Movie Time

Texas-made films grab center stage at Sundance Film Festival, including Houstonand Linsanity

One of the hottest tickets to this year’s Sundance is the documentary premiereof Linsanity, featuring Jeremy Lin.
Triple5Light
In the 12-entry category for World Dramatic, Houston, a dark psychological dramafeaturing a German executive recruiter and alcoholic who comes to Houston torecruit an energy executive will premiere Jan. 22.
FilmGuide.Sundance.org
Pit Stop, by director and screenwriter Yen Tan, tells the parallel stories oftwo working class gay men in a small Texas town who come together after eachsuffering struggles and heartbreak in other relationships.
FilmGuide.Sundance.org
Computer Chess, the fourth feature length film by Austin director AndrewBujalski, is an existential comedy about a computer convention in 1980 and themen who taught machines to play chess.
FilmGuide.Sundance.org
Sure to be controversial will be A Teacher, a psychological drama about a highschool teacher who has an affair with one of her students.
ATeacherFilm.com

PARK CITY, Utah — It is shaping up to be a banner year for Texas-centered films and filmmakers as the Sundance Film Festival kicks off Thursday and runs through January 27. More than a dozen films with Texas ties will be screened in the two drama categories, two documentary categories, the short film category and the edgy NEXT category.

One of the hottest tickets is the documentary premiere of Linsanity, featuring Jeremy Lin, the Harvard basketball player who came from a humble background and was undrafted by the NBA only to have an unbelievable run as an NBA player (he now plays for the Houston Rockets of course). A portion of the film was shot in Houston.

One of the hottest tickets is the documentary premiere of Linsanity, featuring Jeremy Lin.

The documentary, which was filmed by Lin's close friend Evan Leong, begins when Lin was a college student with no pro prospects, long before his magical run with the New York Knicks last season. The film premieres on Saturday with not a ticket to be had.

In the 12-entry category for World Dramatic, Houston, a dark psychological drama featuring a German executive recruiter and alcoholic who comes to Houston to recruit an energy executive will premiere Jan. 22. The film was — no surprise given its title — filmed in Houston and El Campo, as well as in Germany by German director and screenwriter, Bastian Gunther.

It is part-time Austin resident Gunther's first U.S. film.

Austin-based director Richard Linklater will show his latest movie, Before Midnight, a follow-up to Before Sunrise and Before Sunset, starring Ethan Hawke and Julie Delpy, on Sunday night.

Linklater will also co-host a party saluting 10 Texas films that will be shown at the festival, including Mud, starring Matthew McConaughey as a charismatic outlaw who recruits two boys to aid his clean getaway, and Prince Avalanche, which writer/director David Gordon Green adapted from the Icelandic film Either Way and clandestinely shot in Austin.

Bold works

Sundance’s NEXT group features "pure, bold works distinguished by an innovative, forward-thinking approach to storytelling" and usually made on a modest budget. Computer Chess, Pit Stop, and A Teacher are three of the 10 submissions.

Sure to be controversial, A Teacheris a psychological drama about a high school teacher who has an affair with one of her students. This film was shot entirely in Austin and marks the first Sundance entry for film director and screenwriter, Hannah Fidell.

Sure to be controversial, A Teacheris a psychological drama about a high school teacher who has an affair with one of her students.

Computer Chess, the fourth feature length film by Austin director Andrew Bujalski is an existential comedy about a computer convention in 1980 and the men who taught machines to play chess.

Pit Stop, by director and screenwriter Yen Tan, tells the parallel stories of two working class gay men in a small Texas town who come together after each suffering struggles and heartbreak in other relationships.

Tan's script for Pit Stop was selected out of hundreds of entries to participate in the Outfest Screenwriting Lab in 2009 and the project was awarded a $7,000 grant from the Austin Film Society’s Texas Filmmakers’ Production Fund. The producers utilized crowd-funding from usaprojects.org to raise another $32,000 for the project.

Tan immigrated to Dallas from Malaysia in 1996 and currently lives in Austin where he is also the go-to person for graphic design of movie posters for independent films. Tan was assisted in co-writing duties by Dallasite David Lowery.

Buzzed-about film

Filmmaker Lowery is a busy guy. Ain’t Them Bodies Saints, a film he wrote and directed, is one of one of the most buzzed-about films of the 16 submissions in the U.S. Dramatic category. It tells the story of an outlaw who escapes from prison and sets out across the Texas hills to reunite with his wife and the daughter he has never met.

