Sundance critics appear to be as delighted with Rick Famuyiwa‘s Dope as the Open Road and Sony execs who’ve paid $7 million for the rights plus a $15 million p & a commitment. It’ll almost certainly be a hit — a just reward for being a snappy (i.e., jizz-whizzy), cartoonish, wild-ass Inglewood ‘hood action farce about friendship, guns, ’90s sounds, romance, sellin’ somebody else’s cocaine, gangstas, bullets flyin’, gettin’ into college (hey, maybe Harvard) and foxy, model-esque girls flashin’ that come-fuck-me look at hapless geeks with “who me?” gee-whiz expressions (in this instance Shameik Moore), and one of those hotties, drugged way the fuck up, stumbling across a busy street and then pissing outdoors in the shrubbery of a faux-Starbucks and the incident getting covered big-time by local TV news. Of course!

Dope pallies (l. to r.) Tony Revolori, Kiersey Clemons, Shameik Moore.

In other words, for all its keep-it-comin’ energy Dope is smartly assembled exploitation crap. Okay, not fair — it’s too superficially engaging to be called “crap” but it’s definitely insubstantial — a fleet, Tarantino-like hodgepodge of fantasy bullshit in the vein of a New Line Cinema release from the ’90s (i.e., House Party), and adapted to the general sensibility of 2015. In other words it’s fun as far as it goes but definitely not that great. Everything that happens fits a carefully calculated Hollywood street sensibility and is right the fuck on the nose; nothing is soft or subtle or indirect. Plus it’s too long by 15 or 20 minutes. At the 90-minute mark I was saying to myself, “Wait, wait…this thing should be wrapping up by now but it isn’t…it feels like it’s still building and developing points rather than starting to pay off.”

Instead of the usual routine of writing in the morning and then starting screenings around noon, this morning I’m catching a 9 am showing of Rodrigo Garcia‘s Last Days in the Desert (which Variety‘s Justin Chang has called “a quietly captivating and remarkably beautiful account of Jesus’ time in the wilderness before the beginning of his ministry”) and then Rick Famuyiwa‘s much-buzzed-about Dope at 11:30 at the Prospector. And then, starring around 2 pm, three hours of writing before catching Stevan Riley‘s Listen To Me Marlon at 6 pm at the Holiday Cinemas, and then Joe Swanberg‘s Digging for Fire at 9:45 pm at the Eccles. I got up at 5:30 am to get a jump on filing, but seeing four films per day (which is what I’ve been averaging) means there’s never enough time to write much of anything. Maybe I’ll cut it back to three-per-day starting tomorrow (i.e., Tuesday, 1.27). I return to Los Angeles on Friday, 1.30, around noon, so between now and then I’ll be seeing about 13 films, counting today’s four.

With Birdman having just won SAG’s Best Ensemble award on top of snagging the PGA Zanuck trophy last night, it’s looking even more likely that it’ll take the Best Picture Oscar. Right, Sasha Stone, Scott Feinberg, Pete Hammond, Tom O’Neil and Steve Pond? It may not, of course, but if Boyhood wins instead (as an L.A.-based, Sundance-reporting journalist is still insisting will happen), it’ll be a huge shocker. And by the way, The Theory of Everything‘s Eddie Redmayne winning SAG’s Best Actor award means over-and-out for Michael Keaton?

Distracted this morning by Birdman euphoria and other matters, I now have 17 minutes to tap out something about Noah Baumbach and Greta Gerwig‘s Mistress America, a whipsmart, acrid, His Girl Friday-like comedy which I was entirely delighted with. Comedy is hard but making a fast, rat-a-tat-tat comedy is, I’m guessing, all the harder, especially when you’ve managed to fortify it with serious character shadings and a touch of pathos. I was also pleased and gratified by Ryan Fleck and Anna Boden‘s Mississippi Grind, which has an assured, nicely textured, low-key ’70s quality, and is easily the best film that Ryan Reynolds (whose performance as a good-natured knockabout is completely centered and confident) has ever starred in. I was fairly charmed and definitely amused by Patrick Brice‘s The Overnight, which I caught last night at 11:30 pm. It’s a congenial sex-kink comedy about an innocent 30something couple being gently and lovingly manipulated into sexual receptivity to a mellow predatory couple looking for a little action. It really works all around, but I have to leave for Drunk, Stoned, Brilliant, Dead…later.

