It’s no wonder Adam Wingard’s indie horror flick You’re Next is so damn good—with fellow indie powerhouse filmmakers like Joe Swanberg, Amy Seimetz, and Ti West walking around the blood-splattered set, Wingard was in good company. But take no credit away; he demonstrates he’s got a long and successful directorial career ahead of him. The film—which you can drop in the home invasion column of the horror genre—is 100% organic, pulpy, fresh-squeezed terror in a bottle. It’s an overwhelming rush of pure, insanely violent, visceral horror cinema executed with impeccable style. You’re Next is a straight-up shot of blood and guts with no chaser.

The setup is pretty straightforward—the Davison family gathers for a reunion at their gigantic forested mansion estate. It’s a comfortable cage for the unwitting prey. The knit-sweater-wearing, millionaire patriarch, Paul (Rob Moran), and his jumpy, medicated wife Aubrey (Barbara Crampton) are joined by their four adult children—Crispian (AJ Bowen), a college professor, Drake (Swanberg), an instigative bonehead, Aimee (Seimetz), a dumb, walking squeak toy, and Felix, an immature brat.

Each whiny, spoiled-rotten sibling has brought along a significant other, and at dinner, meathead Drake prods Paul about how “unprofessional” it is to be dating his former student, Erin (Sharni Vinson, who just sits and listens uncomfortably.) The argument heats up and Aimee’s boyfriend, Tariq (West) removes himself from the table, walks to a window, and WHAM! Arrow in the face! We have our first kill, just like that, and from there Wingard keeps his foot heavy on the gas pedal.

You’re Next embraces and celebrates the quick, nasty kill. The deaths are to-the-point, brutal and streamlined—no convoluted Rube Goldberg machine kills here, people. Wingard sticks to good ol’ machetes, knives, and other sharp objects being shoved into skulls. The film’s pace is unrelenting, maintaining a high level of urgency throughout. Wingard gives you no time to breathe, which makes the experience purely sensory and reactionary. There’s really nothing special or inventive about the plot’s many twists and turns, but the film’s breakneck speed makes you far less prepared for them when they come. It’s like riding a kiddie roller coaster at 200 MPH. In the immortal words of Harvey Keitel’s “The Wolf”, this film is “fast, fast, fast.”

A pleasant surprise is that the characters aren’t just lambs lining up for the slaughter—they’re interesting people and their dialogue is punchy and often hilarious. If you’re an indie film geek, Wingard throws more than a few in-jokes for you to chew on. For instance, at the dinner table before his William Tell demise, West (one of the best horror directors working) shares that he’s an independent filmmaker who screens his movies at “underground” film festivals. Swanberg (god of the mumblecore scene) snidely inquires if the festivals are literally held underground, and sarcastically proposes that TV commercials are a more sophisticated art form. Hell, the simple fact that he’s cast Swanberg as an uncultured dummy and Seimetz (known for arthouse gems like Upstream Color) as a grating airhead is funny in itself.

The killers picking off the Davison clan—a sort of animal-mask-wearing S.W.A.T. team—aren’t the most original scary movie villains you’ll find, but their imposing, violent physicality and Wingard’s excellent camerawork makes them feel formidable and frightening.

What is original, however, is Vinson, whose character unexpectedly disrupts what would otherwise be a fairly one-sided killing spree. You see, she’s just as, if not more, deadly and gifted at killing than the masked murderers. For reasons revealed halfway through the film, she’s well-versed at armed and unarmed combat and has a MacGyver/Kevin McCallister-like encyclopedic knowledge of trap-setting (a nail and a foot come to mind.) What results is an even match-up between trained predators, a thrilling turning of the tables that makes for some epic moments of delightful bad-assery. At my press screening there were multiple rounds of applause for Vinson, and one impassioned audience member even screamed “I love you!” at the screen as she repeatedly walloped of one of the invaders in the head with a meat tenderizer. It’s really, really fun to root for her, and it’s nice to have a horror movie protagonist that outshines the villains for once. She’s one to watch.

