VVoices #7: Vague Visages Contributors on the Best M. Night Shyamalan Film
“While ‘Old’ never quite fully connects emotionally, the themes inherent in the story help lend the movie the depth it doesn’t get from the performances”
‘Old’ Cast: A Vague Visages guide for every actor and character in M. Night Shyamalan’s 2021 movie.
‘The Village’ Cast: A Vague Visages guide for every actor and character in M. Night Shyamalan’s 2004 movie.
‘Fear Street Part Three: 1666’ Soundtrack: A Vague Visages guide for every featured song in Leigh Janiak’s 2021 Netflix movie.
‘Fear Street Part One: 1994’ Soundtrack: A Vague Visages guide for every song in Leigh Janiak’s 2021 Netflix movie.
“For all its islands of promise, ‘Threshold’ is really just a passable family addiction drama with horror elements that are never fully realized.”
“‘The Conjuring: The Devil Made Me Do It’ fails to meet its potential as a thoughtful thriller that explores possession on both the supernatural and human front…”
Dipankar Sarkar Interviews ‘Irul’ Filmmaker Naseef Yusuf Izuddin
“‘The elements of ‘The Dry’ may be conventional, but the presentation, as well as Connolly’s attunement to very real concerns, still burns.”
“Everything about ‘Seance’ is loudly, proudly feminine and female focused… if one didn’t know this was Barrett’s work, it could easily be mistaken for that of a female filmmaker, which is no small feat.”
“Sure, ‘Saint Maud’ can be called a horror film, but it is equally a psychological drama that gets a lot of mileage from a tried and true trope: the shifting power dynamics in a superior/subordinate relationship.”
“While Wright’s stylized execution is impressive, ‘The Woman in the Window’ is a yarn that never fully grabs its audience by the jugular.”
“One of the great pleasures of watching any Almodóvar film, but especially ‘Julieta,’ is studying its expressionistic textures…”
“‘Saint Maud’ proves, once again, that horror, and particularly indie horror, provides the opportunity for first timers to take real risks.”
“‘Mayday’ is the filmic equivalent of an answer to a distress call, letting those in need simply know that it’s there.”
“While Suzuki’s overly-stylized and sometimes incomprehensible films ultimately led to his termination from Nikkatsu in 1968, his legacy safely lives on in modern day Japanese cinema…”
“Occupying a middle space between the classicism of Japan’s most well-known filmmakers and the politically charged avant-garde of the New Wave, Suzuki uses the trappings of noir to explore the ramifications of isolation.”
“A blueprint for Suzuki’s later masterpieces, ‘Take Aim at the Police Van’ is a solid cinematic vehicle full of suspense and surprises.”
“In Kurosawa’s noir films, characters struggle to move beyond loss — personal, financial and national — only to find that more loss awaits them.”