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    Sundance Film Festival Report

    Legendary stars Redford, MacLaine, and Elliott get the last word in Sundance films

    Jane Howze
    Jan 26, 2017 | 11:30 am

    Death, mortality and one’s legacy take center stage at the 2017 Sundance Film Festival as three distinguished actors — actually legends — star in dramas that range from silly to sentimental to substantive. Sometimes the actors are so exceptional that you are still willing to watch a less-than-ideal vehicle for their talents. And the good news is that these three are coming to a theater or VOD.

    Discovering a Bomb

    The Discovery seemed like a sure fire winner. After all, it stars Robert Redford, Rooney Mara, Jason Segel, and Jesse Plemons and is directed by Charlie McDowell, from the 2015 surprise Sundance hit, The One I Love. The plot summary sounded interesting. Dr. Thomas Harbor (played by Redford) has proved the existence of life after death. As a result four million people have committed suicide hoping that life is better on the other side. Harbor retreats from public life with cult-like devotees who wear jump suits of different colors. His son Will, played by Segel, tries to dissuade him from pursuing further research and meets one of his suicidal followers (Mara), where a romance ensues — one with absolutely no on-screen chemistry. Harbor discovers that the afterlife (on a black and white outdated computer screen) can be viewed through a dead person’s brain waves.

    I think you get the idea just from reading the above that this is one cringe-worthy movie. It was so silly that I stifled uncontrollable giggles throughout. Even the magnificent Redford could not bring this film back to life. I found myself grieving that Redford, who has stated he is retiring from acting, would exit on such an unsatisfying and, pardon the pun, deadly note.

    In the question-and-answer session following the film, McDowell talked about how lucky he was to attract Redford, who is committed to independent film makers. Redford talked about how fortunate he was to work with such a talented cast, what a great future McDowell had ahead of him, and how Redford was impressed that McDowell was not afraid to take risks. All code words for “bomb.”

    The Discovery will be available for streaming on Netflix on March 31, 2017.

    Not so Heroic

    Sam Elliott is well-known character actor. Some will remember him from Butch Cassidy and the Sundance Kidor The Big Lebowski. He got good reviews in Brett Haley’s 2015 Sundance breakout hit I’ll See You in My Dreams, where he played the romantic interest of Blythe Danner. He returned to Sundance this week with Haley’s The Hero where he gets his star turn in a flick about an over-the-hill aging movie star who is diagnosed with pancreatic cancer diagnosis, gets a new younger love interest (wonderfully played by Laura Prepon) and must decide how to live his life.

    The Hero is a melancholy statement about aging, righting wrongs and getting one more opportunity to make it big. Director/writer Haley, who wrote this film for Elliott, has a wonderful gift for communicating the voice of the septuagenarian set, especially given that he is under 40 years of age. Not many movies star actors this age (Elliott is 72) or many show them partially undressed and passionately kissing younger women. Movie buffs will love that Eliott's real-life wife, Katharine Ross (The Graduate, The Stepford Wives), has a small part as the ex-wife in the film.

    Elliott is in every scene and gives a nuanced and moving performance. His wry humor — and that gravely voice —make the movie a pleasant experience. Sadly, he is better than the film which is too slow and relies on clichés and gimmicks. Elliott as a pothead and the unsatisfying plot line of reconciling with his daughter seemed contrived. Unlike Redford, Elliott is not retiring and this film left me wanting to see him in stronger heroic role and Haley to try again.

    The Orchard has acquired North American rights to The Heroand is planning a wide release for the film in the fall.

    Frail but Feisty (Spoiler alert; plot details are revealed)

    In The Last Word, Shirley MacLaine stars in a comedy about a successful, controlling and mean 80-year-old named Harriet Lauler who wants to make sure her death will be reported in a way that recognizes her greatness. She hires a reporter (played by Amanda Seyfried) to craft a glowing, dignified obituary. When the reporter finds that even Harriet’s priest hates her, they go about a formulaic redemption effort as Harriet lands a job as a DJ for an easy listening radio station, fosters a nine-year-old girl from the projects, reaches out to her estranged daughter (played by Anne Heche) and inspires the reporter to follow her dreams.

