True Detective ‘Black Maps and Hotel Rooms’ (A Vague Visages Staff Recap)
A Conversation Between Vague Visages’ Q.V. Hough, Dylan Moses Griffin and Max Bledstein
A Conversation Between Vague Visages’ Q.V. Hough, Dylan Moses Griffin and Max Bledstein
“If last week’s “The Great Red Dragon” was centered around the two killers who now share the villainous duties on Hannibal, “And the Woman Clothed with the Sun…” has a broader focus.”
A Conversation Between Vague Visages’ Q.V. Hough, Dylan Moses Griffin and Max Bledstein
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The Fifth and Final Installment of “Tightrope Cinema: John Cassavetes’ Highwire World” by Phuong Le
“The sound of Hannibal has always been one of its strongest elements, thanks in large part to Brian Reitzell’s terrifying score, and the auditory depiction of Dolarhyde’s plight is no exception.”
A Conversation Between Vague Visages’ Q.V. Hough, Dylan Moses Griffin and Max Bledstein
“Digestivo” feels almost like a bottle episode due to its concentration on Mason’s Muskrat Farm, and the close quarters are the perfect setting for seeing the characters play off one another.
A Conversation Between Q.V. Hough, Dylan Moses Griffin and Max Bledstein
“Perhaps the water from the beginning of the episode points more towards resurrection than forgiveness, and if the rest of the season is as strong as “Dolce,” one can only hope Hannibal’s fate will point in the same way.”
“Don’t allow yourself to be fooled by the “reveals” of True Detective.”
“As the plot of Hannibal continues to move forward, it also won’t stop looking back.”
“Charlie Manton (The Imitation Game) shows incredible promise as a filmmaker with Beneath Water, as the visual techniques and character staging project someone in command of their own personal style.”
“As a creative whole, the second episode of True Detective was darker than its predecessor, and Nic Pizzolatto’s blatant dialogue ensured that casual viewers would get the hint.”
“This week’s hour was the first of the season not directed by Vincenzo Natali, and his aesthetic sensibility/attention to detail feels missing throughout the episode.”
“This is Los Angeles pulp fiction — not a mystical world of sky monsters and poetic speeches.”
“Seldom more than a vehicle for Pacino to exercise his considerable (and still active) talents, Manglehorn is a string of engaging and breathtaking images that, when strung together, become a subdued meandering plot devoid of any real meaning.”
“Hannibal’s origins become comparable to the Joker in The Dark Knight: there are possible explanations for why he is the way he is, but none of them seem to be wholly accurate…”
“The film is nothing if not an audacious directorial debut; a grand, horrifying cinematic mission statement that might particularly appeal to the likes of Michael Haneke and, especially, Gaspar Noé.”
An Essay by Phuong Le