Not everyone likes the terms “overrated” and “underrated,” and it’s easy to understand why. For some, the words aren’t so much about the films they are applied to as much as a commentary on people’s opinions, and that direct line of attack on the majority can seem a little arrogant. But on the flip side, it’s hard to find two better words that describe what it’s like to disagree with the consensus.

And here at Way Too Indie, we have a wide, diverse group of writers. Want proof? Just look at our list of the Best Films of 2014, where we have a feel-good foodie comedy, a 3+ hour Turkish drama and an animated kids’ movie all on the same list. But there are plenty of times where we don’t all agree on the same thing.

This year we decided to give all of our writers an opportunity to vent out their frustrations at some of the films that either got too much love or not enough. We assigned all of our writers with a task: pick one film you find overrated, one you find underrated, and explain your picks. Read on to see the results, and don’t forget that these picks reflect each writer’s individual thoughts, not the site as a whole. Or, to put it a different way: make sure your hate mail goes to the right person.

Way Too Indie’s Most Overrated and Underrated Films of 2014

Dustin Jansick

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Whiplash is Overrated

Damien Chazelle’s Whiplash received overwhelming praise during its festival run and now sits at a whopping 96% Fresh rating on Rotten Tomatoes, creating the perfect storm for overestimation. Especially considering the film is a glorified sports movie that substitutes drum sticks for sporting equipment. And like most sports movies, Whiplash is wholly predictable and light in the story department. Here an aspiring drummer (Miles Teller) wants to join an elite jazz ensemble so badly that he’ll letting nothing—and I mean nothing—stand in his way. He briefly courts a pretty girl only to dump her just as quick, trying to show how little he cares about anything else. Then there’s the ludicrous car wreck scene where he crawls out of the vehicle covered in blood, yet he’s only concerned with getting to the performance on time (and somehow he manages to play!) The saving grace of the film is the fully committed J.K. Simmons as a perfection-demanding band instructor that most drill sergeants would be afraid of. When someone isn’t playing at his precise speed, he stops the show, humiliates the person in front of everyone, and insists the tempo changes. When played faster, it’s too fast. Slower, and it’s too slow. This gets repeated over and over until the point is made frustratingly clear. While it’s true Whiplash is exhilarating at times, as a whole it’s a slightly above average film about pushing people past their limits.

Like Father, Like Son is Underrated

Unlike the film mentioned above, Like Father, Like Son turns an outlandish situation into an unexpectedly profound narrative. Two Japanese families learn their children were switched at birth after six years of raising them as their own. Writer and director Kore-Eda Hirokazu explores the complex debate between nature and nurture without a predetermined right answer, making a case for both sides. Does six years of parenting outweigh genetics? You be the judge. Kore-eda adds to this philosophical dilemma by introducing contrasting social class between the two families: one family has a ton of wealth but lacks affection while the other family lacks financial prosperity yet provides undivided attention to their children. Like Father, Like Son displays expert craftsmanship, delightful performances (especially the adorable six-year-old), and an emotionally stirring narrative. Like all great films, Like Father, Like Son encourages discussion and inspires you to think. For reasons I don’t understand, the buzz generated during its Cannes premiere (has it really been two years?!) quickly faded. It’s a shame because this film deserves more attention.

C.J. Prince

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Boyhood is Overrated

I didn’t particularly care for Boyhood, which left me feeling pretty cold emotionally when I saw it earlier this year. I couldn’t explain my issues with it more succinctly than Fandor’s Kevin B. Lee, who said Boyhood “feels too much like an all-purpose anthem for the coming-of-age experience” and “lacks the intimacy and specificity” of Richard Linklater’s best work. The film never delves too much into its characters’ lives, sketching out details just enough to ensure as many people can relate to it without getting too precise, perhaps out of fear of alienating viewers.

In a way, I can’t blame Linklater for doing it this way; the shooting method probably made it difficult to get too detailed or specific (it could also explain why Linklater largely eschews narrative). But by doing this, Linklater sacrifices the emotional impact of the story for me, and that broadness leads to something bland. Yes, everyone has something they can relate to in Boyhood, and that’s the problem. It’s perfectly content with doing very little, acting as a blank canvas for viewers to project all they want on to it. And a blank canvas can be pretty boring to look at.

Oculus is Underrated

While everyone and their mother believes The Babadook is the best horror film of 2014 (I came very close to making it my overrated pick), I’m going with Mike Flanagan’s Oculus. It’s a horror film with an unconventional villain: a haunted mirror with the ability to mess with people’s heads, making them see things that aren’t really there. The more time one spends around the mirror, the harder it gets to discern between reality and illusion. And what Flanagan does so brilliantly is make his own film feel like it’s under the influence of the mirror, slowly throwing viewers into a headspace where it’s impossible to understand whether or not what’s on screen is actually happening.

It starts when the mirror shows its malevolence to the film’s two protagonists. The editing starts violating expectations, heightening the awareness of elliptical cuts (in other words, you can no longer fill in the blanks between each shot). And then the film’s flashback structure collapses in on itself, suddenly merging past and present into one. By its climax, Oculus reaches a disorienting fever pitch that’s a marvel to behold. Most horror movies have a hard time creating actual characters; Oculus gets inside its characters’ heads with an effectiveness rarely seen in today’s horror films.

Blake Ginithan

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Guardians of the Galaxy is Overrated

Comic book movies are a dime a dozen now a days, thus one only really needs to be good to stand out. Marvel seemingly has a stranglehold on the market at the moment and is releasing anything it can to make money. Guardians of the Galaxy is neither enjoyably good nor enjoyably bad. It’s pure middle of the road boredom. I’d rather watch a gloriously bad movie that shoots for the stars than a film that plays everything by the numbers. Guardians of the Galaxy is a very bland comic book movie that isn’t interesting for a second. It contains not a single exciting character and not a single enjoyable scene. The action scenes fall pretty flat and the choice to use soul and funky pop songs as the soundtrack is a pretty dire, annoyingly distracting decision. Guardians of the Galaxy isn’t bad by any means; Chris Pratt proves that he will be a movie star in no time and director James Gunn shows he can handle a big budget. But Guardians of the Galaxy only shoots for middle ground and never once wants to rise above the crème to become something better.

Edge of Tomorrow is Underrated

I’m convinced the Tom Cruise we see outside of the movies (the one who jumps on couches) has ruined the Tom Cruise we see on the silver screen. It’s unfortunate, because Tom Cruise shows with Edge of Tomorrow that he is far and away the best movie star of all time. Here Cruise turns in one of his best performances not just of the last few years, but possibly of his entire career. It’s easy to dismiss Edge of Tomorrow as a sci-fi knock off of Groundhog Day but it’s so much more than that. The way we see Cruise’s character go from a complete pussy to an ass-kicking soldier throughout the course of this movie is sensational. And who better as his sidekick than Emily Blunt, who proves she can destroy aliens as aptly and easily as Ripley could? We can talk about the weak ending all we want, fine, but to deny everything you see before it is a sin. Edge of Tomorrow is one of the best Hollywood big budget films to be released in some time. It’s fun, grandiose, energetic, loopy, amusing, kinetic, emotional, and pulsating. Edge of Tomorrow was wrongly missed out on during its initial theatrical run.

