Interview with ‘Clerk’ Director Malcolm Ingram
Vague Visages’ Joey Keogh and filmmaker Malcolm Ingram discuss the 2021 Kevin Smith documentary ‘Clerk.’
Review: Sion Sono’s ‘Prisoners of the Ghostland’
“‘Prisoners of the Ghostland’ is like a failed yet well-made pilot episode, one that teases high drama but doesn’t have anything interesting to say about the characters.”
Review: Malcolm Ingram’s ‘Clerk’
“The biggest takeaway from ‘Clerk,’ aside from the fact that the terrific Joey Lauren Adams should’ve had a bigger career, is that nobody is more surprised by Smith’s success than the man himself.”
Embracing the New Normal: ‘The Addams Family’ Is Timeless at 30
“‘The Addams Family’ is a beacon of hope for weird kids everywhere, since Wednesday and Pugsley are never forced to change who they are to fit in, nor do they care what anyone thinks.”
Review: Casey Tebo’s ‘Black Friday’
“Tebo’s low-stakes take on holiday horror is a lot like Christmas candy; ‘Black Friday’ hits the spot, but you might be left craving something slightly more substantial soon afterwards.”
Interview with ‘Boroxun’ Filmmaker Krrishna Kt Borah
‘Boroxun’ Interview: Dipankar Sarkar discusses the 2021 movie with filmmaker Krrishna Kt Borah.
Review: Tanya Chuturkova’s ‘Chocolate Road’
“I’ll never be the same after watching ‘Chocolate Road.’ No longer will I eat a bonbon without seeing a massive cacao plant. I won’t be able to watch ‘Chocolat’ without thinking about Central American cacao plant clones. That’s a good thing…”
Review: Penny Lane’s ‘Listening to Kenny G’
“With ‘Listening to Kenny G,’ Lane affirms her status as one of the most talented nonfiction storytellers working today.”
Review: Kavery Kaul’s ‘The Bengali’
“There’s plenty of skepticism to be found in ‘The Bengali’; however, that’s just the starting point for an important conversation about first encounters, cultural education and life-changing travel experiences.”
Review: Martin Wilson’s ‘Great White’
“‘Great White’ may not be a groundbreaking or unique film, but it’s made with respect, and that deserves to be reciprocated.”
Review: Adam Ethan Crow’s ‘Lair’
“‘Lair’ succeeds with its female-led possession story but fails with the flat adjacent flat subplot.”
Review: Mia Hansen-Løve’s ‘Bergman Island’
“The Fårö setting in ‘Bergman Island’ provides Hansen-Løve with a treasure chest of opportunities to indulge and explore cinephilia, reflexivity, homage and intertext, but the potential autobiographical interpretations are equally enticing.”
Interview with ‘Sunny’ Filmmaker Ranjith Sankar
Dipankar Sarkar interviews ‘Sunny’ fIlmmaker Ranjith Sankar about the 2021 Amazon Prime movie.
Review: David Verbeek’s ‘Dead & Beautiful’
“With ‘Dead & Beautiful,’ Verbeek foreshadows the inevitable clash between the progressive leaders of tomorrow and conservative vampires who seek blood. As new generations of wealth emerge, will the enlightened prioritize reality over their personas?”
Reality Is a Deadly Place: LSD Cinema’s Short and Strange Trip
“Drug culture and social upheaval became inextricable on the screen in the 60s; it was a belated recognition on the part of the industry’s tastemakers that American cinema’s scrupulously maintained state of grace was no longer sustainable…”
Review: Wes Anderson’s ‘The French Dispatch’
“‘Like the very best of Wes Anderson, ‘The French Dispatch’ is large and contains multitudes.”
Review: Edgar Wright’s ‘Last Night in Soho’
“The multifaceted, nuanced quality of music is vital to ‘Last Night in Soho,’ in which people aren’t so easily defined.”
Interview with ‘Malik’ Filmmaker Mahesh Narayanan
Malik Interview: Vague Visages’ Dipankar Sarkar and filmmaker Mahesh Narayanan discuss the 2021 Amazon Prime movie.
The Spice Must Flow – Review: Denis Villeneuve’s ‘Dune’
“Denis Villeneuve’s ‘Dune: Part One’ is a worthy addition to the collection, besting the Lynch film in certain ways but still flummoxed and frustrated by the source material’s conversation-heavy downside.”
Julia Ducournau’s ‘Titane’: Influence, (Sur)Realism and the Avant-Garde
“Ducournau’s approach to cinematic lineage and influence in ‘Titane’ is a complicated one, as she develops her singular filmmaking style into something even more evasive and intricate than in ‘Raw.'”