Mike Bookey

Oh, how awkward.It took five years for director Peter Sollett to follow-up his sparkling feature debut Raising Victor Vargas with his adaptation of Rachel Cohn and David Levithan's novel Nick & Norah's Infinite Playlist. And while the road along the way surely was littered with Hollywood-typical stories of aborted projects and collapsing funding, he should take comfort in this: He has now established himself as cinema's reigning genius of awkward young love.

Maybe a filmmaker might consider it problematic to be so pigeonholed. It becomes too easy to ignore the other facets of someone's talents, like when Quentin Tarantino became "fast-talking, pop-culture-referencing super-violence guy" and the world conveniently ignored his profoundly moral humanism. But it can also mean that a talented director gets to keep working. And when you've seen something as effortlessly charming as Raising Victor Vargas followed up with this sweet little keeper, you want Sollett to keep working.

The New Year Parade shows strong at BendFilm.BendFilm's list of movies once again can be summed up in one word:
Diverse. That seemed to be the overriding theme of almost every movie I
saw

The New Year Parade (Best Director Award, Tom Quinn) was
perhaps the most interesting, focusing on a divorce and the subsequent
fallout of family and friend alliances. The context is South
Philadelphia and its marching band orchestra. Using actors and plain
ordinary people gave it a forceful character study of good people, bad
reactions and even worse relationships.