“For many, McQueen’s stylishness will help excuse the rubbery plot holes, lapses in logic and farfetched surprises that might lead some to wonder how ‘Widows’ might have unfolded as a leaner, tighter operation.”
“In a way, the Coens complete the arc of the film, tying it together cohesively, by suggesting that the arc is random, sometimes cruel, and sometimes meaningless.”
Zach Vasquez Interviews ‘Cam’ Filmmakers Isa Mazzei and Daniel Goldhaber
“‘Fanny and Alexander’ is an easily entertaining primer to the cinema of Ingmar Bergman…”
Vague Visages Short Stories #12: Mr. Mucata’s Final Requests by Mike Thorn (Calgary, Alberta)
“Patient blood aficianados who stick with the filmmaker to the final reel will most certainly receive their crimson reward.”
“‘The Clovehitch Killer’ offers much for the audience to ponder: what it means to be a man and a human, what it means to keep secrets and what it means to face monsters and survive.”
“For my money, David Lowery has been as much fun to watch as any filmmaker of his generation.”
“Yes, Turkington does sing in the same grating timber as his alter ego, but — thanks to a top-notch back-up band — the effect is quite charming.”
“One of the most compelling things about ‘Les Diaboliques’ and its cinematic offspring is that viewers are always left with the sense that there are secrets untold, questions unanswered.”
Greg Carlson Interviews Grindflicks Founder Randal Black About ‘Turkish Movie Showcase: A Mega Mix of Turkish Flix’
“The success of ‘The Crossing’ and ‘The Third Wife’ should speak to the unique ability of female filmmakers and female characters in filling in the narrative gaps in Vietnamese and Chinese cinema, in which male directors wield dominant creative control.”
Vague Visages Short Stories #11: Beaming by D.M. Palmer (Sheffield, UK)
“Even when too much stuff is being thrown at the screen, it’s hard not to admire ‘Peripheral’ for trying.”
“If there’s a risk involved with watching ‘A Bread Factory’ — an honest and untarnished ode to the arts — it’s in thinking that its length could be a bad thing.”
“As in ‘Ida,’ Pawlikowski offers little exposition, which leaves the audience to gather any and all clues.”
“Her music remains permeated by the natural world, both lyrically and sonically. Field recordings form the backbone of multi-layered samples, and loops of falling trees and rattlesnakes complement subtle drum machines. The effect is a distinct sense of place.”
“‘Mid90s’ has drawn some comparisons to Harmony Korine (who makes a cameo in Hill’s film) and Larry Clark’s ‘Kids,’ but Hill’s worldview is far less toxic and dangerous than the grimmest territory explored in the 1995 movie.”
“‘The Blue Gardenia’ occupies a curious space inside noir. In many ways, it acts as an indirect response to many of the films that preceded it, with their icy femmes fatales…”
“As a largely disregarded noir B-side, ‘Pushover’ deliberately recalls its more famous predecessor, playing upon audience expectations of MacMurray’s screen persona to create an experience of déjà vu.”