I’ve assembled a slight rethink of prime Sundance Film Festival features. The total is now up to 19. I might have time to see five or six more but that’s it. I know how this works. You never get to see as many films as you’d like. Not when you’re filing eight to ten stories daily, you won’t. If I’m missing something major, please inform.

R.J. Cutler‘s The September Issue. Carlos Cuaron‘s Rudy and Cursi. Lynn Shelton‘s Humpday. (Maybe.) Antoine Fuqua‘s Brooklyn’s Finest. Gregg Mottola‘s Adventureland. Ross Katz‘s Taking Chance. Sophie Barthes‘ Cold Souls. Jonas Pate‘s Shrink. Armando Ianucci‘s In The Loop.Emily and Sarah Kunstler‘s William Kunstler: Disturbing The Universe. Josiane Balasko‘s Cliente. Tom DeCillo‘s When You’re Strange. Marie Noelle and Peter Sehr‘s The Anarchist’s Wife. Lone Scherfig‘s An Education. Oliver Hirschbiegel‘s Five Minutes of Heaven. Glenn Ficarra and John Requa‘s I Love You Phillip Morris. Davis Guggenheim‘s It Might Get Loud. Noah Buschel‘s The Missing Person. Shana Feste‘s The Greatest.

I’ll see Mary and Max, the opening-night film, but only because there’s nothing else to do. Max, the character voiced by Phillip Seymour Hoffman, is said to be morbidly obese, so right away I don’t want to go there. Even if he’s made of clay. Obesity is the King Kong of metaphors in terms of the current American malaise, and particularly the economic meltdown that is now threatening our security and stability.

Today is my last in North Bergen/Manhattan until January 30th or thereabouts. Flying to Park City and the Sundance Film Festival tomorrow morning, and then doing the Santa Barbara Film Festival from 1.22 to 1.30.