The Sundance Film Festival isn’t just a film festival, but a look into the future of cinema. As we travel to Park City Utah this year, I thought it would be nice to take a look back at the last 30 years of the festival. Today I begin part one of my two-day, two-part look at the best movies of Sundance Film Festival history. In part one I will focus on the first 15 years of the festival* as the small independent film festival grew into the launching pad for new filmmakers and ground zero for the independent movie boom of the 1990’s.
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This Christmas, the collective entity of /Film pooled their efforts together to present this gift. Earlier this week, I polled all our writers and editors for their top ten holiday films of all time. I then gave each film on each list a 1 to 10 ranking. 10 points for first place, 1 point for 10th place, and added up the results. What were the results? Pretty predictable, if you ask me, but fun nevertheless.
Still, there were plenty of great movies on the list and weird subplots to explore. For example, only two of us put the same film number one, and it just so happens to be our overall top pick. However, another writer hasn’t even seen that movie. (Until late last night, as it turns out.) Which film is it? And what did it beat out? You’ll have to click below to read /Film’s 20 Favorite Holiday movies of all time. Read More »
This is the first edition in a new regular series where I attempt to answer your questions about the film industry. We’ll be taking a look at the box office, forgotten Hollywood landmarks, the marketing process and more. Sometimes I’ll attempt to answer the question myself, and other times I will contact experts in the particular field to give a more detailed answer. Please feel free to send your questions to firstname.lastname@example.org. I decided to start off this series with an easier question, and use it as a jumping-off point to delve into the more complex world of screen credits.
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You can now watch Go for free on Hulu. Before Doug Liman launched the Bourne Franchise, he directed two wonderful indie films — Swingers and Go. Swingers launched the career of Jon Favreau and Vince Vaughn, but Go went virtually under the radar, despite being a really cool film.
The film suffered from a marketing campaign focused around Katie Holmes, who was on Dawson’s Creek at the time, and being criticized for its use of fragmented time in a post Pulp Fiction world. Yes, it copied the structure, but who cares – unlike most of the Tarantino-inspired films, this one is good. It’s also the breakout film for screenwriter John August, who is probably best know for his work with Tim Burton — Big Fish, Corpse Bride.
In 2007, August premiered his feature directorial debut The Nines at Sundance, another great film which went virtually unseen. Go is also notable for its incredible techno-based soundtrack. Be warned, if you watch this film, plan on downloading the soundtrack afterwards. I highly recommend Go. Check it out for free on Hulu.
If you end up liking it, you might want to pick up the DVD special edition (only $7.99 on Amazon), which features a great indie film commentary by Liman and August.
Please, leave your thoughts about the film in the comments below.
Eight years after his first feature screenplay Go played Sundance, John August returns with his directing debut The Nines.
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