all Cadillac Records is bound to inspire a new generation to discover the blues.

Sundance 2009 line-up

DRAMATIC COMPETITION

"Adam," directed and written by Max Mayer ("Better Living"), about a slightly dysfunctional man’s attempt at a relationship with an alluring new neighbor. Stars Hugh Dancy, Rose Byrne, Peter Gallagher, Amy Irving, Frankie Faison.
"Amreeka," directed and written by Cherien Dabis, a drama examining the challenges faced by a divorced Palestinian woman and her teenage son upon moving to rural Illinois. With Nisreen Faour, Melkar Muallem.
"Arlen Faber," directed and written by John Hindman, about the intrusion of two strangers into the life of a famous reclusive author. With Jeff Daniels, Lauren Graham, Lou Pucci, Olivia Thirlby, Kat Dennings.
"Big Fan," directed and written by Robert Siegel (writer of "The Wrestler"), which hinges on the reaction of a parking garage attendant when his favorite football player beats him up. Features Patton Oswalt, Michael Rapaport, Kevin Corrigan.
"Brief Interviews With Hideous Men," an adaptation of the book by the late David Foster Wallace by director-writer John Krasinski ("The Office"), which has a doctoral candidate in anthropology interview men in an attempt to understand why her boyfriend left her. Stars Julianne Nicholson, Krasinski, Timothy Hutton, Dominic Cooper.
"Cold Souls," directed and written by Sophie Barthes ("Zimove vesilya"), about a Russian mobster keen to extract the soul of an actor. Toplines Paul Giamatti, Dina Korzun, David Strathairn, Emily Watson, Lauren Ambrose, Oksana Lada.
"Dare," which director Adam Salky and writer David Brind expanded from Salky’s 2005 short about the sexual explorations of prep schoolers. With Emmy Rossum, Zach Gilford, Ashley Springer.
"Don’t Let Me Drown," directed by Cruz Angeles and written by Angeles and Maria Topete, a "Romeo and Juliet"-like story about two Caribbean islands teens in the Bronx after 9/11.
"The Greatest," directed and written by Shana Feste, which focuses on the unexpected arrival of a young woman into the home of a man and wife who have lost their teenage son. Stars Pierce Brosnan, Susan Sarandon, Carey Mulligan.
"Humpday," directed and written by Lynn Shelton, an extreme farce about two college friends who, a decade later, push their relationship way beyond where it ever was. Features Mark Duplass, Joshua Leonard.
"Paper Heart," directed by Nicolas Jasenovec, which blurs the line between documentary and fiction as performer Charlyne Yi searches for the nature of love in the unexpected company of actor Michael Cera.
"Peter and Vandy," directed and written by Jay DiPietro, a time-tossing New York romance starring Jess Weixler and Jason Ritter.
"Push (Based on the Novel by Sapphire)," written by Damien Paul and directed by Lee Daniels, an adaptation of Sapphire's bleak 1990s bestseller about life in the lower depths of poverty in the Bronx. With Gabourey "Gabby" Sidibe, Paula Patton, Mo’Nique Imes, Lenny Kravitz.
"Sin nombre," directed and written by Cary Fukunaga (the 2004 short "Victoria para chino), a Spanish-language drama set in the world of migrants trying to make it from Guatemala through Mexico on their way to the U.S. A Focus Features release.
"Taking Chance," directed by Ross Katz (co-producer of "In the Bedroom," "Lost in Translation") and written by Katz and Michael Strobl, about a military escort office who accompanies the body of a young Marine back home to Wyoming. Toplines Kevin Bacon.
"Toe to Toe," directed and written by Emily Abt, about the academic competition between two girl friends, black and white, at a Washington, D.C., prep school who are trying to get into Princeton.

DOCUMENTARY COMPETITION

"Art and Copy," directed by Doug Pray and written by Timothy J. Sexton, about the effect of advertising and creativity on contemporary culture.
"Boy Interrupted," directed by Dana Perry, a mother’s look at the life of a mentally ill son.
"The Cove," directed by Louie Psihoyos and written by Mark Monroe, in which activist Ric O’Barry exposes the disappearance of sea creatures off a small Japanese village.
"Crude," directed by Joe Berlinger, which focuses on the "Amazon Chernobyl" in the Ecuadorean rainforest.
"Dirt the Movie," directed by Bill Benenson and Gene Rosow, an examination of how human are despoiling the resource of the title.
"The General," directed by Natalia Almada, in which the filmmaker looks at Mexico through the life of her great-grandfather, Mexican President Plutarco Elias Calles.
“Good Hair,” directed by Jeff Stilson, follows comedian Chris Rock as he explores the culture of African-American hair.
"Over the Hills and Far Away," directed by Michel Scott, in which a family searches across Mongolia for a mysterious shaman they hope can heal their autistic son.
"The Reckoning: The Battle for the International Criminal Court," directed by Pamela Yates, in which court prosecutor Luis Moreno Ocampo tries to bring powerful criminals to justice.
"Reporter," directed by Eric Daniel Metzgar, which illustrates how journalist Nicholas Kristof brought the horrors of Darfur to the public eye.
"The September Issue," directed by R.J. Cutler, which follows Vogue editor Anna Wintour and her staff for nine months leading up to the publication of the September 2007 issue.
"Sergio," directedby Greg Barker, an examination of the life of the late United Nations High Commissioner for Human Rights, Sergio Vieira de Mello.
"Shouting Fire: Stories From the Edge of Free Speech," directed by Liz Garbus, in which the filmmaker’s father, First Amendment attorney Martin Garbus, considers the history and current status of free speech in America.
"We Live in Public," directed by Ondi Timoner ("Dig"), a look at the dotcom boom, art and the impact of the Internet through the eyes of Web provocateur Josh Harris.
"When You’re Strange," directed by Tom DiCillo, which explores the rock band the Doors by exclusive means of footage shot from 1966-71.
"William Kunstler: Disturbing the Universe," directed by Sarah Kunstler and Emily Kunstler, in which the daughters of the famous civil rights attorney examine their father’s controversial career.