    You know that at some point that Harriet’s obituary will come into play. The movie is so formulaic that when Harriet collapses with congestive heart failure, the reporter just looks on rather than calls for help.

    Even though the film is corny and predictable, I was enthralled, moved and charmed by it and was one of the first in the audience to reach for a handkerchief. I’m not sure if I was mourning for the character or MacLaine, who at 82, appeared on stage to answer questions looking frail but feisty. She spoke about the value of being on time and following your dreams.

    And of course, she had the last word.

    The Last Word will open in theaters March 3.

    Shirley MacLaine, center, stars in The Last Word.

    Shirley MacLaine in The Last Word
      
    Courtesy of Sundance Film Festival
    Shirley MacLaine, center, stars in The Last Word.
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    Movie Review

    Heartfelt movie The Life of Chuck adapts optimistic Stephen King story

    Alex Bentley
    Jun 13, 2025 | 5:30 pm
    Tom Hiddleston in The Life of Chuck
    Photo courtesy of NEON
    Tom Hiddleston in The Life of Chuck.

    Just like actors, once a filmmaker becomes known for a certain genre, it can be difficult to escape that pigeonholing. Writer/director Mike Flanagan has worked for 20 years in both film and television, and literally every project he’s done has been related to horror. He’s finally breaking out with The Life of Chuck, which is ironically based on a short story of the same name by Stephen King.



    Told in three chapters in reverse order, the film is almost impossible to describe without giving away its magic. The first section centers on Marty (Chiwetel Ejiofor), a teacher grappling, like everyone around him, with what seems to be the world falling apart. He’s comforted to a degree by reuniting with his ex-wife, Felicia (Karen Gillan), but is also baffled by multiple ads touting the retirement of Charles “Chuck” Krantz (Tom Hiddleston) after “39 great years.”

    The second section consists of little more than a slightly younger Chuck happening upon Taylor (The Pocket Queen), a drummer busking on a street corner, giving Chuck and a younger woman, Janice (Annalise Basso), the inspiration to start dancing. The final section goes back to the childhood of Chuck (Benjamin Pajak), where he’s raised by his grandparents (Mark Hamill and Mia Sara), discovers dance as an outlet, and wonders about various small mysteries.

    Flanagan finds a way to deliver a lot of story with relatively little effort. Using a wry narrator (Nick Offerman), a limited number of locations, and a series of great small performances, he creates an intriguing premise with few straightforward answers. The structure of the film is designed to confuse the viewer until just the right moment, and the revelation forces you to reexamine everything that came before.

    The biggest accomplishment by Flanagan is making what are essentially three short films and having each of them resonate equally. The film contains elements of science fiction, although the first section may hit a bit too close to home for some of those watching. All three sections, though, have a heartwarming bent to them that sells their central idea without becoming overly saccharine.

    To do so, each of the characters have to connect in a short amount of time. The casting of the film is crucial, and not only does that department succeed with the main roles, but a series of small roles are filled expertly as well. Carl Lumbly as a funeral home owner, David Dastmalchian and Harvey Guillen as parents of students, Matthew Lillard as Marty’s neighbor, Q’orianka Kilcher as Chuck’s wife, and Jacob Tremblay as a teenage Chuck are just a few of the recognizable actors that do yeoman’s work in their brief time on screen.

    Hiddleston is only prominently featured in the second chapter, but his performance there and in small glimpses throughout makes a big impression. Ejiofor is given the star turn in the first chapter and he absolutely kills, both in moments by himself and in scenes with Gillan, with whom he has great chemistry. Hamill, making a rare non-voiceover appearance outside of the Star Wars universe, and Sara, in her first notable role in 11 years, are also very memorable in the final chapter.

    The Life of Chuck is a film that’s filled with emotion, but the full impact of the story is not felt until the final moments. It has a mysterious journey that is initially frustrating, but the performances keep the film going until it gets to its satisfying payoff.

    ---

    The Life of Chuck is now playing in theaters.

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