“Rebuilding” belongs to a genre that’s now past its sell-by date: the slow-moving Sundance red-state movie. By red state, I don’t mean that the politics are right wing in any overt way. I mean that the drama is mired in the fetishistic trappings of the American West — the horses and farm houses, the sunbaked wilderness, the small-town banks and bare-bones convenience stores, the men walking around in Stetsons and cowboy boots, the dialogue that’s so laconic you could drive a pickup truck between the lines.
At a place like Sundance, this sort of movie has always exerted a hip countercultural appeal — a feeling of “Look, even a
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