Ananda Dillon

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It Felt Like Love is Overrated

The great part about the Internet is I don’t need to worry about all of you out there shaking your heads at my opinion on It Felt Like Love. I hear what many of you have said about the film (including quite a few WTI staff; read our review): about how it portrays the difficulties of growing up in this modern age of sexual inundation on youth; about how honest Eliza Hittman’s depiction of crossing the line from girl to woman is conveyed; about its realistic and observational style of filmmaking. I’m sorry, but no. I was a teenage girl and nothing Lila (Gina Piersanti) experiences in this film resonates with any memories I have. I get that she’s a motherless, confused young lady motivated by envy and peer pressure, but her every decision in this film is so awkward it’s painful. Not even as a teenager did I know anyone so utterly unable to pick up on social cues. First she throws herself at a boy who, even as a known player, quite obviously wants nothing to do with her. Then it ends with her throwing herself into the way of molestation. It’s not an honest coming-of-age; it’s a scary look into worst-case-scenario for an oblivious girl being taken advantage of. Adding to the uncomfortable viewing experience is a lack of plot and excruciatingly slow pacing. It seems to me it’s easy to confuse amateur, awkward filmmaking for deliberate depth, and I found this film too uncomfortable to enjoy.

The Signal is Underrated

So it only received middling reviews after its Sundance premier and then limited release this year, and even I decried its more flagrant failings in my review, but despite what you’ve heard I’m here to say The Signal is still worth watching. In part it’s worth a watch only so that later when director William Eubank is off making huge sci-fi films that have us all (finally) buzzing, we’ll be able to say “I’ve appreciated his work since The Signal.” So there are bragging rights involved. But additionally The Signal also proves that a perfect film is near impossible to find, and what Eubank gets right far outweighs what he gets wrong. In fact, it’s less that he gets much wrong; he’s just missing a few key elements… like enough plot points. But let’s be honest; if any genre is guilty of putting form over function, it’s sci-fi. So even though the film decides not to answer all our questions, ultimately what we’re left with is the memory of the film’s stunning visuals. Eubanks got his start as a cinematographer, and The Signal showcases some imagery that would leave Michael Bay drooling. The film manages to be stylistic and artistic while also bombastic and blockbuster-looking, which is no easy feat. And despite plot discrepancies, there is no denying the steady tension he incites with this mystery. The reveals are truly shocking, and so, in some ways, you could argue The Signal is TOO good. It sets itself up so well in the first two-thirds that almost no ending could really satisfy. At least that’s my generous conclusion. But trust me on this, The Signal may be a head-scratcher, but it’s not a waste of time.

Bernard Boo

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The LEGO Movie is Overrated

I must preface this by saying that The LEGO Movie was one of my favorite films of the year, which I understand may come off as a bit, well, confusing, as I’ve chosen to also label it as one of the year’s most overrated films. Phil Lord and Christopher Miller’s brand of witty, subversive humor speaks to millennials so directly that I understand (and share) all the adoration. But what bothers me about the enthusiasm behind The LEGO Movie is that it seems to come from a place that’s unreasonably dismissive of kids movies. Almost every time I read praise for The LEGO Movie, there’s some line that essentially says it’s “got heart, unlike other dumb kids movies”, which I can’t help but read as ignorant snark. All-ages movies are NOT intrinsically inferior. For every bad kids movie, there’s an equally horrendous rom-com, horror movie, or indie drama (just go to your local indie film festival for proof). Yes, The LEGO Movie is excellent, but excellent kids movies aren’t all that rare. Wreck-it Ralph, whose similarities to The LEGO Movie are innumerable, is just as good, just not edgy enough for cynical bloggers. Consider other kids movies from this year: Big Hero 6 wasn’t “dumbed-down”; The Boxtrolls was incredibly sincere and well-written; How to Train Your Dragon 2 is one of the best movie sequels of the past 5 years. The LEGO Movie was the best of the bunch, but geez…let’s all calm the eff down.

The Better Angels is Underrated

Most of the criticism levied against A.J. Edwards’ The Better Angels, a hypnotic period piece about a young Abraham Lincoln (played by Braydon Denney and referred to in the script as simply, “Abe”), is that it derides too blatantly and too much from the work of its producer, Terrence Malick. There’s fairness to that point, but the comparison seems to cloud the fact that, informing all of the low-angled, heavenly nature shots, there’s a beautiful story of spirituality and family that’s quite good. More importantly, these themes make the Malick-ian imagery entirely appropriate for the story Edwards is trying to tell. Terrific performances from Denney, Diane Kruger, Brit Marling, Jason Clarke, and Wes Bentley give the black and white visuals further richness. No, Edwards doesn’t do Malick better than Malick does Malick, but Malick’s given him the Malick stamp of approval, so if you love Malick like I love Malick (who doesn’t love Malick?), give this arthouse origin story a second (or first) try.

Aaron Pinkston

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Jodorowsky’s Dune is Overrated

Every year is basically a great year for documentary film and 2014 is no exception. The pitch-perfect, clear-eyed portrait of Roger Ebert in Life Itself; the cloudy and pained portrait of a pastor in The Overnighters; the experimental vibrancy of Manakamana; the political nuance of Citizenfour—these (and many other) docs gave us integral and beautiful stories from around the world. Jodorowsky’s Dune is a fine film in itself, but it comes nowhere near the best docs of the year, though it seems many would hold it there. It knocks on two of my biggest cinematic pet peeves—one is basically unavoidable given the film’s story, while the other is completely inexcusable. First, I am always wary about using interviews as a shortcut to verify art, and this film goes there a lot, with talking head after talking head exclaiming how amazing Jodorowsky’s Dune would have been without letting the art speak for itself. Alejandro Jodorowsky is a very compelling figure and his films are among the most bizarre and wonderful ever made. And for some reason Frank Pavich makes a documentary chronicling the tale of the filmmaker’s flawed attempt at bringing the un-filmable novel Dune to the cinema with all the slickness and mainstream vibe that Jodorowsky despises. Sure, watching Jodorowsky ramble on about his worldview is something to see, and the “bringing the team together” section of the film is indeed entertaining, but overall, Jodorowsky’s Dune feels like a lot of wasted potential, much like its source story. Maybe that is what they were going for…

Noah is Underrated

Darren Aronofsky made his biggest movie in 2014, an oft-told tale which manages to feel very personal. Noah has its supporters (who might even outnumber its detractors), but I can’t help but get the feeling that it has already been forgotten. It has basically zero awards buzz, despite Aronofsky’s momentum after his most successful film Black Swan. I can only hope that it bounces back through a strong, loving minority that have championed Aronofsky’s The Fountain, but it probably is slightly too mainstream-feeling for that sort of audience to even give it a chance. Noah, though, is an almost perfect blend of the Hollywood blockbuster and its creator’s vision—it remains a little weird (the stop-motion rock monsters and animated sequences and such) though is probably Aronofsky’s most approachable work. Biblical epics are very hard to bring to the screen without pandering to the religious folks who pay to see them, but Noah balances ideas of the Christian God with atheist philosophies extraordinarily well. I am not a religious person, so I greatly appreciate the filmmaker’s focus on the relevant themes of this story with a naturally questioning tone. For a non-believer, he tells this story with a lot of grace. I was left deeply pondering our impact and place on this world, which is the right effect Noah’s tale should have.

