In Bigger, Stronger, Faster, a big hit at the Sundance Film Festival earlier this year, documentarian Christopher Bell takes a hard look at steroid culture and the bad rap it gets from mainstream America, tackling the Western obsession with body image. Clocking in just under two hours, Bell's sprawling overview deals with the impact of 1980's pop culture icons like Arnold Schwarzenegger and Sylvester Stallone, then dives into the gritty details of steroid usage in sports and the recent congressional hearings where baseball players were reprimanded on national television.

Bell doesn't view the issue in black-and-white terms: His own brothers, featured in the film, continually use steroids to enhance their bodybuilding careers. Contrasting the personal with the political, Bigger, Stronger, Faster diagnoses a distinctly American malady. Cinematical spoke with Bell last week in New York, where Bigger, Stronger, Faster has been screening at the Tribeca Film Festival. The movie opens May 30.

Cinematical: The movie tackles a major issue that many Americans have strong opinions about, but it also has a personal component because of your family's story. What's it been like facing the growing public awareness of the film?

Christopher Bell: It's so rewarding to hear, "Hey, you made a good movie. Thanks for telling the truth." We haven't really been criticized or attacked by anybody. There was one woman at Sundance who really upset about 'roid rage, saying that we glossed over it. I think we actually explained it pretty well.

One of the more buzzed-about flicks coming out of Sundance this year was Hamlet 2, starring the very funny Steve Coogan as a drama teacher who, with no other ideas, attempts to rally his Tucson, Arizona students around a politically incorrect musical sequel to Shakespeare's Hamlet -- featuring a song called (I kid you not) "Rock Me, Sexy Jesus." Hamlet 2 also marked one of first and biggest sales at the festival, with Focus Features snatching it up for a reported $10 million. Was it worth that amount?

Well, Moviefone just debuted an R-rated (aka Red Band) trailer for Hamlet 2 that, truth me told, looks kinda funny. Unfortunately, I did not have the chance to see it at Sundance, so all I have to go on is James' not-so-nice review, AICN's very nice review and word of mouth, which, so far, seems to be fairly positive (see more praise from Entertainment Weekly and Rolling Stone). Hey, any film that features the Devil making out with the President of the United States during a wacky theatrical production of a sequel-ized Shakespeare play is okay in my book. Hamlet 2 stars Coogan, Catherine Keener, David Arquette and Melonie Diaz. It was directed by Andrew Fleming and it's due out in theaters on August 22.

Whatcha think?

It's kind of hard to get a read on The Wackness based off this first trailer (via MTV), but it does seem to sport a badass soundtrack -- never a bad thing, if you ask. As we previously told you, The Wackness first premiered back at Sundance to rave reviews from the online press (with the exception of our own Scott Weinberg, who felt the film as a whole was a tad too long). Two more of my friends recently attended a screening of The Wackness and loved it, but said not to expect too much going in. I'll be checking out the film myself later this month at the Tribeca Film Festival, and the rest of you can see it when The Wackness hits theaters on July 3rd. Odd release date, I know, but this film definitely has a summer vibe to it -- hopefully it won't get lost in the shuffle. Additionally, you can see stills from the film here and we'll bring you more of The Wackness in just a couple weeks.

Whatcha think?

When American Teen first premiered back in January at the Sundance Film Festival, audience reaction was very very positive. But then came the big, elephant-in-the-corner question: How do you sell a real-life, big-screen documentary about teenagers to teenagers? Would they look at it and think, "Um, okay, so it's like a longer episode of MTV's True Life?"

Early buzz (including some from our own James Rocchi) was touting American Teen as the next Breakfast Club, with one clear difference: This one was real. The first poster for the film took those early festival reviews to heart and offered up a remake of The Breakfast Club poster, but with these new kids in the old poses. Now comes the first trailer, which definitely keeps the same Breakfast Club tone only we don't hear any "Don't you ... forget about me" in the background. Check it out above and let us know what you think.

Teenagers: Will you go see this in theaters?

The very last film I saw at Sundance this year, at a lively 10 p.m. screening and seated next to the dapper James Rocchi, was The Escapist. It was a perfect ending for the festival, and a great "guy movie" to boot (Rocchi and I are nothing if not burly, rugged men): Brian Cox leads a bunch of Limey blokes, including Joseph Fiennes, on a daring escape from a British prison. Familiar premise, but well executed with a few twists. Rocchi's rave review is here.

