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The headline deal to debut at Sundance is a $10 million sale to Searchlight for this highly watchable road trip comedy about two Jewish cousins, played by Jesse Eisenberg (who wrote and directed) and Kieran Culkin, who take a Holocaust-style road trip through Poland to learn about their heritage. It would all be a fun adventure of bickering and banter—with some serious moments, too—if it weren't for Culkin, who hits the mark as he did in Succession, adding a dose of tragedy in the process. —TA
I didn’t expect to be so drawn to Saoirse Ronan as a 29-year-old struggling with alcoholism in German director Nora Fingscheidt’s adaptation of Amy Liptrot’s 2016 best-selling memoir, The Outrun. But the film, shot largely in the Orkney Islands north of Scotland, where the memoir is set, is rich in emotion and generous to its central character (without falling into sentimentality or sentimentality). It’s not just alcohol that troubles Rona, but a mentally ill farmer father and a mother who has retreated into Catholicism, and her boozy storms drive her boyfriend, Daynin (Paapa Essiedu), away. Her cure is solitude in a place even more remote than the island where she grew up: Papay, in the North Sea. Ronan portrays the fragility and precariousness of sobriety with rare grace. —TA
You may not leave The Apprentice feeling particularly refreshed – it is, after all, a biopic about Donald Trump’s ill-fated rise to real estate and business in the 1980s. But director Ali Abbas’s film is undeniably powerful, especially for its lead actors: Sebastian Stan as Trump and Jeremy Strong as notorious New York lawyer and fixer Roy Cohn, who allied himself with Trump and acted as a mentor early in his career. Both actors own this tale of ambition, power and corruption, and their uncanny depictions of men who will stop at nothing to get ahead will leave you thinking. But what’s most compelling about The Apprentice is its humanity. Stan's portrayal of Trump makes room for shades of vulnerability and doubt (which you rarely see in the man himself), while Strong's Cohn is haunted by his own mortality and waning power. —TA
