Review: Noah Segan’s ‘Blood Relatives’
“‘Blood Relatives’ is constantly in conversation with past vampire works without feeling the need to signpost its references. Segan is confident in the material, both onscreen and off.”
Joey Keogh
Review: David Gordon Green’s ‘Halloween Ends’
“‘Halloween Ends’ succeeds or fails on the strength of Campbell’s performance, and the young, relatively new performer is a revelation.”
Review: Joseph and Vanessa Winter’s ‘Deadstream’
“‘Deadstream’ is an inventive, unpredictable and hugely charming found footage horror film, but it’s also a clever indictment of internet culture with a gripping, vanity-free lead performance from its co-writer/director.”
Review: Christian Tafdrup’s ‘Speak No Evil’
“‘Speak No Evil’ is a horror-comedy of manners, and the performances are solid throughout, particularly from the children, but the movie’s cynical, meaningless and utterly contrived conclusion feels like a cheat after everything that’s come before.”
Review: Bertrand Mandico’s ‘After Blue’
“‘After Blue’ isn’t completely impenetrable, and it is lovely to look at, but if there’s a strong feminist statement being made — underneath the flagrant nudity and sexual escapades — it’s buried pretty deep.”
I Love You, Man: Celebrating ‘Superbad’ and Its Embrace of Male Friendship
“‘Superbad’ has stood the test of time, and will continue to do so, because there are so few movies that tackle male friendships in such a brutally honest manner, with care and attention, and without falling back on sarcasm once all is said and done.”
Review: Charlotte Colbert’s ‘She Will’
“‘She Will’ is an impressive introduction to Colbert as a filmmaker, not to mention a great showcase for what Krige can do with a leading role.”
Review: Emily Branham’s ‘Being BeBe’
“‘Being BeBe’ is full of heart, soul and wit — much like the subject herself — and provides a fascinating glimpse behind the curtain for fans and curious newcomers alike; a joy-filled, life-affirming must-watch.”
Review: Adrian Shergold’s ‘Cordelia’
“‘Cordelia’ is generally easier to appreciate for what it’s trying to do rather than what the film actually achieves.”
Review: Maxwell McCabe-Lokos’ ‘Stanleyville’
“An ambitious failure is often more interesting than a safe success, and what ‘Stanleyville’ lacks in narrative propulsion it makes up for with sheer audacity.”
He’s Not Even from ‘Round Here: ‘Hot Fuzz’ at 15
“‘Hot Fuzz’ has remained a key part of the zeitgeist thanks to its specificity, but also because the movie celebrates doing the right thing, working together and being a good person above all else.”
Review: Mattie Do’s ‘The Long Walk’
“‘The Long Walk,’ the latest from Mattie Do — Laos’ first and, so far, only female director — understands that for time travel to make sense, all one has to do is present it as is. For Do, it’s a feeling more than a fact.”
Review: Richard Bates Jr.’s ‘King Knight’
“‘King Knight’ isn’t terribly substantial overall, with much of the central premise built on being weird for weird’s sake.”
Review: Edoardo Vitaletti’s ‘The Last Thing Mary Saw’
“Considering that religious fundamentalists continue to persecute gay people, it’s shortsighted to present a story like ‘The Last Thing Mary Saw’ with such little concern for the current real-life ramifications of being queer.”
Review: Matt Bettinelli-Olpin and Tyler Gillett’s ‘Scream’
“‘Scream’ conjures up a fast-moving, razor-sharp, viciously violent and sufficiently surprising modern slasher of which Craven himself would be proud.”
Hey, Don’t Write Yourself Off Yet: ‘Orange County’ At 20
“‘Orange County’ is inarguably a product of its time, but the movie is also timeless in its exploration of how writing requires us to look inward as well as outward — and be just as merciless in the process.”
Interview with ‘Clerk’ Director Malcolm Ingram
Vague Visages’ Joey Keogh and filmmaker Malcolm Ingram discuss the 2021 Kevin Smith documentary ‘Clerk.’
Review: Malcolm Ingram’s ‘Clerk’
“The biggest takeaway from ‘Clerk,’ aside from the fact that the terrific Joey Lauren Adams should’ve had a bigger career, is that nobody is more surprised by Smith’s success than the man himself.”
Embracing the New Normal: ‘The Addams Family’ Is Timeless at 30
“‘The Addams Family’ is a beacon of hope for weird kids everywhere, since Wednesday and Pugsley are never forced to change who they are to fit in, nor do they care what anyone thinks.”
Review: Casey Tebo’s ‘Black Friday’
“Tebo’s low-stakes take on holiday horror is a lot like Christmas candy; ‘Black Friday’ hits the spot, but you might be left craving something slightly more substantial soon afterwards.”