The film’s score is key in cultivating the film’s inescapable tension. It’s comprised of ominous electronic drones and synths that contrast nicely with the gritty on-screen action, and the sound design is equally effective. Wingard and DP Andrew Droz Palermo keep things visually interesting throughout. Everything, from the constantly shifting, evocative lighting, to the careful camera placement, to the neat technical tricks (most involving blurry reflections), contribute to creating a deep sense of dread.

What Wingard’s made is a horror movie for horror movie geeks. You’re Next even pays homage (intentionally or not) to classics like The Texas Chainsaw Massacre, Rear Window (in a sequence that will jolt your senses), and even Home Alone. You’re Next is an absolute beast of a horror picture that’s so fierce, barbaric, and terrifying that the guy sitting next to me in the theater started to convulse from fright and leaped over his chair and bolted out of the theater. Plus, it’s got a brain and a stellar heroine to boot. See it with friends—you’ll gasp, scream, jump, and squirm in unison, the sign of a true horror masterpiece. It’s gonna be hard to top this one.

You’re Next trailer:

For this monthly staff feature we came to the conclusion that because not everyone on the staff has been to the same festivals, thus having the opportunities to see the same films, that each writer from the staff would list their own individual Top 5 Films of 2013 (So Far). You can tell just by looking at our lists that there is a wide range of quality films that have been released at the halfway mark of 2013. While we wait to see what upcoming gems 2013 will bring us, here are the best films of the year so far.

Blake’s Top 5

2013, what a year you’ve been so far for us film going folk. You’ve made me cry (A Haunted House, Aftershock), you’ve made me laugh (Warm Bodies in a good way, A Good Day to Die Hard in a bad way) and you’ve had me cheering from the rafters (Gareth Evan’s Safe Haven, Fast and Furious 6). You were better than the first half of 2012 so keep up the good work. Picking my favorite 5 films of the year so far has proven to be a malicious act. I’ve seen some great films. There are easily more than five and since I can only have that amount, I shall list what barely misses here. These are my, as Roger Ebert would call them, Special Jury winners: Graceland, The Silence, The Act of Killing, The Place Beyond the Pines, and Side Effects.

#1  Spring Breakers

#2  Reality

#3  The Hunt

#4  Upstream Color

#5  The Lords of Salem

Bernard’s Top 5

My top two films of the year so far are interchangeable, as they’re both brilliant, but in different ways. Before Midnight is nearly flawless—I was floored by every facet of it. Sarah Polley’s documentary/family-drama/soap-opera/whodunit, Stories We Tell, is a Frankenstein’s monster of personal filmmaking goodness that exists outside any genre. These two films are absolute beasts, and there are miles between them and the rest of the movies I saw this year. That said, it would be amazing if a film in the last half of 2013 can top them somehow. Fingers crossed!

#1  Before Midnight

#2  Stories We Tell

#3  Simon Killer

#4  You’re Next

#5  Like Someone In Love

Amy’s Top 5

I had the opportunity to see so many great films at this year’s Sundance London Film Festival, but only a few have so far have had confirmed releases, In a World will be heading to the UK this September. It was a tremendous comedy written, directed and performed by Lake Bell – I would recommend anyone to go see it when it hits cinemas! I also had the chance to see Mud at the festival and loved every minute of it. Stoker, (directed by Chan-wook Park, Oldboy) was a phenomenal film – its stunning visuals and intense storyline had me utterly gripped throughout, sincerely recommend for those who like Park’s style. Warm Bodies was a great film that turned our expectations of a zombie film upside down, making the dead come alive and love again. I really did not think I would take to Sightseers as much as I did, most of the film I was thinking – “what the hell is going on” – but the last few scenes had me in stitches. Looking forward to seeing: This is the End, The East, and Before Midnight.

#1  In a World

#2  Mud

#3  Stoker

#4  Warm Bodies

#5  Sightseers

CJ’s Top 5

I’ve never seen a year where my two favourite films (at this time) are documentaries, let alone ones that push the capabilities of documentary filmmaking and cinema itself into new directions. I had an internal debate about my placement of both films on this list. Do I give the #1 spot to the film with the most societal and moral impact, or the film with the most cinematic impact? In the end I couldn’t choose, so I let them both share the top spot. The other three are all terrific, and Bernard has explained enough why Before Midnight is great, but these first two shook me to the core. Other films that barely made the cut: Spring Breakers, Side Effects, The Place Beyond The Pines, Valentine Road.