Edward Haynes

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Palo Alto is Overrated

Directed by Gia Coppola, this drifting, meandering, dull film has arguably drawn more praise than it deserves because of the legacy of the Coppola name. Adapted from James Franco’s series of short stories, Palo Alto attempts to weave the lives together of its leads into one coherent piece of storytelling, but ultimately fails. It’s also filled with unlikable characters, who are difficult to relate to and painfully irritating. This would not necessarily be an issue if Palo Alto offered any sort of meaningful insight into youth culture, but you don’t learn anything from this film that couldn’t have been picked up from MTV. One redeeming feature in the film is Emma Roberts’ performance as April, but this is ruined by weak dialogue and an uninspiring performance by James Franco acting alongside her. It’s shot beautifully; Gia’s style is reminiscent of Sofia Coppola’s. You can have all the great cinematography in the world, but it won’t save a film with a poor script.

Obvious Child is Underrated

Obvious Child is a film that takes a refreshingly personal and honest approach to abortion. This alone is reason enough for the film to be commended, but just as importantly, Obvious Child puts as much emphasis on being an entertaining, funny and enjoyable film as it does on conveying any political message. This has possibly led to the film receiving less attention come awards season than it might have gotten had it conveyed its pro-choice message more forcefully. Yet its subtlety and reluctance to judge others make it an evocative and poignant film. Obvious Child also deserves praise for creating easily some of the most likeable characters of the year in a romantic comedy. Jenny Slate is brilliant in this film, funny and intelligent, as is Jake Lacey in a role that refreshingly subverts the ‘man-child’ stereotype perpetrated by Judd Apatow films. The need for more sweet and heartfelt romantic comedies like this has never been more apparent considering the cynical phase the genre seems to be in at the moment.

Michael Nazarewycz

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Wild is Overrated

Inspired by actual events, Wild tells the story of Cheryl Strayed, a woman with a troubled past who, in an effort to find herself, embarks on a 1,000-mile hike on the Pacific Crest Trail. It’s important to note that anyone who pulls themselves out of the darkness of addiction is worthy of praise, but as backstories go, Strayed’s is not all that remarkable. There’s no lack of people who’ve partaken in self-destructive behavior after a personal tragedy, and director Jean-Marc Vallée does nothing to indicate why Strayed’s story is more deserving to be told than anyone else’s … other than that 1,000-mile hike, of course. As for that hike, Vallée may highlight Strayed’s physical challenges–water shortages, backpack weight, bad shoes, etc.–but it is only ever an exercise in list-making. The hike is presented less as a journey and more as a highlight reel of Strayed’s most memorable moments on the trail. With both past and present unremarkable, tying them together is almost impossible, and the result is a random collection of flashbacks shown during oft-unrelated moments along the linear hiking trail. Witherspoon may shine, but her commitment to character is only a distraction.

John Wick is Underrated

To say John Wick is “underrated” is to make something of a relative statement. The film has certainly received praise, but that praise has felt somewhat faint. “John Wick is a great movie … for what it is.” But “for what it is” should be a compliment, not a caveat. In a cinematic action landscape that is overcrowded with men in tights, John Wick, starring the sharply dressed and perfectly stoic Keanu Reeves, is part homage to the action films of the ’80s and part ballet of violence, with every scene meticulously choreographed, blocked, shot, and edited. The excellence of the technical execution is what makes the film work, and all credit belongs to Chad Stahelski and David Leitch. Between them, the first-time co-directors have over 150 stunt-related film credits. This experience gives them the understanding necessary to turn John Wick from just another shoot-em-up to something stylish in design, exhausting in execution, and incredibly satisfying in total. Awards season always brings a lament that comedies don’t get their due. Maybe it’s time to include action films to that list.

Nik Grozdanovic

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We Are The Best! is Overrated

Being derisive about Lukas Moodysson’s raucously titled We Are The Best! — currently standing at 97% on Rotten Tomatoes – might peg me as a self-loathing killjoy, but let me make something clear: I don’t hate it. The moments we spend with Bobo and Klara are filled with insatiable sweetness, which obviously touched a nerve (you’d have to be literally made of stone if you walked away feeling spiteful). But it’s nowhere near as good as critics make it out to be.

By placing it entirely in a 13-year-old world, the film is akin to spending an afternoon with 2 obnoxious pre-teenage girls who are screaming terrible lyrics in your ear and desperately seeking your attention. And it’s funny, because Bobo and Klara hate attention, but Moodysson’s complete imbalance of tone and stubborn insistence to keep the film’s rhythm strumming the same note for the full hour and 40 minutes is so desperate for it, the movie becomes an utterly disjointed experience. It’s as if the girls are directing him, which is fun for the first twenty or so minutes, but then it becomes a movie that feels like it’s directed by a 13-year-old. Yeah, I get it, THESE KIDS ARE SO CUTE, but that’s not enough to keep me interested in their impulsiveness and immaturity, regardless of how much your nauseating cinéma vérité in-your-face camera wants me to. Barkhammar, Grosin, and Liv LeMoyne are the best thing in it so Moodysson clearly knows how to create a freeing atmosphere on set. Too bad his direction smothers this freedom and, by unsubtly using a music genre only most adults can relate to, creates a manipulative and glaringly twee film, which is the complete opposite of punk, creating even more discord. But, yeah, they’re so adorable!

The Rover is Underrated

Premiering at Cannes, the follow-up to David Michôd’s critically acclaimed Animal Kingdom with Guy Pearce and a post-Twilight Robert Pattinson in central roles had most everyone smacking their lips in anticipation. However, the film’s anti-narrative approach to a story set in a post-apocalyptic Australian desert world, and the opaque development of Eric (Pearce) and Rey (Pattinson), left critics feeling, well, very critical. It currently stands at 65% on Rotten Tomatoes, but I’m convinced The Rover is headed toward years of re-evaluation with a more sober hindsight on its quiet, gripping, and poetic powers.

