The Electrical Life of Louis Wain Cast: A Vague Visages guide for every main performer and character in Will Sharpe’s 2021 Amazon Prime movie.
Army of the Dead Soundtrack: A Vague Visages guide for every featured song in Zack Snyder’s 2021 Netflix movie.
“The ‘cinematic’ moviegoing experience is gradually taking shape once more, not just the notion of spectacle, but stimulation of the mind and conscience.”
How did the French film industry suddenly change its attitude towards Netflix? And how did Netflix become an advocate for film heritage preservation? Here’s a report by Alina Hirschhausen.
Seance Cast: A Vague Visages guide for every main performer and character in Simon Barrett’s 2021 Shudder movie.
“‘Kid 90’ is a story that could have used more unguarded introspection.”
Blood Brothers Soundtrack: A Vague Visages guide for every featured song in Marcus A. Clarke’s 2021 Netflix documentary about Malcolm X and Muhammad Ali.
Worth Cast: A Vague Visages guide for every main performer and character in Sara Colangelo’s Netflix movie.
Memory and Style: The Threads of a Collective Experience in Marcel Ophuls’ ‘The Sorrow and the Pity’
“‘The Sorrow and the Pity’ is surgical and functional, yet unquestionably a reflection of the imagination of an artist.”
“Loznitsa’s ‘State Funeral’ is an important reflection on the moving image.”
“‘Queen Marie’ may not be a modern historical classic, but its wink-of-the-eye moments subtly inform the audience about the filmmakers’ intent. That, I can appreciate.”
“Don’t be surprised if ‘Street Gang: How We Got to Sesame Street’ leaves you wanting more — that’s often the mark of something special.”
“Roger Ebert once wrote ‘it’s not what a film is about, it’s how it is about it,’ and it’s this phrase that I usually return to when thinking about cinema that deals with humanity’s worst impulses.”
“Both emotionally and narratively, ‘The Man Standing Next’ is an easy story to get lost in.”
“It may seem strange to qualify Mertens’ audaciously original production as ‘horror’ when it has no gory set pieces, jump scares, monsters or special effects. Yet, despite a lack of these things, ‘Time of Moulting’ is very much a horror film.”
“As much as I love a good story, the best movies always transport me, in an intangible sense, through the base elements.”
“Greyhound’s inability to venture further into the depths of wartime psychology leaves it susceptible to being forgotten just as quickly as it emerged.”
“In my hatred for the Bond franchise, I feel I may have done a disservice to its star. I have always had a tendency to discount Sean Connery as an exquisitely sculpted statue, capable of filling out a tuxedo very nicely but little else.”
“Jened’s real-life teen angst and its participants’ hopes and dreams — from endless makeout sessions to the hysterical aftermath of a crab outbreak — are as horny, heartfelt and human as it gets.”
“There is a danger and dynamism to 20s cinema which was gradually eradicated by the standardisation of production processes.”