#1 (tie)  Leviathan and The Act of Killing

#3  Before Midnight

#4  Beyond The Hills

#5  Hors Satan

Ananda’s Top 5

Perhaps it’s the celebration of the end of a long recession, but of 2013’s film offerings thus far, the ones that have seemed strongest to me are all of a lighter fare. Granted I haven’t seen A Hijacking, Mud, or The Stories We Tell (which would probably make this list because I have a huge girl-crush on Sarah Polley). I can wait for the fall to indulge in the heavier stuff, including all those festival films not yet released (Blue is the Warmest Color, holler). But sometimes lighter is better. From the bottom, This is the End is the best buddies-in-a-crises film I’ve seen since Shaun of the Dead and had my abs hurting for days. A three-quel on my list? I’m just as shocked, but when Hollywood’s wittiest writer, Shane Black, unites with the world’s wittiest superhero, Iron Man (played by the man Black was born to write for, Robert Downey Jr.) it’s a match made in Marvel heaven. Upstream Color isn’t easier to follow than Shane Carruth’s first film Primer, but was much easier to accept and had a lovely hum to it. It’s no secret I’m a sucker for films of the dark and twisty variety, and Stoker manages to be elegant with its seductive spookiness. Frances Ha, at the top of my list, stroke some realistic chords with this urban-dwelling 20-something, and Greta Gerwig shines as she makes what could be an aimless hipster, a relatable heroine. All in all, 2013 has me feeling rather positive thus far. Honorable Mentions: Side Effects (The twists and pacing of Ocean’s 11 with the gravitas of Contagion) and since we’re keeping it light with my list Warm Bodies successfully paired young love and zombies to my great delight.

#1  Frances Ha

#2  Stoker

#3  Upstream Color

#4  Iron Man 3

#5  This is the End

Dustin’s Top 5

It is not all that surprising that three of the top five films I have seen so far in 2013 had played at this year’s Cannes Film Festival. But only one of those (Nebraska) is allowed to be on this list as the other two (Like Father, Like Son and The Great Beauty) do not meet our prerequisite of having a hard 2013 U.S. release date yet. But because 2013 has been a solid year for films so far, it was not difficult to find two other films to take their place. And it will only get better during the fall festival circuit and awards season. Though I saw Ulrich Seidl’s hard-to-watch yet stimulating Paradise: Love last year, it is still the top film for me with a 2013 release date. A few films that just missed the cut for me were: To The Wonder, 28 Hotel Rooms, and The Act of Killing. I should also include a few films that I have not seen yet: Mud, Fruitvale Station, Before Midnight, and Post Tenebras Lux.

#1  Paradise: Love

#2  The Place Beyond the Pines

#3  Upstream Color

#4  Frances Ha

#5  Nebraska

Winter in the Blood

Directors Alex and Andrew Smith attempt the monumental task of adapting James Welch’s first novel, Winter in the Blood, the result a wildly uneven, but daring film. Blood, Welch’s first novel, follows an unnamed native American on the Fort Belknap reservation in Montana during the 1970s, drinking and fucking his way through an identity crisis, while suppressing a tragic childhood. Sounds the stuff of wild storytelling and the Smith brothers put in a valiant effort, however, theirs is a true independent picture and a story this vibrant simply demands talent beyond their means.

The lead, Chaske Spencer, depending on the scene and quality of the actors surrounding him, lurches between embodying the tragic hero and indicating the often-mediocre writing. His scenes with excellent character actor David Morse are easily the best in the film. The quality of the ensemble of Native American and Caucasian actors varies wildly. Another kink in the cog is the film’s cinematography, which often fails to capture the beauty of the landscape or the degenerative rural environments effectively. Oddly enough, the few visually stunning moments are chopped short and distributed throughout the films hallucinatory structure which weakens their impact. The Smith brothers attempt a sprawling epic of Native American identity and the work stands proud on a thematic level, but many of their scenes fail to connect. Their blending of memory and hallucination intrigues, but feels visually dated and amateurish. I think this project should have fallen into the “do it right or don’t do it at all” category, but I have to commend the team for their determination in adapting such challenging material.

