Documentaries are often overlooked by some media, mainly interested in celebrity here at Sundance, and one rarely has the opportunity to check out the docs, but this year, I at least saw two, and both outstanding.

Enron

Today began with a screening of Enron: The Smartest Guys in the Room, the darkly comic but ultimately tragic account of the rise and fall of this billion dollar corporation. Adapted from the book of the same name, "Enron" meticulously tracks the rise and fall of Enron boss Kenneth Lay and his second-in-command, Jeffrey Skilling, while also delving into the activities of their various lieutenants. A study of ego, power, greed, fraud and even sex, the film is a depressing exploration of the worst excesses of corporate America. Alex Gibney directs his film with clarity, underpinning the period in which this scandal took place. Deeply disturbing, the film has a powerful and emotive resonance, yet it does not attempt to over simplify the issues for audience sanitisation. A superb film in its detail and structure, Enron is a tragic tale of corporate greed, told with an almost savage humour and emotional depth. It is certainly a film worthy of serious consideration.

Inside Deep Throat

As darkly comic but so different is the wonderfully entertaining and exuberant Inside Deep Throat, thus far one of the best films at this Festival. This documentary examines the sexual revolution phenomenon that was the 1972 X-rated porn movie, 'Deep Throat,' which became (and still is) the most successful independently-produced movie ever made, bringing in a worldwide gross of $600 million on a budget of just $25,000.

The focus of this documentary does not focus on the specifics of 'Deep Throat' as a movie, but will examine the reasons it was such a cultural sensation (which included the infamous Watergate source who took the movie's name as a pseudonym), breaking down new barriers and helping establish pornography as a big business. The film is remarkable and ironic, given the fact that mainstream Hollywood distanced itself from the porn industry, yet here is Universal Studios, releasing this film with an NC-17 rating no less.

It is a brave choice by the studio, as it includes some brief clips from the film, but Inside Deep Throat is not, by any means, just a film about pornography. Yes, it deals, often with vibrant humour, with how and why the film got made, but it does so within the context of a social and political milieu. The film chronicles the rise of the industry, its political ramifications, and how video would ultimately give new direction to what remains as a multi million dollar business.

But Inside Deep Throat is a documentary about conservative America's impact on sexuality, and it seems that we have come full circle. Here is a film that works as a political; and social commentary, and the under the flawless and astute direction of Fenton Bailey and Randy Barbato, this quite stunning film is also deliciously entertaining, sexy and consistently fascinating. Whether you snuck a look at Deep Throat in your youth or not, this documentary remains unforgettable and insightful. Universal may well have an unexpected hit on its hand when the film begins its US roll out early next month.

Thumbsucker

As for the best of the dramatic films thus far, Thumbsucker is on top of the list. A coming of age story with a difference, this special and often unique comedy drama is about parents and sons, first love, self-discovery and ultimately breaking away. The film's protagonist is one Justin Cobb, addicted to thumbsucking. A bright but awkward high-school teen, he wants to quit, but nothing works. He tries everything from putting ink on his thumb to hypnosis from his New Age orthodontist. He gets so desperate that when a school psychologist suggests using medication to help him focus, Justin leaps at the chance, despite his loving mother's concern. Treated with a wonderfully wry, understated humour and featuring extraordinary performances from Tilda Swinton and a charming Keanu Reeves, Thumbsucker is a stunning debut from a director who has crafted a wonderfully rich and rewarding film, destined for commercial success if picked up by the right distributor.

Kung Fu Hustle

For pure adrenalin-charged escapism, you can't go past the irrepressible Kung Fu Hustle, the latest gem from the extraordinary Steven Chau. It makes little difference if some of the film makes little sense, because it so full of comic inventiveness, original, mind-blowing action sequences and visual effects that put expensive Hollywood to shame.

The movie takes place in Shanghai before the 1949 revolution and is run by the notorious Axe Gang, an oversized mob of young men dressed in morning suits and top hats who swing axes to instill fear. More often than not, the axes wind up being planted in various skulls and between the shoulder blades of those who don't kowtow to the Axe Gang's reign. The only part of the city which the gang has no interest in controlling is Pig Sty Alley, a ramshackle neighborhood of poor but seemingly happy folk. Pig Sty Alley is run by the Landlord and his Landlady, an older married pair who seem to be in a constant state of sparring.

Chau and Lam Tze Chung play a pair of would-be extortionists who try to shake down the seemingly submissive folk of Pig Sty Alley. Their attempts at intimidation fail miserably, especially when elderly women can land stomach punches which cause them to spit up blood. The dim duo accidentally bring the Axe Gang into the fray when a stray firecracker lands on the hat of the gang's leader. But when the Axe Gang attempts to take control of Pig Sty Alley, they discover the lowly residents are more than capable of not only maintaining a degree of self-defense, but can also launch a high-octane offensive assault.

One of the most visually innovative and exuberant films in the recent history of Chinese kung fu cinema, Kung Fu Hustle is as hilarious as it is action-packed, never allowing the audience to relax for a moment. It's an ingenious and exuberant piece of entertainment.

Assorted Interviews

When not seeing films, interviewing keeps one busy. Spoke to Brenda Blethyn who is about to start shooting a new film in Australia, while the always amusing Billy Boyd talked about life after Lord of the Rings. Then rushed off to interview Keira Knightley one on one where we talked fame and strip clubs. That interview will be running soon.

Next day was all interviews except for one major screening which ill mention soon. Day began with the wonderful Tilda Swinton who said her character in the upcoming Constantine provides a major plot twist to the dark action film. We also talked about The Lion, The Witch and the Wardrobe which sounds great. As Tilda won't be doing print press for Constantine, watch put for the one and only online interview coming soon.

Next stop was Poppy Montgomery of "Without a Trace". It was fun making fun of this Aussie whose Australian accent has all but gone. She's here with the thriller Between. More interviews included Steve Buscemi whose latest directorial film Lonesome Jim is here. Great guy who talked about his next job voicing one of the animals in Charlotte's Web.

Wolf Creek

Final interview of the day with the fascinating Steven Chau. Quite the day, and to end up the night, I attended the screening of the world premiere of the much anticipated Aussie film Wolf Creek, enjoying its world premiere here at Sundance. Loosely based on true events, this chilling Aussie film, acquired by Miramax/Dimension prior to Sundance, tells the chilling plight of three young tourists, two British women and their Aussie male companion, terrorised in the midst of Australia's outback by a deranged loner.

Wolf Creek could easily resort to hackneyed formula, but under the direction of debut director Greg McLean, Wolf Creek pulls no punches in its depiction of horror. Genuinely terrifying, McLean places the audience in a tranquil sea of safety as we get to know his characters, before the terror begins, and unlike Hollywood films, presents us with an intensely visceral experience.

Visually hypnotic, the film explores, as so many Australian films have done so beautifully, the vast emptiness of the outback, which becomes a primary character. McLean has cast his film with some exciting new talent, including first-rate work from Cassandra Magrath and Kestie Morassi, not to mention an extraordinary performance by veteran John Jarrat. A genuinely haunting, compelling and frightening work, Wolf Creek is one of the most original and daring thrillers to reach our screens in years.