I guess I should say thanks to Awards Daily‘s Sasha Stone for giving me some Birdman/PGA props and for not backhanding me too badly in the process. “Jeff has been a one-man champion for Birdman where others were mere admirers from afar,” she wrote. “Older women in the Academy won’t go for it, Jeff proclaimed, after he was told in Telluride that a fellow journalist’s wife didn’t like it. It’s too divisive to win, went the mantra. But Jeff was there. Day in and day out, for richer or poorer, in sickness and in health — not just championing the film but predicting it to win when no one else did.” Except I wasn’t so much predicting a win (okay, I was in HE’s Oscar charts) as saying Birdman ought to win because it’s the only 2014 film with a swirling, magical, go-for-it feeling. Which the haters gave me a ton of shit for saying.

My only opportunity to see Doug Aitken‘s Station to Station is a 3 pm screening today at the Park City Library. I could make it, but that would mean blowing of Alex Gibney‘s Going Clear, the anti-Scientology doc which I feel obligated to catch as soon as possible. It’s also necessary, I’m being told, to catch tomorrow morning’s 11 am showing of Rick Famuyiwa‘s Dope, a big acquisition title, along with tomorrow morning’s 8:30 am screening of Kim Farrant‘s Strangerland.

Joe Franklin, one of the great New York personalities and an indefatigable interviewer, has passed at age 88. Fare thee well to a hard-working New York institution who, according to a hilarious N.Y. times obit, “presided over one of the most compellingly low-rent television programs in history, one that even [Franklin] acknowledged was an oddly long-running parade of has-beens and yet-to-bes interrupted from time to time by surprisingly famous guests.” In 1993 Franklin reportedly claimed that he had interviewed than 300,000 guests during his show’s 40 year run. Yours truly sat on Joe’s couch in late ’79 or early ’80. I was plugging Sid Geffen‘s Thousand Eyes Cinema Guide, which I was the managing editor of. I remember that Joe suddenly asked me during our discussion what I thought of Akim Tamiroff. I was stunned. What the hell was I supposed to say? My response: “Uhhm…grizzled, unshaven Turkish guy, mannered, always with the bottle…Touch of Evil, Ocean’s Eleven…I don’t know, he’s okay.”

During a Saturday afternoon female writer’s panel at Park City’s Egyptian theatre (“Power of Story: Serious Ladies“), Girls creator Lena Dunham demonstrated a dogged anti-Woody Allen tenacity by lobbing a fresh grenade over the months-old Dylan Farrow accusations. But she was a little sloppy about it. “Woody Allen is proof that people don’t think everything he says in his films is stuff that he does,” Dunham said, “because all he was doing was making out with 17-year olds for years and we didn’t say anything about it.” Allen had a relationship with a 17 year-old, played by Mariel Hemingway, in 1979’s Manhattan, but that was a one-off. Dunham added a stunningly cynical remark when she suggested that Allen falling for Soon-Yi Previn in ’91 (and then marrying her in ’97) was p.r. theatre meant to deflect moral criticism. “No one went that Woody Allen is making out with a 17-year old in Manhattan and I guess he’s a real perv,” Dunham said. “And then lo and behold…” Co-panelist Kristen Wiig completed the thought with a reportedly sarcastic “he fell in love.” That’s fairly venal. Also on the panel were Mindy Kaling (The Mindy Project) and Orange Is The New Black creator Jenji Kohan.