The flick was well received during its world premiere at Sundance, and yet somehow it didn't get picked up by any distributors before the fest ended. Now, finally, THINKFilm has come to the rescue. Variety reports that the distributor has paid about $1 million for the film and plans to release it in October, starting small and expanding over the course of several weeks.

For the third year in a row, Sundance is partnering up with the Brooklyn Academy of Music to present the "Sundance Institute at BAM" series, where flicks from this year's film festival will play for New York audiences May 29-June 8. It's just like going to Sundance, only without the snow and ice. Oh, and Brooklyn is actually big enough to handle large crowds. So maybe it's nothing like going to Sundance, except for the movies.

The movies -- 22 features and 36 shorts -- include several must-see titles, some of which have not played anywhere yet except for Sundance. Hot-buzz documentary American Teen (pictured) is on the schedule (complete with a prom-themed BAM party!), as is the soldier drama American Son. Anvil! The Story of Anvil was one of the most popular films at this year's fest, and the heavy metal band featured in it will perform live at BAM. There's the Chuck Palahniuk adaptation Choke, Stacy Peralta's L.A. gang doc Made in America, the South American cannibalism doc Stranded, and award-winning documentaries Trouble the Water and Man on Wire. If you've been paying attention to the indie/film-fest scene this year, you've probably heard of some of these, so it's pretty cool that the Sundance/BAM partnership will give wider audiences a chance to see them.

Tickets for the "Sundance Institute at BAM" series go on sale to BAM members on April 21, and the general public on April 26. Neither Sundance nor BAM has the complete info on its website yet, but here's the BAM page to keep your eye on.

Known in some circles as "that movie where Sir Ben Kingsley hooks up with Mary-Kate Olsen," The Wackness premiered at this year's Sundance Film Festival where it was met with an unbelievable online reception. Just about everyone I spoke to fell in love with this quirky drug-related dramedy from director Jonathan Levine (All the Boys Love Mandy Lane). While I didn't get the chance to see it (our own Scott Weinberg did), these good vibes have me all antsy to check out The Wackness when it hits the Tribeca Film Festival later this month.

Here's a bit from the synopsis: "... Luke (Josh Peck) is a socially uncomfortable teenage pot dealer with no friends, issues with his parents, and a whopping lack of confidence with girls. He trades weed for sessions with his therapist, Dr. Squires (Sir Ben Kingsley), whose much-younger wife (Famke Janssen) is slipping away from him. Squires, a drug-addled shrink with a hairline retreating to the back of his neck and a state of mind slouching back to adolescence, is an unlikely role model-but the two of them forge a friendship based on a mutual need: neither one is getting laid."

Check out both exclusive photos (including a larger version of the image above) from the film in the gallery below. The Wackness arrives in theaters on July 3rd. (And is it me, or does Kingsley have a little Keitel going on in that pic?)

I bet you'll look at this for a second and go, "Um, did they remake The Breakfast Club, or .... what?" No, they did not remake the John Hughes cult classic, but they did remake the poster for the new documentary American Teen. One of the more popular films from the Sundance Film Festival, American Teen was quite often the subject of debate. People loved it, but couldn't understand how someone would market it. After all, how do you sell a documentary about teenagers to teenagers? Sure, it works on MTV ... but would it work on the big screen?

Obviously, Paramount Vantage is running with the quote most often heard amongst critics in Park City: "It's like The Breakfast Club, but a documentary." Even our own James Rocchi was in agreement when he opened up his Sundance review with, "Nanette Burstein's documentary American Teen opens not far from John Hughes country, both geographically and artistically: we're introduced, in quick order, to four students at the high school in Warsaw, Indiana, on the first day of class."

Is American Teen the next Breakfast Club? I guess we'll find out when it arrives in theaters on July 25. (Oh, and for fun we've included the original Breakfast Club poster after the jump.)

[via Film School Rejects]

It's hard to believe it was just last month that the film industry was trudging through hill, dale and snow to watch movies at the Sundance Film Festival, but in this fast-paced world, it does feel like a million years ago. One of the buzz titles at the fest was Christine Jeffs' Sunshine Cleaning, a tale of two sisters that start a business tidying up crime scenes. Our own Kim Voynar felt it wasn't the best film she saw at Sundance, "but it certainly wasn't the worst. It does have its flaws, but overall it's a cute film that fans of [Amy] Adams and [Emily] Blunt will enjoy."

Indeed, with the very talented and attractive Adams (Junebug, Enchanted) and Blunt (The Devil Wears Prada, The Wolf Man) in the lead roles and Alan Arkin providing support as their scheming father, how did this film fail to get picked up during Sundance? Anne Thompson of Variety notes that Sunshine Cleaning "entered the fest as one of several highly anticipated movies with stars attached that were expected to make a big sale. It didn't happen, though, partly because the filmmakers behind the film, Big Beach ... were hoping to make back their $7-million investment in a quick sale."

