Know the Cast: ‘Old Dads’
‘Old Dads’ Cast: A Vague Visages guide for every actor and character in Bill Burr’s 2023 Netflix movie.
London Film Festival Review: Anh Hung Tran’s ‘The Taste of Things’
“There is no one better at channelling the multi-faceted force of joy than Binoche, whose entrancing performance grounds ‘The Taste of Things’ in its gentle tragedy.”
London Film Festival Review: Goran Stolevski’s ‘Housekeeping for Beginners’
“Stolevski’s work has air and breath to it, like someone in love with the energy of simply creating.”
London Film Festival Review: Hayao Miyazaki’s ‘The Boy and the Heron’
“A distinctly Ghibli feel pervades ‘The Boy and the Heron,’ which more comprehensively and ambitiously connects the studio’s interests than ever before — in whimsy and poignancy, struggle and adventure, the serious and the magical.”
Soundtracks of Cinema: ‘A Million Miles Away’
‘A Million Miles Away’ Soundtrack: A Vague Visages guide for every song in Alejandra Márquez Abella’s 2023 Amazon movie.
Soundtracks of Cinema: ‘The Mill’
‘The Mill’ Soundtrack: A Vague Visages guide for every song in the Sean King O’Grady’s 2023 Hulu movie.
London Film Festival Review: Warwick Thornton’s ‘The New Boy’
“‘The New Boy’ is a film of deep, mystical qualities, and I can’t wait to revisit it.”
Soundtracks of Cinema: ‘The Burial’
‘The Burial’ Soundtrack: A Vague Visages guide for every song in Maggie Betts’ 2023 Amazon movie.
Know the Cast: ‘The Conference’
‘The Conference’ Cast: A Vague Visages guide for every actor and character in Patrik Eklund’s 2023 Netflix movie.
Know the Cast: ‘The Burial’
‘The Burial’ Cast: A Vague Visages guide for every actor and character in Maggie Betts’ 2023 Amazon movie.
London Film Festival Review: Andrew Haigh’s ‘All of Us Strangers’
“‘All of Us Strangers’ is a film that becomes all the more haunting the further from it you get.”
London Film Festival Review: Hirokazu Koreeda’s ‘Monster’
“Children and adults are complex; they behave differently depending on who they are with, performing various roles to survive. ‘Monster’ underlines this lesson by masterfully harmonizing writing, performance, cinematography, sound and more.”
London Film Festival Review: Martin Scorsese’s ‘Killers of the Flower Moon’
“I much prefer DiCaprio’s more comedic performances to his dramatic ones, but ‘Killers of the Flower Moon’ feels like career-best dramatic work from the actor…”
Constructing a Madman: Lee Harvey Oswald’s Screen Life
“In our attempt to fill in the gaps of the Oswald character, we recast him again and again, hoping that the latest iteration will reveal a previously hidden angle.”
London Film Festival Review: Radu Jude’s ‘Do Not Expect Too Much of the End of the World’
“‘Do Not Expect Too Much of the End of the World’ is a jolt of energy, one that bounds forward — always a few leaps ahead of its audience.”
Crime Scene #8: ‘Detour’ – Nowheresville, USA
“‘Detour’ plays like a fever dream powered by guilt and dread; an existential noir about an American male lost in the nothingness and vastness of the country.”
London Film Festival Review: Todd Haynes’ ‘May December’
“‘May December’ has the initial feel of a heightened, vaguely trashy soap opera, revealing new layers to its central figures the more they question their perceived roles.”
TIFF Review: Wendy Bednarz’s ‘Yellow Bus’
“‘Yellow Bus’ tries to manufacture misunderstandings that may naturally exist in a country that has a diverse immigrant population, but Bednarz’s heavy-handed sociology lesson ultimately aligns with the pseudo-intellectual drivel of ‘Crash’ and ‘Babel.'”
London Film Festival Review: Kitty Green’s ‘The Royal Hotel’
“The differences between the equally impressive ‘The Assistant’ and ‘The Royal Hotel’ prove that there is more room for subversive thrillers directed by Green.”
Review: Alex Kahuam’s ‘Failure!’
“‘Failure!’ is a failed experiment that grates more than it excites.”