Ain’t Them Bodies Saintsis one of one of the most buzzed-about films of the 16 submissions in the U.S. Dramatic category.

Featuring an all-star cast of Rooney Mara, Casey Affleck and Ben Foster, the film opens in the “A” venue — the 1,100 seat Eccles Theater — on the first weekend of the festival. Ain't Them Bodies Saints follows Lowery's debut feature, St. Nick, which premiered at SXSW, in 2009 and was released commercially in 2011.

The movie will also be shown in Houston on Jan. 31 at the Sundance Cinemas as part of the Sundance Film Festival USA series held in 10 cities. Lowery and producer Toby Halbrooks will be in Houston to introduce the film and participate in an audience question-and-answer session moderated by CultureMap editor-in-chief Clifford Pugh. Tickets are on sale on the Sundance Cinemas website.

Shorts competition

In the 65 films that will screen in the Shorts Competition, Texans directors get the nod in Black Metal, The Cub, and Thank You.Black Metal, made in Austin, is a nine-minute film focused on the actions of a fan of the lead singer of a black metal band.

The Cub, filmed by Austin director Riley Stearns, is a short five-minute film, that examines the relationship of a wolf and its cubs.

Thank You, a 12-minute animated film by Austin directors Pendleton Ward and Tom Herpich, focuses on a snow golem that is attacked in the forest by a pack of wolves, who accidentally leave a cub behind after their retreat. The golem’s life is thrown into chaos as he attempts to reunite the cub with its family.

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Movie Review

Denzel Washington brings new spectacle to the Colosseum in Gladiator II

Photo courtesy of Paramount Pictures

Paul Mescal in Gladiator II.

There are some films for which making a sequel is natural, and others where a follow-up is wholly unnecessary. Gladiator, which made both tons of money and was named Best Picture at the Oscars, told an impactful stand-alone story that ended with the protagonist dead and no real loose ends. And yet because there’s always more money to be made, here we are 24 years later with Gladiator II.

The lead character this time around is Lucius (Paul Mescal), a general in a North African army who becomes a prisoner of war when the Roman army led by Marcus Acacius (Pedro Pascal) bests him and his troops in battle. Taken back to Rome, he is put in the pool of captured men forced to fight at the Colosseum for the amusement of twin emperors Geta (Joseph Quinn) and Caracella (Fred Hechinger).

Lucius is controlled by Macrinus (Denzel Washington), an ambitious schemer who bets liberally on his prized fighter and always has an eye to move up in the world. Meanwhile, Lucilla (Connie Nielsen), the sister of Emperor Commodus from the first film, is now married to Marcus Acacius and has a unique connection with Lucius that is fairly obvious from the get-go.

Directed once again by Ridley Scott and written by David Scarpa, the film commits a number of sins throughout its 150-minute running time, the most blatant of which is that, aside from a few embellishments, it essentially tells the same story as the first film. Lucius, like Maximus, is a deposed military leader who’s out for revenge on the person who killed his family. Instead of one obnoxious emperor, there are now two. And the only way for Lucius to earn his freedom is to fight his way out.

Stories told in the same world can echo each other and, if done well, overcome those similarities. But Gladiator II is shockingly boring for a purported sword-and-sandals epic. Scott and his team try to introduce new elements to the fights, like a gladiator riding a rhinoceros or a ship battle inside the Colosseum (with sharks!), but most of the sequences are inert with no propulsion to them.

The action fails because none of the relationships in the film amount to much. There are stand-out characters like Macrinus and the twin emperors, but instead of creating antipathy or strong feelings of triumph or defeat, the story just kind of happens without any sense of excitement or importance. Much of that issue lies at the feet of Lucius, who simply doesn’t inspire in the same way that Russell Crowe’s Maximus did.

Mescal is a fine actor who’s done good work in more intimate roles, but he’s not up to the task of being an action star, at least not in this film. Any bombast he shows with the character feels forced, and the story doesn’t give him enough opportunities to counteract that lack. Washington, however, fills up the screen with his charisma, and it’s during his scenes that the film comes closest to being rousing. Quinn and Hechinger are a lot of fun as the twin emperors, but in the end they feel like retreads of Joaquin Phoenix from the original.

Any sequel should have a purpose that sets it apart from what came before, but Scott, Scarpa, and the rest of their team fail in that respect in Gladiator II. It’s a mostly lifeless film that delivers scenes that would be exciting if they had any kind of good story to back them up.

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Gladiator II opens in theaters on November 22.

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