‘Spree’ will make you terrified of Uber drivers: Sundance review

Landlocked by South Africa on all sides, the kingdom of Lesotho is a place of high skies, wide landscapes and narrow prospects for its two million inhabitants: a set of dimensions somehow captured in every exquisitely constructed, square-cut frame of “This Is Not a Burial, It’s a Resurrection.” A haunted, unsentimental paean to land and its physical containment of community and ancestry — all endangered by nominally progressive infrastructure — this arresting third feature from Lesotho-born

A leisurely, somewhat hazy travelogue compared to the piercing political indictments of his acclaimed prior “We Come as Friends” and Oscar-nominated “Darwin’s Nightmare,” Austrian documentarian Hubert Sauper’s new “Epicentro” looks at Cuba on the brink of colossal transition, as the old Communist system is in its apparent death throes, and free-market capitalism waits in the wings. It’s a fascinating moment for cultural stock-taking.

“On The Record,” a harrowing documentary about the burden of women of color in the #MeToo movement, has been upstaged for nearly a month by the departure of former executive producer Oprah Winfrey.

Every summer, more than 1,000 teens swarm the Texas capitol building to attend Boys State, the annual American Legion-sponsored leadership conference where these incipient politicians divide into rival parties, the Nationalists and the Federalists, and attempt to build a mock government from the ground up.

It’s exciting, and fascinating, to see a great director of documentaries try his or her hand at a dramatic feature, since in theory the essential skill set should all be there. The best documentarians possess an acute visual sense, and they are all, of course, potent storytellers.

Sultry music swells as the camera swoons over a young couple in a tender nighttime embrace. The 1950s residential New York City street is carefully rain-slicked and lined with shiny classic cars: an obvious stage set.

The tale of the McDonald’s Monopoly-game heist was one hell of a story. Indeed, it seems to have been too much story for “McMillions,” a documentary series premiering at Sundance ahead of a bow on HBO, to tell — even with the benefit of six episodes.

There’s mannered, there’s manic, and then there’s the malfunctioning pinball-machine delirium that Ben Whishaw brings to “Surge”: a blinking, buzzing, flashing clatter of hyper-accelerated impulses, chicken-fried synapses and staggered hypnic jerks that never culminate in sleep.

Inventor Nikolai Tesla is more popular today than when he died penniless in a New York hotel in 1943. Back then, he was the futurist who swore he could summon unlimited, clean, wireless electromagnetic energy from the earth — a neat idea, but surely coal and oil were fine.

Actress Romola Garai makes a distinctive feature directorial debut with “Amulet,” even if this upscale horror drama is ultimately more impressive in the realm of style than substance. It’s some style, though: She hasn’t just created a stylish potboiler, but a densely textured piece that makes for a truly arresting viewing experience to a point. A shame then that the film succumbs somewhat to the more pretentious and silly aspects of Garai’s initially cryptic puzzle of a script.

At the risk of overselling Edson Oda’s ultra-original, meaning-of-life directorial debut, there’s a big difference between “Nine Days” and pretty much every other film ever made. You see, most movies are about characters, real or imagined, and the stuff that happens to them, whereas “Nine Days” is about character itself — as in, the moral dimension that constitutes who a person is, how he or she treats others, and the choices that define us as humans.

Late in the film “Lance,” a documentary that depicts the ascent and the crash of disgraced cyclist Lance Armstrong, the subject recalls the disappearance of his lucrative sponsorships. These deals — with a massive market value and a perhaps more important intangible value of keeping him in the public eye as a figure of rectitude and hard work — were in some sense his life’s work, and they vanished after his 2013 admission that he had used illegal doping throughout his cycling career.

There have been some good dramas about people sliding into dementia, like “Away From Her” and “Still Alice,” but I confess I almost always have a problem with them. As the person at the center of the movie begins to recede from her adult children, from the larger world, and from herself, he or she also recedes — at least, this is my experience — from the audience.

There are small, telling differences in the way each of the three long-separated main characters in “Farewell Amor” remembers the day of their reunion. Standing at JFK, awkwardly clutching a bunch of flowers to give to the wife and child he has not seen in 17 years, Walter (Ntare Guma Mbaho Mwine from “The Chi”), a soft-spoken Angolan taxicab driver greets Sylvia (Jayme Lawson), the teenage stranger who is his daughter, and she is surly and unsmiling.

A small town already down on its luck receives a few fresh kicks in “The Evening Hour.” Based on Carter Sickels’ 2012 novel, this second narrative feature from director Braden King is more plot-driven than his first, 2011’s “Here,” a leisurely and slight, if pleasant, road-trip romance.

You can do anything with a face on screen these days, whether it’s shaving decades off with a digital scalpel or deepfaking it into unrecognizable oblivion. Usually this wizardry has the air of a stunt, a transformation pulled off merely because it’s possible.

Ten years after Zeina Durra launched her well-regarded debut “The Imperialists Are Still Alive!” at Sundance, the London-born director returns with a mature meditation on the effects of trauma shrewdly incarnated by the always welcome Andrea Riseborough.

Benh Zeitlin hasn’t made a film in seven years since he exploded onto the scene with his Best Picture Oscar-nominated “Beasts of the Southern Wild” in 2013. Coming out of hibernation, the director’s “Wendy,” a take on J.M. Barrie’s “Peter Pan,” premiered at the Sundance Film Festival Sunday. Well, was his eagerly anticipated followup worth the wait?

Imagine a high-ratings, high-stakes game show that trivializes a convict’s life-or-death fate for public consumption. As wild as it sounds, a version of this reality TV entertainment apparently really exists in modern-day Iran, where writer-director Massoud Bakhshi’s “Yalda, a Night for Forgiveness” is set, and where a wildly popular edition of it has been airing for nearly a decade.

It didn’t seem like there was a large portion of the movie-going population who felt that Todd Phillips’ “Joker” was too subtle, in either its commentary on the modern era of those who are involuntarily celibate, or its homage-like appropriation of classic Martin Scorsese movies.