Is Michael Mann’s Horror ‘The Keep’ a Hidden Gem? Well…
“Really, the main worth of The Keep is as a curiosity; to see a significantly different career path that Mann could have taken had this film had any sort of positive impact on pop culture.”
Josh Slater-Williams
Josh Slater-Williams (@jslaterwilliams) is a freelance writer based in England. Alongside writing for Vague Visages, he is a regular contributor to independent British magazine The Skinny and has written for Little White Lies magazine, VODzilla.co, The Film Stage, and PopOptiq.
IndieLisboa 2016 Review: José Barahona’s ‘I Was in Lisbon and Remembered You’
“Sometimes the most difficult kind of review to write is one for a film that’s full of good intentions; a film that’s never outright hateful or anything like that, but lacking or floundering when it comes to certain decisions at a script or direction level.”
Kinoteka Polish Film Festival: Rediscovering ‘The Secret Garden’
Josh Slater-Williams on the Nostalgic Element of Agnieszka Holland’s 1993 Film
Kinoteka Polish Film Festival: Jerzy Skolimowski’s ‘Barrier’ and the Sneaky Cameo
Josh Slater-Williams on Polish Director Jerzy Skolimowski
‘The Huntsman: Winter’s War’ Turns Snow White Into Keyser Söze
“Considering how little ‘Winter’s War’ really has to do with its predecessor and subject, they might as well just make her the lead for a third film.”
‘The Young One’ Sees Luis Buñuel Tackle the American South
“With The Young One, Buñuel rejects the surrealism that would define his early films and almost all the European work that followed, presenting a rather straightforward narrative with superficial similarities to a Tennessee Williams screenplay.”
Jacques Tardi Adaptation ‘April and the Extraordinary World’ Offers a Thrilling Alternate History
“The extraordinary world of April and the Extraordinary World is no simple one, and it’s welcome that its worldview veers away from the simplistic.”
With ‘The Mermaid’, Stephen Chow Fully Utilizes the Camera as Comedic Tool
“Stephen Chow’s invigorating, irreverent, slapstick, but occasionally serious, comedy The Mermaid is an odd beast to pin down.”
Glasgow Film Festival Review: Joachim Trier’s ‘Louder Than Bombs’
“Louder Than Bombs may be the first foray into (fully) English-language features for Norwegian director Joachim Trier and his regular screenwriting partner Eskil Vogt, but it absolutely feels like a logical progression of their impressive prior collaboration, the sombre Oslo, August 31st.”
Glasgow Film Festival Review: John Carney’s ‘Sing Street’
“As the saying goes, if it ain’t broke, don’t fix it.”