3/4 of TULLY is a brilliantly conceived meditation on motherhood. Charlize Theron is amazing, but Mackenzie Davis might just be her equal. Jason Reitman is back because of Diablo Cody's heartfelt screenplay. #Sundance— Jordan Ruimy (@mrRuimy) January 26, 2018
ASSASSINATION NATION: Slasher flick with feminist themes. Chaotic, outrageous, fun stuff. Worth the $10 Million sale? Of course not. #Sundance— Jordan Ruimy (@mrRuimy) January 25, 2018
PUZZLE was surprisingly effective. I did not expect this kind of beautifully subtle filmmaking but director Marc Turtletaub proved me wrong. Kelly Macdonald is just so good in this. A very welcome surprise. #Sundance— Jordan Ruimy (@mrRuimy) January 24, 2018
Want to know how mediocre Sundance 2018 has been thus far? The first standing ovation this year at the Eccles goes to director Anthony Mandler's conventional, but highly watchable courtroom drama MONSTER #Sundance2018— Jordan Ruimy (@mrRuimy) January 23, 2018
WE THE ANIMALS is stunning stuff. Gorgeously shot, immenesly creative and very reminiscent of Benh Zeitlen's backwoods magical surrealism. Best movie of #Sundance2018?— Jordan Ruimy (@mrRuimy) January 22, 2018
I THINK WE'RE ALONE NOW: Reed Morano's Beautiful, bold but lifeless directorial debut about the last two people on earth. #Sundance2018— Jordan Ruimy (@mrRuimy) January 21, 2018
LEAVE NO TRACE: The best movie I have seen so far st #Sundance18. Debra Granik's direction proves her to be a worthy and formidable independent talent and Thomason Harcourt' striking debut performance deserves awards love.— Jordan Ruimy (@mrRuimy) January 21, 2018
DONT WORRY HE WONT GET FAR ON FOOT: Vant Sant delivers a well-directed, edited, treatise on 12 step programs and cartoonist John Callahan. Some good moments but it just doesn't come together in the end. Phoenix is fantastic. I mean, when is he not? Jonah Hill miscast. #Sundance18— Jordan Ruimy (@mrRuimy) January 20, 2018
JULIET, NAKED semi-works because of Rose Byrne and Ethan Hawke's infectiously charming chemistry, but as a Nick Hornby adaptation? We deserved better than this predictably pedestrian rom-com. #Sundance18— Jordan Ruimy (@mrRuimy) January 20, 2018
AMERICAN ANIMALS: Adds nothing new to the American crime subgenre, very slow, familiar buildup, but it does pick up with a nerve-jangling heist near the end. #Sundance2018— Jordan Ruimy (@mrRuimy) January 20, 2018
MONSTERS AND MEN: Well-intentioned, ambitious, reflective mosaic of race and police brutality in New York. Doesn't fully develop its characters as much as it wants to and not as deeply felt as it oughta be. #sundance2018— Jordan Ruimy (@mrRuimy) January 19, 2018
HEARTS BEAT LOUD: Light, tender, funny but predictable. Kiersey Clemons is a promising new talent. Good choice for the closing night film at #Sundance2018— Jordan Ruimy (@mrRuimy) January 19, 2018
PRIVATE LIFE - Overlong, sometimes rambling, but touchingly rendered film about a couple's struggles with fertility therapies. Smart, sharp, perceptive screenplay by Tamara Jenkins. Hahn and Giamatti are excellent but it's Kayli Carter that steals the show. #Sundance2018— Jordan Ruimy (@mrRuimy) January 19, 2018
BLINDSPOTTING: some powerful moments, filled with frenetic, inspired direction, and an important message, but tonally it feels off. The serious moments work, but the loose comedic ones don't. Its ending, although nerve-jangling, is contrived. An ambitious mess. #Sundance2018— Jordan Ruimy (@mrRuimy) January 19, 2018