RATING: 4

You’re Next

The brilliant genre cocktail of family drama and sadistic home invasion works and whipped this late night LAFF audience into a frenzy. New horror maestro, Adam Wingard of the V/H/S franchise, makes magic of Simon Barret’s delightful script in You’re Next. The Festival meets The Strangers, when a despicable love to hate them rich family reunites with boy and girlfriends in tow to find themselves pit against animal-masked psycho killers. Even as the slaughter begins brothers criticize each other and new girlfriends roll their eyes. Wingard handles the tone changes of Barret’s script with a sure hand as he splatters blood and wrenches a laugh within moments. Barret includes some nice twists in what could be a too familiar story. Australian actor, Sharni Vinson ups the ante with a horror film “final-girl” that even makes the girls from The Descent look soft. Horror fans should delight in You’re Next and comedy fans who aren’t squeamish should seek it out as well.

RATING: 8

I’m very excited to attend the 2013 LA Film Festival as this year’s festival has a very solid line up with several specific films I’ve been dying to see. Upon analyzing the lineup, it seems most of the big films are the “popular kids” from more prestigious festivals like Cannes, Toronto and particularly, Sundance. Not that this is a bad thing, but Hollywood isn’t quite known for its originality and they’re basically presenting a “best of what’s played.” That’s great for me as I have not attended any other of the major festivals. Here’s what I’m chomping at the bit to see—

Most Anticipated films to play at LA Film Festival

Ain’t Them Bodies Saints

I’m particularly psyched for this Badlands-esque period noir that looks gorgeous, moody, and let’s not forget violent. The film boasts an amazing cast— Casey Affleck who can do no wrong playing a psychotic creep; Rooney Mara who has proved herself a solid versatile actor and desperately needs to shrug off the lingering Goth image festering from the wretched Dragon Tattoo film; and a slew of excellent character actors who I adore, Ben Foster and Keith Carradine among them.

Trailer for Ain’t Them Bodies Saints:

Only God Forgives

I’m a huge fan of Nicolas Winding Refn from back to his Pusher days and I obviously loved Drive. His new Gosling project appears to be a continuation of the hyper-cool neon noir aesthetic established in Drive, but this time he’s tackled a new action sub-genre— the Muay Thai Boxing film. The love it or hate it (mostly hate) reaction from Cannes only makes me want to see it more, although my expectations are probably so high that I’m bound to be let down.

Trailer for Only God Forgives:

Short Term 12

I heard this was the best film at Sundance this year and I like Brie Larson from United States of Tara and 21 Jumpstreet. While I do take that label with a gain of salt as I’ve found that the best of Sundance often means mediocre when plopped into theaters. However, the trailer displays the elements of a moving and unsentimental drama, which Hollywood studios have become incapable of producing. I want Short Term 12 to make me cry.

Trailer for Short Term 12:

Fruitvale Station

Again, Fruitvale Station is coasting on some nice Sundance buzz. Weinstein has picked up the film for distribution and they usually have a knack for picking fine films. While I do think this one could veer into clichéd white-guilt Hollywood territory, I’ve heard an excellent performance from Chronicle star Michael B. Jordan carries the film. I’m open to have my cynicism proved wrong.

Trailer for Fruitvale Station:

Crystal Fairy

Director Sebastián Silva has two films at the fest, Crystal Fairy and Magic Magic. Both films star Michael Cera, but I’ve vaguely heard that Crystal Fairy is both weirder and better. I don’t know much about the story other than Cera travels somewhere in Central America and gets into some insanity. I’m waiting to find Cera in a role that allows him to break through his thick type-cast and my gut tells me this could be the one.