Let’s get the obvious out of the way; Pearce and Pattinson (yes, Pattinson) are both exceedingly intense, determined, and unwaveringly subtle in embodying their characters. The kind of performances commanded by quick looks and haunting stillness; they both add layers without speaking a word. Michôd’s bold approach (he must have realized he’d alienate so many people) to have almost no exposition and just let this one simple story (which he developed with Joel Edgerton) of a man wanting his car back in a financially fossilized and Godforsaken world speak for itself. It’s a sign of respect towards the fundamental rule of this craft; showing without telling, so being shot on 35mm film becomes even more symbolic. Natasha Braier’s cinematography also stands out thanks to the format, however, and the film’s colorful supporting characters all weigh in with their own individual ways. Not a perfect film by any stretch, but absolutely more worthy of praise than scorn.

In anticipation of Jodorowsky’s Dune being released on Blu-ray and digital on July 8th, we spoke with director Frank Pavich about his gripping documentary, which explores the eponymous French-Cilean director’s doomed attempt to bring his adaptation of Frank Herbert’s classic 1965 sci-fi novel to the big screen.

In our chat, Pavich speaks about Jodorowsky’s natural magnetism, the bonus material we can expect to find on the Blu-ray, the incredible animated storyboard sequences in the film, an alternate universe in which Jodorowsky’s Dune made it to theaters, and much more.

Own Jodorowsky’s Dune on Blu-ray and digital on July 8th.

Although Dune never got made, I’m glad it led to this film being made, because Jodorowsky is such a fantastic documentary subject! I could listen to him talk for days.

Frank: He’s one of a kind, for sure. We’re so lucky to have him as the main subject of our film because he’s a natural performer. He’s a trained mime! He studied under Marcel Marceau. Jodorowsky apparently wrote the very famous mime routine of a mime trapped in a clear box trapped in another clear box. He’s this natural storyteller, has great hand movements, and he’s like a cartoon character come to life.

When you hear Jodorowsky say things like, “Dune will be the coming of a God,” what was your reaction? Were you fascinated? A little spooked?

Frank: It was more than we ever could have wished for. The whole, “Dune will be the coming of a God,” was actually the very first thing we recorded him saying. When we first sat him down to record, he said, “I want to give you a prologue!” He went into this five minute spiel. “First I made El Topo, then I made Holy Mountain, and then I wanted to make Dune, and I wanted it to be an LSD trip without dropping acid!” We couldn’t believe we were actually getting it on tape! Me and my crew packed up our gear, walked to the sidewalk, looked at each other and said, “Oh my god! Can you believe how amazing this film is going to be!” We had no idea how magnetic he was going to be, so we were overjoyed.

I shudder to think of the process of cutting out of the movie a lot of the things he had to say, because I’m sure it was all mind-blowing.

Frank: Thanks to the modern invention of DVD and Blu-ray, you get to include those gems that couldn’t fit into the narrative structure of the film. Thank god we have all this fun bonus material we actually get to share with people. Once you watch the movie, how could you not be in love with him? You want to watch another hour and a half of him. Another three hours. Another ten hours! Who wouldn’t want to see that? We wanted to give a little more footage of this incredible person and the amazing, sometimes controversial things that come out of his mouth.

Talk a bit more about what’s on the disc for people who are going to pick it up.

Frank: Some of it is essentially deleted scenes, like an animated sequence or two that we trimmed out. Most of it is stuff we cut together from the raw footage specifically for the DVD and Blu-ray release. There’s Jodorowsky espousing his thoughts on religion or his thoughts on the Hollywood machine or filmmaking in general. We just sort of let him talk. Our interviews were conversations between me and him. Sometimes you hear my voice in there, but it’s really just him giving his philosophical ideas on so many different aspects on life and art.

I love the animated sequences in the film.

Frank: I knew right when I had the idea to make this movie that the artwork was the key piece of the film. That’s what makes it an interesting story. He and his team of “spiritual warriors” spent two years in Paris making all these designs, storyboarding the film, doing costume designs…all this stuff. We knew once we saw the storyboards that they had to be brought to life in animation. The audience needs to see his vision moving, giving them an idea of what the film might look like. I asked an artist friend of mine for a recommendation for an animator. He said, “There’s one person: Syd Garon. He’s the only one you need to speak to.” Once I saw Syd’s work, it was like he was one of my spiritual warriors! I knew he was the right guy for the job.

I really like Syd’s technique, because he can do so many things. He understood that we needed to have a light touch to the animation. What we tried to do was bring Alejandro’s vision to life. We didn’t want to re-do the artwork and make it all CGI. Only Jodorowsky really knows what it would have looked like. The movie exists in his imagination. The power of it is it exists in my imagination, in your imagination, and in all the viewers’ imaginations. We took the very simple, pencil-on-paper drawings and breathed just enough life into them to animate them and kind of lift them off the page. We keep the simplicity in there so you get an idea of what the sequences would look like, and hopefully your imagination is sort of filling in those blanks.

We found this amazing audio interview with Dan O’Bannon, but we had no footage to go with it! We didn’t want to pan over black and white photos, so we thought, let’s just animate it. We gave Syd an idea of what the sequence should be, and he just went to town. One of the crowd-pleasing moments in the film is Dan talking about meeting Jodorowsky for the first time and getting some magical, spiritual marijuana from him and going on this otherworldly trip. It’s hilarious.

Can you imagine an alternate universe in which Dune was completed? What do you think cinema would be like?

Frank: Let’s say that he got to make his film. He completed it, and it was however many hours it was going to be. People wen to go see it in 1976. There are two ways it could have gone: It could have been a huge success, thereby changing the timeline of movies forever, or it could have been a huge disaster, thereby also transforming the timeline of movies forever. If the first true space opera had been Jodorowsky’s Dune and not Star Wars and it had been a success, what would have happened? Would the major studios have looked at themselves and said, “We need to give more money to the next drugged out, trippy, spiritual movie made by a completely unique artist”? I think we’d be having more avant-garde, larger budgeted films. If his film had been a disaster, the biggest one ever, how would that have changed the world? Fox was already iffy on Star Wars, and science fiction was unproven as producing money-making films. Had Dune come out and been a failure, Fox might have pulled the plug on Star Wars. Where would we be without Star Wars? Would we have these big tentpole superhero movies? The different realities that could have existed are incredible.

In Jodorowsky’s Dune, a documentary about Alejandro Jodorowsky’s failed 1970’s adaptation of the acclaimed sci-fi novel by Frank Herbert, the Chilean-born director–essentially a talking head throughout the film–is more captivating in his musings than most actors are in sweeping, Oscar-bait dramas. It’s delightful to watch Jodorowsky, perpetually impassioned, chronicling the history of the impossibly ambitious production of his mind-altering magnum opus, which ultimately crumbled in his hands and never saw the light of day.

