Between October 21 and November 3, Festival Scope is showcasing Festival du Nouveau Cinéma (FNC). Vague Visages is proud to once again be a media partner. Festival Scope’s latest spotlight features a selection of international shorts, with only 200 unique free screenings available worldwide. All films are available […]
“What allows Cattet and Forzani’s films to flourish is that they modify cinematic influences to accommodate today’s instant gratification culture.”
“Though the polizieschi may seem far away from the quiet nobility of the Neorealist films, with all their sober-minded social critique, they are bound together by the privileging of the real world.”
“In ‘Martin Eden,’ the games that Marcello plays with form and structure coalesce into an immensely moving film, which — grounded by the standout turn from Marinelli — offers a new direction for the stale “Great American Novel” adaptation.”
“‘Suburbia’ is a punk classic not just because it deeply understands and empathizes with its culture – the music, the violence, the clothes, the often-jarring lack of political sophistication – but because it understands something important about punk’s place in society at large…”
“‘Fast Color’ deserves a close look…”
“Miraglia’s deliberate interweaving of castles and glimmering blades taps into the one element that both Gothic and giallo art share: the ability to taffy-pull delight from terror. Both Poe and Bava would tip their hats.”
“Mesmerizing and immaculately-structured, ‘Overwhelm the Sky’ is an ambitious indie epic that doesn’t waste a single minute.”
“‘The Great Silence’ is miles away from the graceful, operatic majesty of Leone’s more famous entries. Corbucci’s cynical vision is fashioned from a style that is brutal and spontaneous…”
“‘Motherless Brooklyn’ may not be a sterling example of traditional noir, but its subtext is gripping in its own way. The victim of this crime story isn’t a dead man or a damsel in distress, but the spirit of a city.”
“The most devoted fans will appreciate the authenticity of the character design, which sticks closely to the look of the classic illustrations.”
“With ‘Serpico,’ Lumet becomes a defining chronicler of American institutional corruption, most obviously within the justice system.”
“‘The Souvenir’Â is essential viewing for devoted cinephiles.”
“It wouldn’t be surprising to see ‘The Traitor’ filed in the Dad-canon of crime cinema alongside other European films like ‘Mesrine’ or ‘The Baader Meinhof Complex’ — films where the context is too wide to sufficiently cover…”
“Alice, Sweet Alice’s attitude is an unforgiving one. What, Sole asks, is the difference between Alice, who hurts because she’s sociopathic, and the zealous Ms. Tredoni, who hurts out of righteousness?”
“Rob Grant’s ‘Harpoon’ exudes all the sly confidence of a well-prepared and half-in-the-bag wedding table orator.”
“‘Joker’ is what so many controversial films turn out to be: it’s fine — neither masterpiece nor trash fire, well-executed in some parts and poorly thought out in others.”
“Shelton convincingly alternates between the absurd misadventures of the core quartet and the well-observed moments of confessional pathos during which the audience sees the characters as humans doing their best to get along in the world…”
“‘Semper Fi’ leans heavily on male codes of honor but doesn’t fully explore the motivations for the primary players, a group of Marines trying to re-acclimate to life in upstate New York. As a result, the final act suffers.”
“‘Don’t Look Now’ stands as one of the best iterations of the giallo film. It takes the best elements of the commercialized Italian psycho-thriller and presents them with a Hitchcockian flair.”
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