The Act of Killing

I’m not as knowledgeable about documentaries as I should be but the offbeat ones often catch my attention. This image alone urged me to put The Act of Killing on my schedule. Reading about this meta-bomb of history, interviews, reenactments, musical numbers and Asian film history exploring Indonesian death squads sounds too weird not to see. Plus it will likely be fascinating piece of history

Trailer for The Act of Killing:

You’re Next

Any mention of the possibility of a great new Horror film peaks my interest, especially one that wowed Toronto’s midnight lineup. All I know about the story is that it manages a sly twist on the sadistic home-invasion subgenre. Also, modern horror icon Ti West acts in it, which is both strange and enticing. Hopefully it’s not another Cabin Fever.

Trailer for You’re Next:

David O. Russell

David O. Russell is receiving the spirit of independence award at this year’s LA Film Festival. He’s been one of my favorite directors since high school and he’s managed not to become stale. He’s bounced back from I Heart Huckabees (while I adore) and an unreleased/failed film project with two excellent studio films that display a newly reinvigorated artist. I greatly enjoy hearing directors talk and I certainly won’t miss one of my favorites, who I’m sure has a lot to say. A screening of Three Kings precedes the discussion!

Spike Jonze

Not to sound redundant, but Spike Jonze, another excellent director who will be there to talk about his career. He’s reportedly showing a sizzle-reel for his upcoming film Her, about a man who falls in love with a computer, and I wouldn’t miss the opportunity to see that or hear this oddball director speak about how he made it. His feature film career has its up and downs but each film has been intriguing and his important contribution to modern society.

Other Stuff

The festival is holding a pre-screening of Superman (Man of Steel). Zach Synder has not made a good film since his debut, Dawn of the Dead, but between the internet buzz and a brutal studio marketing campaign I can’t help but be a little swept up in the excitement. There’s a chance I won’t make it into the packed screening though.

I recently attended a press screening of the indie sci-fi film, Europa Report, which is playing at the festival. I was very excited for this documentary-style take on a manned space flight to Jupiter’s ice moon Europa. But unfortunately it’s pretty lame (I’ll post a review).

I’m also excited to see Johnnie To’s Drug War, the documentary Our Nixon, Winter in the Blood and Lesson of Evil.

Stay tuned as we bring you coverage of the LA Film Festival which starts tomorrow through June 23rd

The thing I’ll remember most about this year’s San Francisco International Film Festival were the amazing conversations I had with some of the talented filmmakers in attendance during the festival’s two-week stretch. Everybody was open and willing to share their enthusiasm about film and filmmaking, and all of the good vibes were fueled by the festival’s exceedingly strong program. Film after film, I was thoroughly entertained and excited.

The list below is my top 5 films from the festival, but only spots 1 and 2 were a lock for me. The other three spots could have easily gone to a number of other films at the festival. John Vogt-Roberts’ The Kings of Summer showcases three of the most promising young actors in the game right now standing toe to toe with some of the funniest people on earth. Morgan Neville’s Twenty Feet From Stardom was a sleeper for me, packing more emotional punch than I expected from a documentary about backup singers. Atiq Rahimi’s achingly gorgeous The Patience Stone is a force of nature that grows on me more and more as I sit with it. Prince Avalanche is flat-out one of David Gordon Green’s best films. And the list goes on.

I encountered a few clunkers at the festival, but there were too many excellent films for the bad ones to sour the experience. Overall, SFIFF 2013 was an excellent two weeks at the movies, and I highly recommend you make the trip out here next year. It’s a big festival with a lot of buzz and fantastic guests, but with none of the stressful chaos or hectic energy of other, more popular festivals. It was a complete blast, and I look forward to next year.

Though the festival is over, make sure to stay tuned to Way Too Indie in the coming weeks for tons of amazing content coming out of the festival. We’ve got a FLOOD of great interviews from SFIFF coming your way in the coming weeks—

Michael Cera & Sebastian Silva—Crystal Fairy
Richard Linklater & Julie Delpy—Before Midnight
Sarah Polley—Stories We Tell
David Gordon Green—Prince Avalanche
Alexis Denisof & Amy Acker—Much Ado About Nothing
Nick Robinson, Gabriel Bassos & Moises Arias—The Kings of Summer
Onata Aprile, David Siegel & Scott McGehee—What Maisie Knew
Atiq Rahimi—The Patience Stone
Jeremy Teicher—Tall as the Baobab Tree
PJ Raval & Dennis—Before You Know It

Way Too Indie’s Top 5 Films at the San Francisco International Film Festival

#5 – Much Ado About Nothing

What I found impressive about Joss Whedon’s Shakespeare adaptation of Much Ado About Nothing was that it felt more ‘Joss’ than ‘William’. Whedon and his merry band of thespians do what they do best—tell a story with uncanny wit, sass, silliness, and humanity. Shakespeare’s play is timeless, and Whedon respects this. Modernity plays no role here, and the focus is squared solely on the ever-shuffling relationships of the marvelously acted characters.