All along I’ve been saying — insisting — that among 2014’s Best Picture contenders, Alejandro G. Inarritu‘s Birdman is the only ecstatic, drop-dead brilliant contender. And all along a majority of the online know-it-alls (Gold Derby, Gurus of Gold, Steve Pond, Sasha Stone, Mark Harris, et. al.) have been saying the Best Picture Oscar will nonetheless go to Richard Linklater‘s Boyhood. And all along I’ve said that would be (a) a personal disappointment but (b) a fine, supportable decision because Boyhood is an inspired, spirit-lifting landmark of sorts — a stunt film with soul, finesse and an engaging scheme.

And then last night the roof fell in with chunks of sheetrock and ceiling styrofoam on the floor and all the Boyhood supporters stumbling around and rubbing plaster dust out of their eyes and going “what happened?” For Birdman won the Producers Guild of America’s Best Picture equivalent trophy, i.e., the Darryl F. Zanuck Award. Boom.

All across Oscarland and particularly among the prognosticators, wise guys are figuring ways to spin this so it seems as if they half-knew and half-expected this to happen all along. Hilarious.

Needless to add there is nothing but joy and elation up in Park City. If I wasn’t a sober guy I would have bought a bottle of champagne and guzzled it. For the first time since the triumph of Kathryn Bigelow‘s The Hurt Locker, which I had pushed from its first screening at the ’09 Toronto Film Festival, HE’s personal Best Picture pony appears to be surging and within reach of a big win.

Maybe. Don’t count your chickens. There could always be a backlash. (Sasha Stone tweet: “When Birdman becomes the frontrunner people will start to hate it too. Like clockwork.” Did she say “start” to hate it?) But this feels awfully good, I must say.

The American hinterland has spoken again this weekend about American Sniper. It will probably earn another $60 million this weekend on top of last weekend’s super-haul, and that means that Joe and Jane Bubba want Clint Eastwood‘s film to win the Best Picture Oscar. The Producers Guild Awards are unfolding as we speak, and they’re expected to give their Daryl F. Zanuck award to Boyhood…right? Just saying. Different realms.

Yesterday I caught four films over an 11-hour period, and I’ve got another three-and-a-half on the schedule today — a half-hour’s worth of Stevan Riley‘s Listen to Me, Marlon (2:30 pm, Prospector), Anna Boden and Ryan Fleck‘s Mississippi Grind (3:30 pm, Eccles), Noah Baumbach and Greta Gerwig‘s Mistress America (6:30 pm, Eccles) and then, possibly, most of Craig Zobel‘s Z For Zachariah (8:30 pm, Library). And if I want to be a serious madman I’ll catch an 11:30 pm screening of Patrick Brice‘s The Overnight at the Prospector.

On top of which I’m moving this morning from the somewhat larger suite #121 at the Park Regency to the somewhat smaller #124, which should take about an hour. A tight clock. Oh, to wander through the Sundance Film Festival solely on whims and instinct with no need to file…stop dreaming.

For me the smartest, most engaging and fully realized film I saw yesterday was Morgan Neville and Robert Gordon‘s Best of Enemies, a wise and propulsive capturing of a kind of clash-of-the-titans TV debates between William F. Buckley and Gore Vidal during the 1968 Democratic and Republican conventions.

But running a close second was Andrew Mogel and Jarrad Paul‘s The D Train, by far the darkest and nerviest laugher I’ve seen in ages. It begins as a not-too-funny situation comedy about a neurotic, high-strung suburban family man (Jack Black) who goes to great fraudulent lengths to travel to Los Angeles to lure a former high-school classmate who’s now a more-or-less-failed Hollywood actor (James Marsden) to a 20th anniversary high-school reunion.

What I didn’t expect to see was a detour into Brokeback Mountain territory by way of a Lars von Trier film. But at the same time, as I mentioned during the post-screening q & a, The D Train follows the classic structure known as “the Three Ds” — desire, deception and discovery.