Movies, we love ’em. Film School Rejects covers a wide range of movie-related topics, from reviews of new releases to retrospectives on classic films. We also love making lists, writing essays about how our favorites were made, and talking about the most interesting projects in development.
For your consideration — our favorite movies from the last few years:
You can also browse our archives by genre — everything from Horror to Action to Comedy.
By Neil Miller
My last film screened at this year’s Sundance film festival, Push: Based on a novel by Sapphire, was certainly one of the best. A tragic and touching story crafted beautifully and bravely by director Lee Daniels, Push is more than deserving of that acclaim that it garnered throughout this year’s festival run.
By Neil Miller
One of the biggest secrets about the Sundance Film Festival is the quality of its documentaries — and though Robert Redford and crew try hard to highlight the exquisite non-fiction section of their yearly independent library, the doc categories are often overshadowed by the bigger, more accessible mainstream releases. But if you think about it, Sundance is the place for docs.
By Neil Miller
Of all the films that I went to see at Sundance this year, I’ve got the sneaking suspicion that the majority of you are most interested in hearing my thoughts about Tommy Wirkola’s Dead Snow. Call me crazy, but the idea of Nazi Zombies attacking unsuspecting young people in the snowy mountains of Norway just has a certain charm.
By Neil Miller
Perhaps this year’s most buzzed about Sundance movie, director Lone Scherfig’s period drama accomplished more than few things during its Sundance ’09 run. First and foremost, it was one of the most well-executed period films of the festival, bringing to life 1960s Britain in a very authentic way. It also introduced us to a brilliant new talent named Carey Mulligan.
By Neil Miller
Strange, sweet and a little sci-fi. That is how this next selection of Sundance 2009 selections role. As we continue to roll through the end of my coverage of Sundance’s 2009 frame, we take a look at a wildly experimental and odd little film, a sweet romantic comedy telling us a familiar story in an unfamiliar way and a Japanese sci-fi movie that finds some deeper meaning.
By Rob Hunter
Waltz With Bashir opens on an animated, rain-soaked street to the sounds of growling. What follows is a real-life documentary and quest for answers.
By Neil Miller
In this edition of ‘Neil’s Lazy Sundance Capsule Reviews,’ we take a look at a Hollywood insider comedy, a neo-noir detective story and a wild ride through the mind of Britain’s most famous (and dangerous) prisoners of all-time…
By Neil Miller
A straightforward romantic comedy about bringing a know-it-all author to his knee’s, director John Hindman’s first film is surprisingly charming and incredibly well-written. As if we should have expected any less…
By Neil Miller
Every year the Sundance film festival delivers at least one film that I absolutely loathe. Last year it was Downloading Nancy. This year it is The Informers, a self-indulgent, lifeless glamrock drugfest from the mind of Bret Easton Ellis.