Jodorowsky’s dreams were as big as anybody’s. With Dune, he wanted sober audiences to feel the exact effects of LSD. He wanted to hurtle us through the cosmos in one long shot, blowing Orson Wells’ opening tracking shot in Touch of Evil out of the water. He wanted to open the minds of young people to new frontiers previously unreachable and spark an intellectual revolution. He wanted to fill the screen with gigantic sci-fi creatures that would be hard to film by today’s standards.

He equated his adaptation of Dune to “the coming of a god.”

Egotistical? Maybe. Crazy? Many thought as much. But his passion and self-belief is undeniably fascinating. Despite Herbert’s novel being considered unfilmable at the time, Jodorowsky (now 85 years of age) was never swayed in his desire to bring his vision to light. (In an endearing moment that speaks to Jodorowsky’s character, he admits with a giggle to not having read the book prior to embarking on his filmic quest.) But he needed a team of people just as kooky as him to get the project off the ground. “Spiritual warriors” he called them. French producer Michel Seydoux, a fan of Jodorowsky’s films, particularly the experimental The Holy Mountain, was his primary confidant and the man who got the ball rolling, financially.

Subsequently Jodorowsky wrote the script (in a castle in France, of course), employed the design talents of H.R. Giger comic book artist Jean Giraud (better known as “Mœbius”) to create the look of the film, got Pink Floyd to do the music (after scolding them for eating cheeseburgers at their meeting), and somehow managed to wrangle Salvador Dali, Mick Jagger, and Orson Wells himself for his cast. This was clearly destined to be the most delightfully nutty sci-fi movie of all time.

With the help of Mœbius, Jodorowsky created a beautiful book comprised of gaudy, elaborate costume designs, detailed storyboards, and gorgeous concept art, that essentially laid out his vision of the film in its entirety. These books, of which there are only a handful in existence, were shopped around to studios in lieu of a traditional movie pitch. Despite the impressive presentation of these coffee table film bibles, none of the studios bit, spelling Dune‘s doom.

Is the legend of “the greatest movie never made” a tragedy or triumph? Perhaps it’s both, but Jodorowsky’s Dune director Frank Pavich leans toward the latter. The documentary focuses on Jodorowsky’s brilliance and brio, with his interview segments stealing the show. He looks fondly on the time he spent developing his failed film with his spirit warrior partners. Only once does he shed his smile, letting out a bit of rage as he curses the stupidity of the studio execs who didn’t take a chance on Dune. The cheerful audacity of some of Jodorowsky’s philosophical statements are shocking, especially one in which he likens the creative process to rape.

Also interesting are the sections of Pavich’s film that concern the “what if?” factor. If Jodorowsky was able to pull Dune off, would Star Wars have failed to launch? Pavich animates some of Mœbius’ sketches to give us a taste of what the film would have looked like, a tease that will likely have geeks around the world salivating in their seats. Despite the weirdness and creative ambition of Jodorowsky’s project, Pavich’s storytelling is mostly conventional, laying everything out in a straight line, clean and clear as crystal, a style that doesn’t reflect the giant ambition of its subject matter, but makes sure that Jodorowsky’s strange ideologies and expansive ideas are digestible for wide audiences.

Jodorowsky’s Dune is a hopeful documentary, pointing to the fact that Jodorowsky’s unfilmed masterpiece will never be dead in the water, so long as his “how-to” book exists. Jodorowsky himself states in the film that he would be happy for another director to pick up where he left off and bring his creation to life, even if it happens after his passing. In the doc, Drive director Nicolas Winding Refn recalls an unforgettable night in which Jodorowsky (a close friend and mentor of his) personally walked him through his famous Dune book page by page, making him one of the only people in the world to have ever “seen”, in a way, Jodorowsky’s masterpiece. Refn seems like a worthy candidate to me…

Jodorowsky’s Dune trailer

Easily my favorite program of the Toronto International Film Festival each year is the Vanguard program. This TIFF program aims to be “provocative cinema that defies convention”, which features films that have an unique look and feel to them. Essentially, Vanguard shares similar aspirations as the Un Certain Regard section at Cannes. Having said that, Alex van Warmerdam’s odd-ball film Borgman actually played In Competition at Cannes (we enjoyed the film), but should make a great fit in Vanguard for TIFF. Some other noteworthy titles in the Vanguard lineup this year are Ti West’s The Sacrament and the French duo who made Amer (Hélène Cattet and Bruno Forzani) are back with The Strange Color of Your Body’s Tears.

2013 has already been a pretty solid year for documentaries (Valentine Road, Stories We Tell, The Act of Killing), but TIFF Docs should contain even more great titles from around the world. This year the program includes; the latest from Errol Morris entitled The Unknown Known, a few titles from Cannes (Jodorowsky’s Dune, The Last of the Unjust, and The Story of Children and Film), and well as Frederick Wiseman’s At Berkeley.

Check out the fill lineup for the Vanguard and TIFF Docs programs below.

Vanguard lineup

Blue Ruin [Jeremy Saulnier] USA – North American Premiere
A classic American revenge story, Blue Ruin follows a mysterious outsider whose quiet life is turned upside down when he returns to his childhood home to carry out an act of vengeance. Finding himself in a brutal fight to protect his estranged family, he proves to be an amateur assassin. Starring Macon Blair.

Borgman [Alex van Warmerdam] The Netherlands/Belgium/Denmark – North American Premiere
Borgman is the central character in Alex van Warmerdam’s dark, malevolent fable. Is he a dream or a demon, a twisted allegory or an all-too-real embodiment of our fears? Borgman is a sinister arrival in the sealed-off streets of modern suburbia. His presence unleashes a crowing gallery of distortion around the careful façade constructed by an arrogant, comfortable couple, their three children and nanny. Starring Jan Bijoet, Jeroen Perceval and Hadewych Minis.

Celestial Wives of the Meadow MariAlexey Fedorchenko, Russia Canadian Premiere
Comprised of 23 vignettes illuminating the pagan-influenced mores of western Russia’s Meadow Mari, the latest film from director Alexey Fedorchenko (Silent Souls) is a beguiling, painterly portrait of a culture driven by a ritualistic appreciation of female beauty and feminine sexuality.

The Fake [Yeon Sang-ho] Korea – World Premiere
A rural village is determined to be submerged and its residents are compensated for relocation. A swindler named Choi deceives the poor villagers with false religion to make them give up their compensations as church offerings. Min-chul, an infamous local good-for-nothing waster, discovers the truth, but he is unable to convince anyone; especially against Reverend Sung, who is revered by the people, but who in fact is someone Choi scouted to serve his purpose. When Min-chul’s own faithful daughter is forced into prostitution by these fakes, he sets out to get even.