WORLD CINEMA DRAMATIC COMPETITION

"Before Tomorrow" (Canada), directed by Madeline Piujuq and Marie-Helene Cousineau, a drama about the struggle for survival by a woman and her young grandson in the Canadian arctic.
"Bronson" (U.K.), directed by Nicolas Winding Refn, written by Brock Norman Brock, a violent drama about one of Britain’s most notorious criminals. Stars Tom Hardy.
"Carmo, Hit the Road" (Spain), directed and written by Murilo Pasta, a tale of smuggling in South America’s interior. World premiere.
"The Clone Returns" (Kuron Wa Kokyo-Wo Mezasu) (Japan), directed and written by Kanji Nakajima, a minimalist sci-fier about an astronaut who dies but is then resurrected as a clone.
"Dada’s Dance" (China), directed by Zhang Yuan and written by Li Xiaofeng, about a small-town woman’s search for her birth mother.
"An Education" (U.K.), directed by Lone Scherfig and written by Nick Hornby, a ‘60s-set tale in which a bright 16-year-old and her parents become involved with a sophisticated older man. Stars Peter Sarsgaard, Carey Mulligan, Alfred Molina and Emma Thompson. World premiere.
"Five Minutes of Heaven" (U.K.), directed by Oliver Hirschbiegel and written by Guy Hibbert, about two men from the same Irish town at political odds. Toplines Liam Neeson, James Nesbitt and Anamaria Marinca. World premiere.
"A French Gigolo" (France), directed and written by Josiane Balasko, starring Nathalie Baye as a sophisticated 50ish woman who becomes involved with one of the men she hires for sex.
"Heart of Time" (Mexico), directed and written by Alberto Cortes, about a woman who falls in love with a Zapatista revolutionary.
"Louise-Michel" (France), directed by Benoit Delepine and Gustave Kervern, a black comedy about the extreme revenge sought by some laid-off female factory workers on their corrupt former boss.
"Lulu and Jim" (Germany), directed by Oskar Roehler, a ‘50s rock ‘n’ roll road movie. World premiere.
"The Maid" (Chile), directed and written by Sebastian Silva, about a bitter maid who retaliates when an extra servant is added to the household.
"One Day in a Life" (Italy), directed and written by Stefano Tummolini, about a man who becomes involved with an odd group of beachcombers. World premiere.
"Unmade Beds" (U.K.), directed and written by Alexis Dos Santos, the story of two foreigners who find each other in London’s East End underground arts scene. World premiere.
"Victoria Day" (Canada), directed and written by David Bezmozgis, a coming-of-age story set during a week in 1988. World premiere.
"Zion and His Brother" (France-Israel), directed and written by Eran Merav, a look at a split between two teenage brothers in working-class Tel Aviv. World premiere.

WORLD CINEMA DOCUMENTARY COMPETITION

"Afghan Star" (Afghanistan-U.K.), directed by Havana Marking, about contestants who risk their lives to sing on the Afghan TV show "Pop Idol."
"Big River Man" (U.S.), directed by John Maringouin, which focuses on a Slovenian swimmer determined to take on the Amazon River. World premiere.
"Burma VJ" (Denmark), directed by Anders Oestergaard, about Burmese journalists who surreptitiously documented the 2007 political uprising with pocket cameras.
"The End of the Line" (U.K.), directed by Rupert Murray, based on Charles Clover’s book about the impact of overfishing. World premiere.
"The Glass House" (U.S.), directed by Hamid Rahmanian, which centers on four teenage girls in rehab in Tehran.
"Kimjongilia" (France-U.S.), directed by N.C. Heikin, in which North Korean defectors speak about their lives and escapes. World premiere.
"Let’s Make Money" (Austria-China-South Africa-Spain-Switzerland-U.S.), directed by Erwin Wagenhofer, an examination of the global financial network. World premiere.
"Nollywood Babylon" (Canada), directed by Ben Addelman and Samir Mallal, a look at Nigeria’s domestic film industry.
"Old Partner" (South Korea), directed by Chung-ryoul Lee, about the final days of an old farmer.
"Prom Night in Mississippi" (Canada), directed by Paul Saltzman, about the fallout stemming from a decision by a Charleston, Miss., high school to hold its first integrated senior prom. World premiere.
"The Queen and I" (Sweden), directed by Nahid Persson Sarvestani, in which the Iranian expat filmmaker and former revolutionary takes a fresh look at her country’s history upon entering the orbit of the Shah’s widow.
"Quest for Honor" (Kurdistan-U.S.), directed by Mary Ann Bruni, a look at an activist trying to eliminate honor killings in rural Kurdistan. World premiere.
"Rough Aunties" (U.K.), directed by Kim Longinotto, about the eponymous group that looks after neglected children in Durban, South Africa.
"Thriller in Manila" (U.K.), directed by John Dower, an inside look at the monumental third and final boxing match between Muhammad Ali and Joe Frazier.
"Tibet in Song" (U.S.), directed by Ngawang Choephel, an exploration of Tibetan culture through its music. World premiere.
"211: Anna" (Italy), directed by Paolo Serbandini and Giovanna Massimetti, a look at the murdered Russian journalist Anna Politkovskaya. World premiere.