I hesitate to say that there is a standout in the cast—everyone has moments of greatness. The film’s leads, Alexis Denisof and Amy Acker, are prime examples of how Whedon extracts every bit of potential out of his actors. They transition from brutally disdainful to drunkenly flirtatious on a dime, effortlessly, and they pull off hilarious slapstick gags that would be cringe-worthy in the hands of most. These physical bits are Chaplin-funny. By the end of the film, I felt great—completely satisfied and wholly content. I hope this isn’t the last we see of Mr. Whedon on the independent scene.

#4 – Tall as the Baobab Tree

Jeremy Teicher’s Tall as the Baobab Tree explores the transitional social climate of a small village in Senegal where the recent introduction of education into the village by way of a newly constructed school has shaken up old traditions. Previously, girls had commonly been forced into early marriage, but with education now accessible to them, the prospect of early marriage has become far less appealing. A new, fortuitous future is now within their grasp, but the old ways of the village can’t be undone so easily.

Teicher, only 24, depicts Senegal and Africa in a refreshingly optimistic and respectful light in his narrative feature debut, eschewing the heart-wrenching, pitying depictions seen in most films about the community. He shows his characters happily sitting and sharing a meal with one another, laughing and teasing, making plans for the future and enjoying the present. This is universal stuff, a family story. Few things excite me more than when a young filmmaker finds his voice early, and Teicher’s staggering potential shines bright like the sun in Baobab.

#3 – You’re Next

Festivals like SFIFF are often inundated with weighty films that can leave you mentally and emotionally exhausted, so it’s an absolute treat when a film can leave you physically exhausted—You’re Next had everybody who watched it at the festival breathing heavy, jumping, screaming, and occasionally running. Seriously. The guy sitting next to me literally leaped over his seat and darted for the exit. It was hands down the most fun I had at the festival.

Adam Wingard’s gorefest—in which a rich white family taking a vacation is terrorized by crossbow-wielding freaks—deserves its spot on the list because it’s the best example of the genre in years. Not only does Wingard instill fear with style and cinematic inventiveness, he does it with a sharp intellect—nothing is dumbed down here. None of the kills in You’re Next are revolutionary, but they feel revolutionary because they’re filmed so freakin’ well. The when you see an axe kill, it feels like your first time seeing an axe kill—brutal, brutal, brutal. Also, the hero that emerges from the group of victims is one of the baddest butt-kickers since Sigourney Weaver’s Ripley. Ladies, prepare to feel empowered.

#2 – Before Midnight

One of the first films I saw at SFIFF this year was Richard Linklater’s third installment in his wonderfully improbable ‘Before’ romance series, Before Midnight. It set the bar sky high for the rest of the festival, enchanting me with stars Ethan Hawke and Julie Delpy’s effortless, impassioned performances and Linklater’s silently spectacular direction.

Set (and filmed) 18 years after Jesse (Hawke) and Celine (Delpy) met on a train in Vienna in Before Sunrise, and 9 years after their fateful reunion in Before Sunset, Before Midnight follows the duo, now parents of twin girls, as they find their youthful affection for each other battered by the stresses of reality. Hawke, Delpy, and Linklater have all upped their game to unbelievable heights here—an almost 15-minute-long shot of Jesse and Celine driving down a winding road while having an immaculately acted conversation is simply breathtaking. It’s the best film in the series, and I’m completely aware of how bold that statement is. Just watch it—you’ll understand.