Horns [Alexandre Aja] USA – World Premiere
Horns, a supernatural thriller driven by dark comedy, mystery and romance follows Ignatius Perrish as he awakens after a hard night of drinking to find he has grown a pair of horns. In addition to his devilish appearance, the horns cause people to fall into a trance and voice their most unspeakable thoughts, an effective tool in Ig’s quest to discover the truth of his girlfriend’s murder. Starring Juno Temple and Daniel Radcliffe.

People In Places(Gente En Sitios) [Juan Cavestany] Spain – World Premiere
This kaleidoscopic film weaves together approximately 20 fragmented scenarios that offer a view of contemporary Spain, drawing conclusions about the persistence of the human condition, strangeness, and the chaos within relationships. Starring Raul Arevalo, Eduard Fernandez and Santiago Segura.

Proxy [Zack Parker] USA – World Premiere
While walking home from her latest OB appointment, a very pregnant Esther Woodhouse is brutally attacked and disfigured by a hooded assailant. This horrible event seems to be a blessing in disguise when Esther finds consolation in a support group. Her life of sadness and solitude is opened up to friendship, understanding, and even acceptance. However, friendship and understanding can be very dangerous things when accepted by the wrong people.

The Sacrament [Ti West] USA – North American Premiere
From acclaimed writer/director Ti West (The House of the Devil, The Innkeepers) and horror master Eli Roth (Hostel, Cabin Fever, The Last Exorcism), The Sacrament follows two Vice media correspondents as they set out to document their friend’s search to find his missing sister. They travel outside of the United States to an undisclosed location where they are welcomed into the world of “Eden Parish,” a self-sustained rural utopia comprised of nearly 200 members. At the centre of this small, religious, socialist community is a mysterious leader known only as “Father.” As their friend reunites with his sister, it becomes apparent to the newcomers that this paradise may not be as it seems. What started as just another documentary shoot soon becomes a race to escape with their lives. Starring Joe Swanberg, AJ Bowen, Kentucker Audley, Amy Seimetz and Gene Jones.

Sapi [Brillante Mendoza] Philippines – World Premiere
With the rival station Philippine Broadcasting Channel (PBC) eating up the TV audiences’ major share, Sarimanok Broadcasting Network (SBN) needs a miracle to stay alive in the competition. In these mad and fearful times, SBN’s news team finds that documenting an actual spiritual possession would be their only hope.

Sex, Drugs & Taxation (Spies & Glistrup) [Christoffer Boe] Denmark – International Premiere
Sex, Drugs & Taxation is based on the true story about the spectacular friendship between two of the most notorious and provocative men in 1960s Denmark: the eccentric lawyer-turned-politician, Mogens Glistrup, and the ‘travel king’, millionaire, womanizer and public provocateur, Simon Spies. Starring Pilou Asbæk, Nicolas Bro and Jesper Christensen.

Soul [Chung Mong-Hong] Taiwan – International Premiere
A-Chuan, a quiet 30-year-old man working as a chef in a Japanese restaurant, collapses suddenly and is rushed to a hospital. His colleagues send him to his father, who resides in the mountains. While there, A-Chuan becomes immobile: he won’t speak, eat or even go to the toilet on his own. One day his father returns from work only to find A-Chuan sitting in the corner with his daughter lying dead in a pool of blood. In an unfamiliar, eerily calm voice, A-Chuan says, “I saw this body was empty, so I moved in.”

The Strange Color of Your Body’s Tears [Hélène Cattet and Bruno Forzani] Belgium/France/Luxembourg – North American Premiere
A woman vanishes. Her husband inquires into the strange circumstances of her disappearance. Did she leave him? Is she dead? As he continues his search, he plunges into a world of nightmare and violence… Starring Klaus Tange, Jean-Michel Vovk, Sylvia Camarda, Sam Louwyck and Anna D’Annunzio.

Thou Gild’st the Even [Onur Ünlü] Turkey – North American Premiere
Man is created of anxiety. —Euripides
In a small Anatolian town, life goes on: Cemal is an assistant referee in football matches; Yasemin works on a farm; and Defne is a street vendor who sells books. In this town with two suns and three full moons in the sky, Cemal — who has the ability to see through the walls — has no expectations out of life, and looks for a way out with Yasemin — who can move objects with her fingers. However, Defne, who can freeze time, will muddle things up, and Yasemin’s immoral boss’ actions will contradict the invisible elementary school teacher’s advice, who is trying to eliminate the worries of Cemal. Thou Gild’st the Even is a black and white film about the ordinary sorrows, worries and troubles of townspeople with extraordinary abilities.

We Gotta Get Out of This Place [Simon Hawkins and Zeke Hawkins] USA – World Premiere
With only three weeks left until his two best friends leave for college, Billy Joe robs his cotton farmer boss, Giff, in order to pay for one last blow-out weekend in Corpus Christi, Texas. Arriving home from the weekend, the teens find the consequences of Billy Joe’s actions brutal. Now Billy Joe, Bobby, and Sue will be taken on a ride that will test love, heartbreak, trust, and crossing that permanent line from adolescence into adulthood.

TIFF Docs lineup

A Story of Children and Film [Mark Cousins] United Kingdom – North American Premiere
A Story of Children and Filmis the world’s first movie about kids in global cinema. A passionate, poetic portrait of the adventures of childhood — its surrealism, loneliness, fun, destructiveness and vitality — as seen through 53 great films from 25 countries, director Mark Cousins’ landmark film is an eye opener and a celebration of both childhood and the movies.

Ain’t Misbehavin’ [Marcel Ophüls] France – North American Premiere
The director of The Sorrow and the Pityshares his memories with us, stories both incredibly rich and fascinating, making Ain’t Misbehavin’a cheerful and bittersweet trip through cinema history. Son of the great director Max Ophüls, Marcel can be a generous man and an admirer. Marcel talks with and about personalities like Jeanne Moreau, Bertolt Brecht, Ernst Lubitsch, Otto Preminger, Woody Allen, Stanley Kubrick and, of course, his friend François Truffaut.

At Berkeley [Frederick Wiseman] USA – North American Premiere
At Berkeleyis a documentary film about the University of California at Berkeley. The film explores the major aspects of university life of America’s premier public university with particular emphasis on the administrative efforts to maintain the academic excellence, public role, and the economic, racial and social diversity of the student body in the face of severe budgetary cuts imposed by the California legislature.

Beyond the Edge [Leanne Pooley] New Zealand – World Premiere
It was an event that stunned the world and defined an era. Sir Edmund Hillary’s incredible achievement remains one of the greatest adventure stories of all time: the epic journey of a man from modest beginnings who overcame adversity to reach the highest point on Earth. Screening in 3D.