Ms. Thompson reports, however, that Overture Films has now acquired the film and plans to release it at the end of the year. The distributor may change the title, though, perhaps concerned that it might be considered too similar to 2006 indie smash hit Little Miss Sunshine, for which Arkin won an Academy Award.

(The following review ran during the Sundance Film Festival, but we're re-posting it now to coincide with the film's theatrical release.)

In Passaic, New Jersey, the thrift store and video rental emporium Be Kind Rewind offers customers their choice of films to rent, if by 'choice,' you mean 'VHS only.' But while owner Mr. Fletcher (Danny Glover) is away, his counterman and almost-son Mike (Mos Def) lets Jerry (Jack Black) into the store, against Mr. Fletcher's instructions not to. Jerry is normally a walking disaster -- a dreamer of a mechanic, obsessed with the belief that the power plant he lives near is flooding him with radiation. A failed attempt to sabotage the power plant leaves Jerry energized and magnetized to such a degree that his mere presence wipes all of Be Kind Rewind's inventory. When loyal customer Ms. Kimberly, tasked by Mr. Fletcher to check in on the store while he's away, comes in to rent Ghostbusters, Jerry and Mike's solution to the crisis is hardly logical, but certainly inspired: Produce and shoot a replacement version of the film within 24 hours so she'll be none the wiser about the store's ruined inventory.

But Ms. Kimberly shows the film to some of her foster children, who can recognize that Jerry is not quite Bill Murray, and that Mike is not quite Ivan Reitman, and that holding the right-hand side of Hieronymus Bosch's "The Garden of Earthly Delights" up to the camera is not quite a special-effects shot of a demon-haunted landscape. The foster kids -- thugs and toughs to a man -- come around Be Kind Rewind the next day. But they're not mad; they're curious: "That was pretty good. What else you got?" And other customers are curious about the store's new selections -- which, it's explained, come from Sweden, which is why they cost $20 and you have to request them 24 hours in advance. ...

Written and directed by Michel Gondry, Be Kind Rewind is as much a work of creativity and passion as the re-shot, cut-in-camcorder, home-brew "Swedish Import" re-made Hollywood blockbusters that it revolves around. And, much like Jerry and Mike's re-shot versions of Driving Miss Daisy or Rush Hour or The Lion King, Be Kind Rewind is a film where the plot is less important than panache, where the lack of elegance is made up for by an excess of enthusiasm. Jerry and Mike aren't just shooting day for night; they're shooting day for night, male for female, white for black, Jerry for Jackie (Chan, that is). Aided and abetted by Alma (Melonie Diaz), an early recruit to their shooting requirements (they need a girl for Rush Hour), the store's new offerings rapidly become a sensation, as customers line up to request new films they want to see the 'Sweded' versions of and rent the rest of Jerry and Mike's oeuvre as soon as other customers bring them back. This not only makes Jerry and Mike celebrities (or, more correctly, sub-lebrities) in Passaic, but also may raise the money that Mr. Fletcher's store needs to come up to the building code and avoid being shut down. ...

One of the bigger mysteries for those of us who attended the Choke premiere at Sundance was why that film's star, Sam Rockwell, had grown an abnormally long beard. I mean, dude looked like he was about to star in the Cast Away sequel (this time, financed by UPS). Well, MTV caught up with Rockwell (who, by the way, is an absolute pimp in Choke), and asked him about the beard. Was he growing it for a role ... or was he growing a nest to hide baby birds? Fortunately, it's the former -- Rockwell says, "I'm doing a sci-fi movie where I'm stranded on the moon for three years. That's why I have the beard."

Wait, so it is a sequel to Cast Away! Only, in this one, the main character gets stranded on the moon surrounded by a ton of UPS packages! Actually, no, I'm joking, but that is the premise and it's called Moon. And to add a little funky to the fire, Duncan Jones (aka son of David Bowie) will be directing. Rockwell wouldn't give up how or why his character gets stranded on the moon for three years (maybe it's like a Home Alone thing, where halfway back to earth they realize they forgot ... KEVIN!), however the idea of it sounds pretty damn awesome. What if you were stuck on the moon for three years? It's the friggin' moon -- what the hell do you do for, um, anything? Needless to say, we cannot wait for this one.

