Cannes Film Festival Review: John Cameron Mitchell’s ‘How to Talk to Girls at Parties’
“‘How to Talk to Girls at Parties’ is spirited but doesn’t have anything new to say.”
Cannes Film Festival Review: Laurent Cantet’s ‘The Workshop’
“Like ‘Visages, villages’ and ‘Claire’s Camera,’ ‘The Workshop’ continues a Cannes 2017 trend for the unmatched power of creation and artistic expression, and this film reaches to darker depths than those tales.”
Cannes Film Festival Review: Kiyoshi Kurosawa’s ‘Before We Vanish’
“More than a stage play, the high concept and tonal spasms make ‘Before We Vanish’ feel like an adaptation of a cult manga.”
Cannes Film Festival Review: Kaouther Ben Hania’s ‘Beauty and the Dogs’
“The technical achievement here is considerable, though there is nothing that can match the surprise, and resultant thrill, of watching the opening scene play out.”
Cannes Film Festival Review: Agnès Varda and JR’s ‘Visages, villages’
“Between the enlightened creators, the immensely intimate artwork and the fabulous people they meet, there is never a dull moment in this beautiful piece of cinema.”
Cannes Film Festival Review: Vanessa Redgrave’s ‘Sea Sorrow’
“While ‘Sea Sorrow’ is cinematically stunted, it is clearly made with great passion and belief.”
Vague Visages Is FilmStruck: Bill Arceneaux on Woody Allen’s ‘Bananas’
“Maybe the best way to counter ridiculousness is with ridiculousness.”
Review: Azazel Jacobs’ ‘The Lovers’
“According to Jacobs, romantic love is a negative equation wherein passion plus time equals complacency.”
‘Twin Peaks’ and Beyond the Alphabet
“The failure of language permeates ‘Twin Peaks,’
an abundance of verbiage disintegrating under the looming and ageless presence in the woods.”
‘Stardust Memories’: Woody Allen’s Comic Catharsis
“He may be suggesting that emotional and social anxiety is widespread and prevalent, but the key distinction is that not everyone can translate these uncertainties into comedy gold.”
EP Review: Ultrviolence ‘Forty Knives’
“Throughout ‘Forty Knives,’ Jespersen’s voice betrays his emotions and listening to him sing often feels like sneaking peeks at his diary.”
The Joke Is on Us: Rick Alverson’s ‘The Comedy’
“Audiences aren’t meant to hate Swanson, but to understand him and people like him, along with ourselves.”
Review: ‘Like Jagged Teeth’ – Betty Rocksteady’s Supernatural Bad Dream Novella
“By constantly re-emphasizing Jacalyn’s inability to confront the undeniable horror of the unfolding scenario, Rocksteady achieves a powerfully oneiric tone throughout.”
Devious Dialogues: Anya Stanley and Mike Thorn on the ‘Alien’ Franchise
Devious Dialogues: A Horror-Themed Column by A.M. Novak and Mike Thorn
Book Review: Gender and Genre in Aaron J. French’s ‘Festival’
“On the levels of craft and form, this is undoubtedly the work of a skilled writer.”
Album Review: Jen Gloeckner ‘VINE’
“Even though Gloeckner recorded ‘VINE’ in her Dubuque, Iowa bedroom, there is nothing bare bones or lo-fi about it; her passion for her art is obvious and impressive.”
Vague Visages Short Stories: Speaking of Ghosts by Mike Thorn
Vague Visages Short Stories #6: Speaking of Ghosts by Mike Thorn (Calgary, Alberta)
Pain and Three Kinds of Death in Dustin LaValley’s ‘A Soundless Dawn’
“Above all, it’s about style. LaValley plays fast and loose with grammar and punctuation, paying mind to cadence and tone.”
Cyberflunk 2017: Rupert Sanders’ ‘Ghost in the Shell’
“One of the hallmarks of good cyberpunk is the exploration of humanity in a post-modern world where technology is the dominant force. This philosophical probe falls short in Rupert Sanders’ ‘Ghost in the Shell.'”
Vague Visages Is FilmStruck: Jeremy Carr on Jean Vigo’s ‘L’Atalante’
“‘L’Atalante’ is a movie defined by it moments, images and emotive strength, not its ostensible plot.”