Burt’s Buzz [Jody Shapiro] Canada – World Premiere
Burt’s Buzzis an in-depth and personal look at the life of Burt Shavitz, known to millions around the world as the ‘Burt’ of the Burt’s Bees natural product brand. The documentary explores what it means to be marketed as an icon, and how that life differs from the one of the man behind the logo.

The Dark Matter of Love [Sarah McCarthy] UK – North American Premiere
The Dark Matter of Lovefollows three Russian children learning to love their adoptive American family through a scientific programme. From the director of The Sound Of Mumbai: A Musical.

The Dog [Allison Berg and Frank Keraudren] USA – World Premiere
In 1972, John Wojtowicz attempted to rob a Brooklyn bank to pay for his lover’s sex-change operation. The story was the basis for the film Dog Day Afternoon. The Dogcaptures John, who shares his story for the first time in his own unique, offensive, hilarious and heartbreaking way.

Faith Connections [Pan Nalin] France/India – World Premiere
Filmmaker Pan Nalin travels to Kumbh Mela, one of the world’s most extraordinary religious events. There, he encounters remarkable men of mind and meditation, some facing an inextricable dilemma; to embrace the world or to renounce it. Faith Connectionsexplores such diverse and deeply moving stories as a young runaway kid, a Sadhu, a mother desperately looking for her lost son, a yogi who is raising an abandoned baby, and an ascetic who keeps his calm by smoking cannabis — all connected by one faith against the spectacular display of devotion.

Filthy Gorgeous: The Bob Guccione Story [Barry Avrich] Canada – World Premiere
Through his lens, Bob Guccione witnessed, influenced and played a starring role in easily one of the most controversial and socially and sexually revolutionary eras in modern history. Reclusive, yet outspoken, Guccione used his art, his fortune and his outspoken views on sexuality and politics to create scandal, change and debate. Unlike his publishing rivals, Hefner and Flynt, there is more to Guccione than meets the eye.

Finding Vivian Maier [John Maloof and Charlie Siskel] USA – World Premiere
A mysterious nanny, who secretly took over 100,000 photographs that were hidden in storage lockers and discovered decades later, is now considered among the 20th century’s greatest photographers. Maier’s strange and riveting life and art are revealed through never before seen photographs, films, and interviews with dozens who thought they knew her.

Hi-Ho Mistahey! [Alanis Obomsawin] Canada – World Premiere
Alanis Obomsawin tells the story of Shannen’s Dream, a national campaign to provide equitable access to education for First Nations children, in safe and suitable schools. She brings together the voices of those who have successfully brought the Dream all the way to the United Nations in Geneva.

Ignasi M. [Ventura Pons] Spain – World Premiere
Ignasi M., a world renowned museologist, is living a dramatic moment, but has the capacity to turn any situation into an edifying one and any discomfort into a hilarious series of facts.

Jodorowsky’s Dune [Frank Pavich] USA – North American Premiere
The story of legendary cult film director Alejandro Jodorowsky’s staggeringly ambitious but ultimately doomed film adaptation of the seminal science-fiction novel Dune .

The Last of the Unjust [Claude Lanzmann] France/Austria – North American Premiere
Through an interview with Benjamin Murmelstein, from Nisko in Poland to Theresienstadt, and from Vienna to Rome, Claude Lanzmann provides an unprecedented insight into the genesis of the Final Solution. It reveals the true face of Eichmann, and exposes without artifice the savage contradictions of the Jewish Councils.

The Mayor [Emiliano Altuna Fistolera] Mexico – Canadian Premiere
Mauricio Fernandez is the polemical mayor of San Pedro Garza García, the wealthiest and safest municipality in Latin America. He presents himself as an active ruler who is capable of cleaning his municipality of drug cartels without questioning the methods he uses to achieve this. The Mayordescribes the wild times of a country that is marked by violence and the complete discredit of the ruling class.

Midway [Chris Jordan] USA – World Premiere
In the middle of the Pacific Ocean lies a tiny unincorporated territory belonging to the United States called Midway — the site of one of greatest naval battles of all time. Before the navy set up station, this island served for centuries as a breeding ground for hundreds of species of seabird — most notably the Albatross. Midway lies at the center of the Great Pacific Garbage Patch, where the seabirds’ feeding grounds are teeming with plastic waste. Unknowingly, the Albatross feed their chicks our refuse and so the very waters that once sustained them, now threaten their lives. Through stunning imagery and narration, the voice of the island tells their epic tale of survival. Both elegy and warning, the film explores the interconnectedness of species, with the Albatross on Midway as mirror of our humanity. This is their story and ours, an inspiring tale of how life and love endure despite incredible odds.

Mission Congo [David Turner and Lara Zizic] USA – World Premiere
Death, diamonds and greed — a story of a US businessman’s pursuit of an irresistible opportunity during one of the worst humanitarian crises of modern times.

The Square (Al Midan) [Jehane Noujaim] Egypt/USA – World Premiere
The story of revolution — behind the headlines. From the 2011 overthrow of a 30-year dictator, through military rule, and culminating with the overthrow of the Muslim Brotherhood president in the summer of 2013 — follow a group of Egyptian revolutionaries as they battle leaders and regimes, risking their lives to build a society of conscience.

Tim’s Vermeer [Teller] USA – World Premiere
Tim Jenison, a Texas-based inventor, attempts to solve one of the greatest mysteries in all art: How did 17th century Dutch Master Johannes Vermeer (Girl with a Pearl Earring ) manages to paint so photo-realistically 150 years before the invention of photography? The epic research project Jenison embarks on to test his theory is as extraordinary as what he discovers.

The Unknown Known [Errol Morris] USA – North American Premiere
Errol Morris offers a mesmerizing portrait of Donald Rumsfeld, one of the key architects of the Iraq War. Although Rumsfeld has held lofty positions of American political power for half a century, most people know little about him. When Rumsfeld wrote, as part of his most famous meditation, that an “unknown known” refers to “things you think you know that it turns out you do not,” he could have been speaking about himself. The Unknown Knownis not intended as yet another postmortem on the Iraq War, but rather an illumination of a mystery.

Unstable Elements [Madeleine Sackler] USA – World Premiere
Comprised of smuggled footage and uncensored interviews, Unstable Elementsintroduces viewers to artists struggling under Europe’s last dictatorship. When the KGB targets dissenters, the members of the Free Theater find themselves torn between their art and safety. This compelling documentary showcases the power of art to change the world.

When Jews Were Funny [Alan Zweig] Canada – World Premiere
When Jews Were Funnyis director Alan Zweig’s personal exploration into the roots and the manifestations of his Jewish identity, and particularly the question of how this Jewishness of his has persisted, though he’s done nothing to maintain it. He begins his exploration by trying to answer a question that’s intrigued him since childhood. Why were all the comedians he watched on TV in the fifties and sixties, Jewish? At first he doesn’t get the answers he was hoping for, but he trusts in the old saying, “two Jews, three opinions” and eventually some answers start to form.

