I was able to catch 18 films at this year’s SXSW festival. Some of the titles are primed for anticipated releases all throughout the calendar year, while others are relying on positive exposure from the festival in order to expand their reach to additional audiences. This year’s crop of selections included a wide range of styles, genres and subject matters, making it a fantastic group of films courtesy of SXSW’s program directors. Here’s a look back at each film I saw (in alphabetical order) with a brief description of the synopsis, as well as a quick and to-the-point assessment of each movie:
All Square
House of Cards‘ Michael Kelly stars as a struggling small-town bookie who decides to take bets on local little league baseball games. There are some laughs to be had and the film’s accuracy regarding underground sports betting is commendable, yet there’s very little depth to the characters and a lack of meaningfulness to the story. GRADE 3/5
American Animals
This witty and energetic docu-drama recreates the insane true story of 4 college students who researched, plotted and committed a heist at their university in 2005, hoping to cash in on millions of dollars worth of books and other art pieces. American Animals was one of the more memorable films at this year’s festival for its gripping screenplay and styled execution. GRADE 4/5
Blindspotting
Carlos Lopez Estrada’s Blindspotting was without question the pinnacle of this year’s festival. Tackling a wide array of social issues, the film follows a convicted felon with 4 days left on his probation who witnesses a police officer fatally shoot an unarmed and fleeing African American suspect. Blindspotting takes you on a roller-coaster of emotions and intensity as it bridges sound storytelling with a unique and innovative flavor. GRADE 4.5/5
Blockers
Kay Cannon’s comedy headliner earned loads of laughs during its world premiere, which only seems natural as Blockers follows a trio of high school seniors who form a pact to lose their virginity on Prom night. Unfortunately, their parents (Leslie Mann, John Cena and Ike Barinholtz) discover the girls’ promiscuous intentions and try desperately to stop them. A strong central theme attacks society’s double-standard when it comes to this landmark sexual event, yet a tiresome reliance on shock-value and full frontal male nudity to generate laughs really sours the effort. GRADE 3/5
Boundaries
Vera Farmiga stars as a habitual animal-rescuing mother forced to help her flaky father (Academy Award Winner Christopher Plummer) after he’s kicked out of his senior living facility for selling marijuana. Plummer steals the show in this often hilarious story of familial struggle, despite the fact that very little materializes in the film. GRADE 3.5/5
Fast Color
Julia Hart’s Fast Color was regrettably the weakest link at this year’s SXSW festival. The sci-fi drama follows a woman (Gugu Mbatha-Raw) on the run because of her family’s history of possessing unique, super-human abilities. Flimsy storytelling, one-dimensional characters and cheap reveals plague this lifeless sci-fi drama. GRADE 2/5
Final Portrait
Stanley Tucci is a fantastic character actor but he returns to the director’s chair for SXSW entry, Final Portrait, which chronicles the odd and brief relationship between Swiss artist Alberto Giacometti and an American (Armie Hammer) he asked to pose for a portrait. And what was supposed to be completed in one afternoon went on to last for many weeks, thanks to Giacometti’s frequent moments of intense self criticism. It’s a silly premise that proves quite witty and charming as it develops, however a repetitious feeling and constricted story leave this film as a hollow attempt at addressing the inevitable imperfection of art. GRADE 2.5/5
First Match
First Match is a Netflix film that will arrive by the end of March, giving you an opportunity to see it soon via the streaming service. The movie centers around a troubled teen (Elvire Emanuelle) whose bounces around the foster care system, until she finds strength and structure competing against boys on the wrestling mat where she wants nothing more than to win the admiration of her biological father. Inspiring and heartbreaking all at the same time, First Match is a winning attempt from this year’s SXSW slate. GRADE 3.5/5
Galveston
French actress Melanie Laurent tries her hand at directing an American tale with Galveston. Ben Foster stars as a henchman for a mob boss who goes on the run with a prostitute (Elle Fanning) after becoming the target of a “hit” by his employer. Galveston’s a slow-burner that builds its characters well despite a crawling pace and outstretched screenplay. GRADE 3/5
