The Reeler


A Girl and a Gun
Ain't It Cool News
Alliance of Women Film Journalists
Anne Thompson
Art Fag City
Better Than Fudge
Big Picture Big Sound
Bitter Cinema
Blank Screen
Brian Flemming
Bright Lights
Celluloid Eyes
Chutry Experiment, The
Cinema Confidential
Cinema Eye
Coming Soon
Cool Cinema Trash
Cyndi Greening
Dark Horizons
Drew's Blog-O-Rama
Esoteric Rabbit
Film Detail
Film Experience, The
Film Journal, The
Film Journey
Film Stew
Film Rotation
GreenCine Daily
Hacking Netflix
Hammer to Nail
High Sign, The
Hollywood Elsewhere
House Next Door, The
IFC Blog, The
In the Company of Glenn
IndieScene Movie Marketing Blog
indieWIRE Blogs
Jay's Movie Blog
JoBlo's Movie Emporium
Kaiju Shakedown
Like Anna Karina's Sweater
Last Night with Riviera
Light Sleeper
Long Pauses
Masters of Cinema
Matt Zoller Seitz
Midnight Eye
Milk Plus
Mind Jack
Movie Blog, The
Movie City Indie
Movie Hole, The
Movie Poop Shoot
New York Cool
NY Post Movie Blog
News of the Dead
No More Marriages!
Notes From Underdog
Out of Focus
Persistence of Vision
Queer Film Review
Reel Roundtable
Screen Rush
Screener (Film Journal Int.)
Screening the Past
Self-Styled Siren
Short Sheet, The
Slant Magazine
Slant Magazine Blog
Still in Motion
Stranger Song, The
They Shoot Pictures, Don't They?
Tisch Film Review
Vince Keenan
World Film (at
You Know, For Film

The Reeler Blog

The News: New Yorkers Cash In at Sundance

(L-R) Misty Upham and Melissa Leo in Frozen River, the latest Sundance acquisition from New York (Photo: Sundance Film Festival)

By S.T. VanAirsdale

Some of today's movie news of note from around New York:

--It's not just the temperatures in Park City that settled below freezing this week: The market at the Sundance Film Festival is the coldest it's been in years. I'll leave it to the experts (or at least to people who are there; SpoutBlog has a chart of what's sold thus far) to determine why, but proportionately speaking, anyhow, New York filmmakers have fared predictably well: Courtney Hunt's drama Frozen River went to Sony Classics overnight, and both the Chuck Palahniuk adaptation Choke and Nanette Burstein's doc American Teen made high-profile sales to Fox Searchlight and Paramount Vantage, respectively. You can read The Reeler's pre-Sundance interviews with Hunt and Burstein here and here; we are not cool enough for Clark Gregg's publicist, but join me on the high road anyway as I point you to his brief interview with the Sundance Channel.

--Reviewing Ryan Fleck and Anna Boden's Sugar for IFC, Alison Willmore levies a compliment or a criticism, I can't decide: "The rare missteps in Sugar ... come as a bit of a relief, a reminder that they're not yet Brooklyn's secular answer to the Dardennes." Certainly, this news will relieve no one more than it will Fleck and Boden.

--David Edelstein may not have started the Juno backlash with his latest entry at The Projectionist, but he is now its unofficial godfather: "Diablo Cody might be one doodle that can’t be undid." Ouch.

-- Reeler contributor Vadim Rizov went to a packed Anthology Film Archives last Friday to check out Apitchatpong Weerasethakul's (a/k/a Joe) experimental shorts with the man himself in attendance. Apparently they were good, but did I miss the part where Joe speaks? Did anyone take notes? Pictures? Must I do everything around here? Come on, Tisch Film Review, get it together.

Posted at January 24, 2008 10:28 AM

Comments (5)

Tisch? Getting it together?
Stu, you're overdue for a stand-up gig at Comix.

No, *I* missed the part where Joe speaks — his English was tentative, slow and I just wanted to get the hell out and back to the bars. Nor did I have any idea that I'd be blogging/writing about it; I certainly wasn't getting paid to.

Although if I'm really the only one who did, that's really, really sad.

Very cool, Vadim. Posterity will now show that you wanted to get "back to the bars" while one of the world's most visionary young filmmakers was mixing it up downtown. I guess I should have made that my eighth event of the day after all.

More importantly: Were you getting paid to drink? I hope it was worth it.

wait, what? we can be paid to drink now?

fuck, i never should've left being unemployed.

Just to clarify, the TFR website is not really meant to be - or be taken as - a film journalism site. The format is bloggier than that, and we're more interested in commentary/opinion pieces than hard journalism. I only point this out because I think it clarifies the context from which Vadim's piece was produced. Plus, there are far too many good sites already that do film journalism better than we could hope to compete with - like this one right here, or many of the sites Greencine links to regularly.

Post a comment

(If you haven't left a comment here before, you may need to be approved by the site owner before your comment will appear. Until then, it won't appear on the entry. Thanks for waiting.)


TrackBack URL for this entry:

Search The Reeler
Join the Mailing List

RSS Feed


Send a Tip