“By creating such a sympathetic, human subject, Lumet deepens the impact of his institutional critique of the justice system; its dehumanizing effect on American society seems all the more tragic when Sonny is its victim.”
“Bainbridge navigated the stage gracefully, curating what felt like an intimate house party with an impeccable playlist.”
“In a weird way, Flanagan might have inadvertently made the best X-Men movie to date.”
“Beauvais does what the essay filmmaker ought do: he appropriates film to his own ends. The combination of words and pictures rings nary a false note.”
“At once riveting and entertaining, while inciting in the viewer visceral and arduous self-reflection, ‘Marriage Story’ is an uncompromising and deeply affectionate reflection on what pulls us apart and yet what keeps us bound together despite it all.”
“In dramatizing themes of absence and presence so thoroughly, ‘Klute’ embodies a central feature of neo-noir; as a self-conscious revision of a classic film cycle, noir is always both absent and present in neo-noir films.”
“Judy the Actress and Judy the Icon may have been one in the same after all.”
“‘The Witch’ may be the superior film, but ‘The Lighthouse’ shows Eggers growing by leaps and bounds as a storyteller and visual stylist.”
“From the moment Ramona first appears, ‘Hustlers’ announces itself as a new addition to the neo-noir cannon — a film about bright lights in dark places.”
Vague Visages Short Stories #15: Only the Names Have Been Changed by D.M. Palmer (Sheffield, UK)