Hereditary
Another clear highlight of this year’s SXSW festival was the “midnighter” selection Hereditary. What’s been crowned as this year’s “scariest movie ever”, the film follows a family’s spiral into madness after the passing of their grandmother. The scares are legitimate, thanks to creepy visuals and superb sound editing that help build the tension beautifully throughout. GRADE 4/5
Isle of Dogs
The latest from Wes Anderson marks his return to stop-motion animation, something he executed quite well with 2009’s Fantastic Mr. Fox. Set during the not-so-distant future in Japan where a dog-hating ruler banishes all canines to “trash island”, Isle of Dogs follows the tale of a brave young boy who travels to this castaway island to find his pet. However, what begins as a fun and humor-filled idea eventually goes off the rails in its questionable third act. GRADE 3/5
A Quiet Place
John Krasinski’s A Quiet Place opened this year’s festival and brought the crowd to a rousing applause at its conclusion. A family is forced to live in absolute silence as deadly, sound-sensitive creatures have nearly wiped out the entirety of Earth’s population. The creatures are pretty awesome, I’ll admit, but the lulls in action in between the film’s sporadic suspenseful moments leave much to be desired. GRADE 3/5
Ready Player One
Steven Spielberg’s newly adapted sci-fi effort was without question the most anticipated debut at this year’s SXSW festival. The film follows Wade Watts, a teenager trapped in the mundane circumstances of everyday life in the year 2045, so he takes to the virtual reality world known as the Oasis where tries to find a hidden fortune left by the game’s deceased creator. Ready Player One is as visually overwhelming as it is impressive, yet a gripping dystopian tale makes this 140-minute journey a surprisingly easy ride.
Sadie
One of the clear indie darlings from this year’s lineup was Megan Griffiths’ Sadie. This gripping tale centers around a 13 year old daughter (Sophia Mitri Schloss) of a soldier serving overseas who will stop at nothing to end the romantic affair between her mother and a new neighbor at their trailer park. The escalation is subtle but explosive as Sadie stands as a true testament to the power of independent filmmaking. GRADE 4/5
Shotgun
In Shotgun, twenty-somethings Elliot (Shameless‘ Jeremy Allen White) and Mia (It Follows‘ Maika Monroe) stumble into a romance that begins moving incredibly fast when he becomes diagnosed with cancer. Writers/directors Hannah Marks and Joey Power tell an interesting story with immense emotional depth. Shotgun is a true love story, all in spite of its cheap reaches for the occasional sentiment. GRADE 3.5/5
The Unicorn
One of the most insanely hysterical films at SXSW was Robert Schwartzman’s The Unicorn. Lauren Lapkus and Nicholas Rutherford star as Malory and Caleb, a boring couple going four years strong on their engagement. But when their mutual reservations with marriage force them to question the current state of their relationship, “Mal & Cal” decide that spicing things up with a threesome may be exactly what they need. The Unicorn is a riotous journey that refuses to let up on the laughs. GRADE 4/5
Unlovable
Joy (Charlene deGuzman) is a sex-addict who craves the attention of the opposite sex. Yet, she finds genuine human connection when she begins a garage band with her “sponsor’s” older anti-social brother. The masterful John Hawkes, a hometown SXSW hero, delivers a knockout performance once again in the hearty, feel-good comedy Unlovable. GRADE 4/5
A Vigilante
Olivia Wilde goes straight badass in the domestic abuse thriller, A Vigilante. Wilde stars as an abuse survivor who enlists her services to fellow abused women who need her to rough up and intimidate their husbands. And what begins as a compelling character study, eventually transitions into an unappealing thriller. Wilde gives a committed performance, but the story simply falls flat in its third act. GRADE 3/5
Write When You Get Work
Stacy Cochran’s Write When You Get Work follows Jonny and Ruth, former lovers and small-time thieves who cross paths after years apart. But when Jonny discovers Ruth’s new career at an upper class private school, he plots a scheme to steal from a wealthy parent (Emily Mortimer) involved with the school. This battle-of-wits caper comedy just never seems to entertain as much as its heady screenplay deserves. I believe it’s because the characters aren’t endearing enough for the audience to forge a connection. GRADE 2.5/5