#1 – Stories We Tell

Though I find Richard Linklater’s Before Midnight to be virtually flawless, Sarah Polley’s Stories We Tell feels just a hair more special to me right now, in this moment. Linklater’s romance saga has been moving me for nearly two decades, but Polley’s film touched me deeply and swiftly, in a way that no other film did. For this festival, in these two weeks filled with dozens of films, Stories We Tell was my favorite film.

In an intrepidly naked and personal documentary, Polley skillfully weaves together a tapestry of memories of her late mother Diane, contributed by members of her family and old friends. We walk beside Polley as she doubles back on her family’s history, uncovering life-altering secrets as she conducts breathtaking—and sometimes heartbreaking—interviews with her subjects.

The immediacy of the film is what makes it so engaging—there wasn’t a single moment where I wasn’t completely glued to the screen. I hung on every word, every image, and marched to every single beat of Polley’s drum. You can’t ask for much more from a film or a director. It’s got everything—suspense, laughter, tears, betrayal, heartache, and one of the most richly textured voice-overs I’ve ever heard, provided by Polley’s father, Michael. I wouldn’t dare to delve into what makes this film truly special, as I’d be robbing you of one of the most thrilling movie experiences of the year. It was a close race between spots one and two on the list, but Polley’s willingness to graciously invite us deep into her personal life solidified her top spot.

You’re Next

Throughout the first week of SFIFF, as I walked, drove, and BARTed my way around the city, there was one thing I heard more than anything else from fellow festival-goers—“You need to see You’re Next!” No other film at the festival garnered such buzz, which compelled me to check it out, though I was positive the film couldn’t live up to the hype. Just like always (ask my wife), I was wrong. Adam Wingard’s indie-horror kill-fest blew me away with its watch-through-your-fingers scares and creative kills.

The plot of You’re Next isn’t groundbreaking—a rich, sweater-wearing family is attacked in their cushy vacation home by psycho killers with crossbows wearing animal masks that look like they were bought at a Party America Halloween sale. It’s creepy stuff, but again—nothing groundbreaking. What makes this movie so effective and feel so fresh is that the bloody massacre is supported by sound, savvy filmmaking by Wingard.

Unfortunately, most horror films exchange artistry for mindless gore, but You’re Next makes no such compromise. Some of the kills (there’s a load of ‘em) have been seen before in older, more popular films, but here they feel extra violent and hit with a bone-rattling jolt. The film’s focus is on extreme, visceral violence, not gore. The sharp editing and flawless sound design are the keys to achieving such raw levels of intensity.

The cast, a tight-knit troupe of indie directors (Joe Swanberg, Amy Seimetz, Ti West), give excellent, ego-less performances (Seimetz is hilarious), and it was surely a huge asset for Wingard to have such talent on hand. Over the past few months, I’ve been touched and moved by some of the cast members’ artsy, weighty films, so it was a lot of fun to watch them run wild in such a crazy, brutal movie. It’s fantastic news that the film is finally being released (it’s been in studio-limbo since 2011), and I can’t wait for you all to see it. Time to sack up, folks.

Museum Hours

An American woman (Mary Margaret O’Hara) is called to Austria to visit an ailing friend, and while visiting the Vienna’s world famous Kunsthistorisches Museum, meets Johann (Bobby Sommer), a genial patrolman. The two quickly become friends and engage in a days-long, existential discussion that leads to endless self-discovery. The museum and the snow-blanketed city feel unstuck from the world, a sanctuary for the two to explore and mold each other through the art they ponder and the life experiences they exchange. As they make their deep connection, mortality looms in the form of Anne’s dying friend.

The brilliant works of art in Museum Hours are beautifully captured (jaw-dropping), and director Jem Cohen and DP Peter Rohsler echo the immense artistry of the art in their gorgeous cinematography. Every damn shot is breathtaking and immaculately composed. Cohen intermittently cuts in thoughtfully selected close-ups of paintings, which jogs our memory and emotions. It’s completely engaging and makes this movie not only thoughtful, but sensual. Sommer and O’Hara move effortlessly throughout the film, endearing us to them with every passing moment. Their relationship feels real and isn’t easily defined. There’s something uniquely charming about the way Sommer speaks and holds himself. His voice carries empathy and wisdom, and his monologues feel as profound as the museums’ works, though he carries no pretension. Of all the films at SFIFF, this is the prettiest I’ve seen.