The 2013 Cannes Film Festival is just around the corner so we thought we would bring you our most anticipated films that will be playing this year. Because a lot of the films at the festival will be making their world-wide premiere, most of the films do not have a trailer to go by just yet. Therefore, making our picks of the most anticipated films strikes an interesting challenge. There will be hidden gems at Cannes that will come out of nowhere, but here are the films we look forward to the most. Stick around Way Too Indie as we will be attending the festival this year and providing you coverage.

Most Anticipated Films At 2013 Cannes

The Bling Ring

Sofia Coopla’s latest offering, The Bling Ring, has gathered a lot of attention and rightfully so. Most of that attention has likely come from having the beloved Emma Watson “going wild” so to speak, playing a character who is not completely likeable. The Bling Ring is based upon actual events of a group of Hollywood obsessed teenagers who break into the homes of celebrities and steal their possessions. If it ends up being as wacky and ridiculous as it seems, The Bling Ring could be a wildly fun ride. [Dustin]

La grande bellezza (The Great Beauty)

Is it really a surprise that the director of WTI’s favourite film of 2012 is on this list? For those of us who loved This Must Be The Place, we can’t wait for what Paolo Sorrentino has in store next. Teaming up again with Toni Servillo, who was fantastic in Sorrentino’s previous film Il Divo, The Great Beauty is relatively light on plot details right now. What’s known is that Servillo plays Jep Gambardella, a 65 year old writer whose personal dramas make up the film. It seems like anything more specific than that will be saved for later, but there’s a trailer that might be helpful for those who speak Italian and/or French. Whether or not Sorrentino can deliver another great film remains to be seen, but either way we’ll surely be checking out The Great Beauty ASAP if we get the chance. [CJ]

Only God Forgives

I initially wanted to just type: “Refn. Gosling. Drive. Enough said.” for my reasoning to see this, but I am asked to give more. 2 years ago Nicolas Winding-Refn took Cannes (and many other film festivals worldwide) by storm with this violent, bright, pop filled, bubble gum popping, Los Angeles based crime thriller that featured Ryan Gosling as a nameless hero tasked with taking on a bunch of ruthless gangsters who happen to mess with the wrong stunt driver. Refn snagged the Best Director prize and Gosling went on to movie stardom. Now in Only God Forgives they’re back, together, with….you guessed it. A violent, but beautifully shot, crime film set in Bangkok. Gosling is asked by his mother (Kristin Scott Thomas, primed for an Oscar nomination) to kill the man who murdered his brother. This film looks to be BRUTAL. But Gosling and Refn are more than up to the challenge. This is shaping up to be one of the most popular films at the fest. Keep an eye out for this one. [Blake]

Fruitvale Station

Every year the Cannes Film Festival brings in one or two of the most talked about titles that played at the Sundance Film Festival back in January to make their international premiere debut. Fruitvale Station (formerly titled Fruitvale) impressed more than just the audience and the critics as the Weinstein Company snatched up the rights during the festival. Fruitvale Station takes place on the last day of Oscar Grant’s life, observing all the encounters he came across on his final day. First time filmmaker Ryan Coogler could be a name to remember if the initial responses of the film hold true. [Dustin]

Wara No Tate (Shield of Straw)

Takashi Miike has had quite the journey. He first established himself in the J-horror craze with shockers like Audition and Ichi The Killer, but over the years he’s shown how versatile and talented he truly is. From kid’s movies (Zebraman) to getting banned from TV (Imprint), Miike has covered plenty of genres while maintaining an output of at least two films a year (he released 3 movies last year, including a musical and a video game adaptation). The downside to Miike’s berserk work schedule is that his films may be hit or miss, but Wara No Tate sounds like a hit if done right. A billionaire offers a massive reward for the murder of his granddaughter’s (supposed) killer. The billionaire’s target immediately hands himself over to the police, and as they transport him across the country back to Tokyo a number of assassins try to claim the billionaire’s reward. Miike hasn’t made anything as good as 13 Assassins, one of his best films and a soon to be classic of the samurai genre, but this material sounds like a perfect fit for him. [CJ]

Jodorowsky’s Dune

Alejandro Jodorowsky is one of the most original, surreal, fantastical directors to ever grace a movie screen. Dune by Frank Herbert is considered one of the best (if not the best) Science Fiction novel ever written and many fans deem it un-filmable. David Lynch tried in the 80’s and was a critical and box office failure. Now comes this documentary on the Chilean director’s ambitious attempt to film the impossible. This will surely be a wild ride as the filmmakers have a plethora of material to work with. From the massive preparation the director and his team did to interviews with online film critics and Hollywood directors who love the director, this could be a nice surprise in the wealth of films being presented at the festival this year. [Blake]

Inside Llewyn Davis

The Coen Brothers are no strangers to the Cannes Film Festival. Inside Llewyn Davis will mark an impressive ninth visit to the film festival along the French Riviera for the brother duo. Not only does the trailer make the story of following a folk songwriter set in New York in the 1960s look interesting, it should naturally have a great soundtrack as well. CBS Films bought up the U.S. rights to Inside Llewyn Davis which may cast a small shadow of doubt considering their past track record of releases, however, this is a Coen Brothers film we are talking about. They are highly respected filmmakers that hold themselves to a certain standard, right? [Dustin]

Blind Detective

It seems that most of the films I want to see are playing outside of competition. Johnnie To, for those who don’t know, is one of the best genre directors working today. Using his production company Milkyway Image along with his usual collaborators (including his co-writer and sometimes co-director Wai Ka-Fai), To has created terrific films that range from romantic comedies to supernatural detective stories. After a detour with some romantic comedies and Life Without Principle, a drama centered around the recent worldwide financial crisis, To is back in action mode. Blind Detective follows, naturally, a former detective who left the force after losing his sight while on duty. Now spending his time helping cops solve cold cases, a young up and coming detective asks him to help her find her missing childhood friend. The plot may sound contrived, but Johnnie To is one of the best when it comes to making these stories feel fresh and exciting. Hopefully Blind Detective will be able to sit alongside Mad Detective, the Election films and Exiled among To’s best work. [CJ]

Nebraska

Alexander Payne is probably one of my favorite contemporary filmmakers. Sideways was an instant classic (not to mention one of my favorite films period) and The Descendants two years ago was a great family drama in the same vein. Not to mention films like About Schmidt and Election in his repertoire as well. His newest film concerns an aging, near alcoholic man who teams up with his long estranged son to embark on a trip from Montana to Nebraska to claim a lottery ticket that is worth millions. Sounds minimal from the outset, but like all Payne efforts, this will probably have multiple layers to it. [Blake]