There’s nothing more predictable going into Sundance than the fact that there will be some heavy drama. The only question is: will it be great, or will it be not-so-great? This time, it’s great.

Let’s face it, we exist as a generation that has grown up on stoner comedies. There have been drugs in our movies since before we were off the teet. So we should have seen it all by now, right? Not exactly.

You’ve been on the edge of your seat wondering what movies out of Sundance you’d actually get to see. Well, now you know.

‘Winter’s Bone’ is a compelling journey through scary backwoods territory that’s most notable for Jennifer Lawrence’s great performance.

If there’s one thing that has come of the rise of the likes of the Duplass Brothers and the mumblecore (or something like it) movement, it is a slew of honest movies about relationships. But those Duplass guys should watch out, because Katie Aselton is about to take over.

‘Splice’ recycles a lot of horror movie conventions, but does so in a unique, genuinely weird way.

‘Frozen’ can be boiled down to ‘Open Water’ on a ski lift, but it’s still quite entertaining.

Reviewing a concert film, and more specifically a comedy show film isn’t easy. In fact, it is tough to provide much insight beyond “it’s funny” or “it’s not funny.” But that’s a white person problem, as Louis CK might say.

Jesse Eisenberg stars as a Hasidic Jew who is drafted into the ranks of drug smugglers, despite his devout nature. As you might expect, it all goes wrong.

I can hear the conversation in the pitch meeting now. “This is Joseph Gordon-Levitt’s film. But he isn’t going to be the charming, clean-cut, charismatic Joe that the world has seen. He’s going to be fucking crazy, man.”

Here’s something interesting that I learned tonight, following the Sundance press screening of The Runaways. Pedophilia is being sexually attracted to a pre-adolescent. However, there is a word for being attracted to 15-year old Dakota Fanning…

If the enigmatic and energetic opening of Taika Waititi’s latest comedy Boy says anything to its audience, it is that we’re in for some imaginative fun.

No one is doing real journalism anymore. I hear this all the time. And while it may be true (mostly) in the world of movie blogging, it certainly isn’t true in the world of documentary filmmaking.

I’ve already heard several folks here in Park City draw lines between John Wells’ recession drama The Company Men and Jason Reitman’s Up in the Air. That’s not exactly true. But it also isn’t a bad thing.

I feel as if I should be upfront about something: this movie, while it has a lot to do with street artist Banksy (its director), is not about Banksy. But that doesn’t mean it isn’t fantastic.

Every year at Sundance, I seem to find that one movie that I just can’t place. It is neither great, nor awful. It is filled with talent and at times, great performances, but it fails to really move me.

‘Family Affair’ is not one of the Sundance movies you’ve heard a lot about this weekend, but it’s a compelling documentary that fulfills the festival’s most valuable function.

Long have I been a fan of awkward comedy. Or more specifically, comedy that thrives on situations where two characters quite simply don’t belong together. Enter the Duplass Brothers’ latest film, Cyrus.

The interpretation of art is tricky. In fact, most great works of art are the trickiest because what makes them great is that they can mean different things to different people. Such is the overwhelming theme of Rob Epstein’s excellent film, Howl.

Get ready to laugh at terrorism! In this completely non-exclusive clip, we take a look at the lighter side of stockpiling bleach for bomb-making.