Stay Tuned to Way Too Indie for our full reviews of You’re Next and Museum Hours.

In a few days, San Francisco will be flooded with film geeks, critics, filmmakers, hobos (they’re always there), and film lovers of all kinds for the 56th annual San Francisco International Film Festival. San Francisco hosts a huge number of film festivals throughout the year, and SFIFF is the biggest and brightest the city has to offer. I’ll be on hand throughout the festival to provide you with the usual good stuff—recaps, reviews, and interviews.

In this festival introduction, I’ll be highlighting a few of the films I’m looking forward to checking out at the festival. From veterans like Richard Linklater (Bernie, Dazed & Confused) and Joss Whedon (Serenity, Avengers) and their latest works, to some exciting, innovative films from fresh talents like indie-horror maverick Adam Wingard, there’s a lot to look forward to from some of the industry’s best.

Before Midnight

18 years after Before Sunrise and 9 years after Before Sunset, ‘90s independent film godfather Richard Linklater invites us again to eat, drink, walk, and talk with Jesse (Ethan Hawke) and Celine (Julie Delpy), one of the most unforgettable couples in modern film. As we check in on the couple for the third time, we find them in Greece, middle-aged, with children, and at odds with each other due to their divergent plans for the future of their family. With their once unstoppable passion buckling under the pressures of their long-term commitment to one another, they begin to question how long their commitment will last.

I was about 11 when I saw Before Sunrise, and returning to this series twice now, with more experienced eyes each time, has been an incomparable cinematic experience that I’ll always treasure. It’s fascinating to see the actors age along with the story, and it’s even more fascinating to watch as their skills—along with Mr. Linklater’s—mature over time.

Much Ado About Nothing

In a break from the CGI spectacle of his gargantuan superhero endeavors, Joss Whedon sheds the spandex in his retelling of Shakespeare’s brilliant comedy. Though the scale and setting of Much Ado About Nothing is much more contained than his recent work, Joss still has his favorite toys to play with here—witty dialog and a talented ensemble cast of Whedon familiars. Filmed as an escape during the production of The Avengers, Much Ado is a passion project for Whedon that looks to be a perfect fit for his directorial skill set. He should be able to handle Shakespeare’s comedy well, especially with the gifted brigade of actors at his disposal.

You’re Next

Few things scare me more than murderous home invaders. Director Adam Wingard has created a godforsaken concoction, a film about murderous home invaders with—wait for it—crossbows and creepy-ass animal masks! The victims of the bizarre band of psychos are the Davisons, a family on vacation in their secluded country home. They’re played by some familiar faces on the independent scene—Joe Swanberg, Amy Seimetz, Ti West—and one of them just might be badass enough to give the mask-wearing freaks a taste of their own medicine.

Twenty Feet From Stardom

I’m a sucker for music documentaries, and Morgan Neville’s Twenty Feet From Stardom looks to shine the spotlight on a group of musicians seldom given the attention they deserve—background singers. Following industry legends like Tata Vega (Elton John, Michael Jackson), Darlene Love (Sam Cooke, Frank Sinatra), and Merry Clayton (Joe Cocker, Rolling Stones), Twenty Feet gives insight into the lives of these unheralded masters of their craft. Fifty years ago, background singers provided the melodic backbone for countless pop hits, but their role in the music industry taking a back seat in recent years. There are a myriad of interesting stories to unearth here, and Neville, a veteran in the music-doc scene, is sure to present them stunningly.

Museum Hours

A security guard is patrolling the Viennese museum where he works when he meets a mysterious woman who he shares life-changing conversation with as they stroll through the museum and the city surrounding it. I love a good walk-and-talk film, and along with Before Midnight I’m sure Museum Hours will satiate my appetite for long, interpersonal, existential dialog. Every time I try to strike up a conversation like this in real life, all I get are bored, vacant stares, so I try to live vicariously through films like this to make me feel better about myself. Also, the premise is simply irresistible and I’ve always wanted to visit Vienna. This is the power of films, folks.