SXSW: Elle Fanning has "Teen Spirit"

Abe Fried-Tanzer reporting from SXSW

It feels like every other movie these days is directed by a famous actor. There are a handful of them at SXSW this year, including Olivia Wilde’s Booksmart (reviewed) and Logan Marshall-Green’s Adopt a Highway starring Ethan Hawke. Both of those make sense given the type of films those actors have starred in, which match up decently with what they have made behind the camera. Max Minghella’s Teen Spirit, on the other hand, is a less expected debut.

Minghella is probably most recognizable from his starring role as the kindhearted Nick on The Handmaid’s Tale, and he also had a memorable part in The Social Network, among other things. His father was the late Oscar-winning Anthony Minghella (The English Patient). That piece of trivia makes the subject of Max’s first film even stranger since it doesn’t track with that kind of serious prestigious filmmaking either...

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SXSW: Beanie Feldstein and Kaitlyn Dever in "Booksmart"

Abe Fried-Tanzer reporting from the SXSW Festival

Everyone loves a buddy comedy – usually. It’s rare that such films are both crowd-pleasing and critically well-received, since entertainment value doesn’t always go hand-in-hand with quality. Though its detractors would surely disagree, Superbad is a great example of a film that, while inherently stupid, manages to be intelligent and funny in its portrayal of two teenagers trying desperately to have sex before the end of high school. It’s fitting that Jonah Hill’s younger sister Beanie Feldstein, who is close to the age he was when he made that film in 2007, is one of the two stars of a new buddy comedy that feels particularly forward-focused.

In Booksmart, Feldstein plays Molly, the class president and valedictorian whose need to point out other people’s mistakes and shortcomings earns her few friends. She has the only friend she needs in Amy, played by Kaitlyn Dever, who shares her passion for homework and whose social skills are only moderately more palpable...

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SXSW: "Olympic Dreams"

Guest contributor Tony Ruggio reporting from SXSW...

Olympic Dreams, starring comedian Nick Kroll and real-life Olympic athlete Alexi Pappas, is both innovative and a little mundane. Shot behind the curtain in Olympic Village during Pyongyang, it’s a romantic two-hander set against the 2018 games. It also doubles as a real deep-dive into an unknowable subculture. Blurring the lines between narrative and documentary, with many athletes and employees playing themselves, director Jeremy Teicher is a one-man band capturing the unglamorous side of the games. The dorm-like bedrooms, spare game rooms, and impending doom of life after it’s all over...

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SXSW: Jesse Eisenberg in "The Art of Self-Defense"

Abe Fried-Tanzer reporting from SXSW

How seriously are we supposed to take a movie about Jesse Eisenberg learning karate? Watching The Art of Self-Defense, from director Riley Stearns, there are many different answers to that question. Eisenberg’s lanky frame and token physical awkwardness make his training in martial arts a laughable concept from the start, though its origins are brutal. At the beginning of the film Eisenberg’s Casey is mugged and beaten by masked assailants while walking home with a bag of dog food. This film feels like a parody, but one that's trying to mock too many things...

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SXSW: Jordan Peele has another winner with "Us"

Guest contributor Tony Ruggio reporting from SXSW

Between the ages of thirteen and twenty-five years-old I witnessed what they would call the 11:11 “phenomenon.” Essentially, I saw a three or four-number combination of 1 in all walks of life. I saw it on television, often the last four of a Crash Bandicoot lawyer’s telephone number. I saw it during lunch time, the split-second moment a microwave hit that magic number. Most of all, I saw it on a clock, at least once a day every day. The paranoid and pretty rad among us consider this phenomenon many things: good luck, a sign from God, a glitch in the Matrix, a pang of the end times, or even a calling to those chosen to effect change and save the world from itself. Jordan Peele must have been a “witness” himself or simply heard about it and did his research, because Us is littered with references to this numeral phenomenon and the conspiracy theories that have sprung of it. More traditional horror than Get Out, and a better film too, Us gets hung up on making a big statement, but ends up making a great horror film regardless.

This might be sacrilegious to those already devoted to Peele: Get Out is a good film, one whose merits lay more in writing than in directing. Silly folks label it a thriller, denying it “horror” status. Even if you grant that Get Out was not a horror film in concept, it's definitely a horror film in execution. Therefore, I knocked it at the time for not being scary enough. With Us, Peele is firing on all scary-movie cylinders, and doing so with a wider array of tools at his disposal, chief of all his confidence...

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