During Sundance, Morgan Spurlock's (Super Size Me) new documentary Where in the World is Osama bin Laden was the talk of the town. Prior to the film's first screening, Scott and I ran into Spurlock at a party, where Scott put the director on the spot and demanded to know whether or not he had found ... the Cloverfield monster. Seriously though, there was a lot of hype before the movie was shown -- speculation around whether Spurlock did, indeed, find the world's most wanted man. When Cinematical's James Rocchi sat down for an interview with Spurlock, however, his first question was: "Were they any people out there stupid enough to believe you actually found the guy?" And it's true, when you think about it. But that doesn't mean Spurlock didn't return home with a wonderful little film.

You can watch the new trailer for Where in the World is Osama bin Laden above, and I have to say I loved the little National Treasure-style opening. I dig Spurlock; he's a lot more likable than, say, Michael Moore, and he's the kind of filmmaker you can really relate to. Yes, his docs do come with a bit of popcorn fluff (mainly for commercial appeal), but it never gets annoying, at least in my opinion. Though the cat is out of the bag, and we now know that Spurlock did not find Osama bin Laden, that wasn't really the point in the first place. As James noted in his review, "And while Spurlock may not actually answer the question of where, he actually tackles, with humor, probing wit and a certain grace, the much more important question of why."

The Zellner Brothers made their name with a series of shorts -- made on a budget, crafted with verve, full of a very American minimalism. They were shorts where the punchlines were funny, but the long, agonized pause after was what really made you laugh. In their feature-length debut, Goliath, writer-director David Zellener plays our unnamed protagonist, a fussy, perpetually upset high-tech worker facing an ugly divorce, a demotion at work and the general collapse of his life. He has one connection to the world, though -- his cat, Goliath. Goliath is there for him (and what may be more subconsciously important in his darker moments is the fact that he is there for Goliath). Goliath matters.

Goliath is missing.

And with that, things go from bad to worse with startling speed in a journey to the bottom full of the sort of comedy that springs from sincere, writhe-in-your seat discomfort. All the indignities and miseries of modern life are heaped upon our hero in Goliath -- legal troubles, humiliating career setbacks, the collapse of marriage -- and a few new ones are added like sprinkles on top: The sex offender down the street, the grim excitement of found pornography, the background hum of the server farm punctuated only by the sound of your idiot co-workers beatboxing their lunch break away. Things are not good, and Goliath being missing is not helping any.

Anytime you see a film in the New Frontiers category at Sundance, it's a dicey proposition. The category tends to showcase a lot of edgier and experimental films that push the boundaries of filmmaking, and as a result, you never know for sure what you're going to get. Sometimes New Frontier films are intriguing, sometimes puzzling, and occasionally dumbfounding, but they're almost always interesting and a welcome break from the usual fest fare. Sometimes, I'll see a New Frontier film and not be wild about it at the time, but it will linger in my head and make me think long after the typical fest fare has come and gone. Such was the case with Reversion, the second feature directorial effort by Mia Trachinger, whose first film, Bunny, garnered her "Someone to Watch" and "Best Feature under $500,000" nominations at the Indie Spirit awards in 2001.

I caught a public screening of Reversion at the Egyptian near the end of the fest. There were a good many walkouts (though I tend to expect that for New Frontier films, and consider it more a reflection of the diversity and edginess of the category than of the films themselves) but there were far more people who stuck around for the Q&A, and quite a pack who followed Trachinger out of the theater afterward to talk more about her film.

Our post-modern age makes it easy (indeed, possibly too easy) to find takes or spins or twists on traditional stories or genre films; what's often harder is finding well-executed examples of those genres in the first place. (Put more bluntly, we've all seen plenty of recent ironic crime films or teen comedies -- but how few of those actually work as crime films or teen comedies?) The British film The Escapist, which made its North American debut at Sundance this year, not only works as a brilliant, twisting existential expansion of the traditional prison break film; it also works as a crackerjack example of the traditional prison break film. Brian Cox stars as Frank, a convict serving a life sentence; after hearing of his daughter's second overdose, he determines that he has to get out, he has to see her: "I have to make things right."

As played by Cox, Frank's hard to understand, but easy to like -- and the other way around, too. Cox is one of our best actors -- he's great in both high art and high trash, and The Escapist offers him a chance to work both ends of that divide. We watch, riveted, as Frank tries to break through the metaphorical wall around his feelings; we watch, riveted, as Frank tries to break through the literal walls keeping him from the outside. Frank's demeanor is pure prison -- a hot-forged alloy of defiance and resignation tempered by time -- but he's also more than just that facade.