I feel as though I carved a solid four days of films out of the 2012 Sundance Film Festival, concluding with a final day that offered four films, the best of which was at once mysterious and compelling.
Despite what no doubt were state-of-the-art visual effects thanks to the involvement of LucasFilm, Red Tails is further proof that visual tricks and flashily edited action sequences aren't enough to make a movie interesting.
This year has produced two films that explore minority attitudes toward sexuality: Rashaad Ernesto Green's Gun Hill Road, and now Dee Rees' Pariah, which explores the life of one young black woman whose parents are in deep denial about the fact that she's a lesbian.
Carnage refocuses itself in this film. Unlike the play, it is not simply about the breakdown of civilization -- or at least, of civilized behavior. It's about the very untwining of the ties that shelter civilization from the dominance of self-interest.
Addicted to sex? What man isn't? McQueen assumed it was just an exaggerated form of promiscuity -- at worst, a lapse of self-control as opposed to a life-destroying compulsion. The more he learned, the more he understood how wrong he was.