‘Colossal’ and the Monstrous Pettiness of the Male Ego
“Maybe she can finally make a life that’s actually hers.”
The Bottom Line: Q.V. Hough, Jeremy Carr, Bill Arceneaux and Peter Bell on ‘V for Vendetta’
Vague Visages Chat Transcript
Album Review: Dead Heavens ‘Whatever Witch You Are’
“It’s less macho than stoner rock, but more elegant than garage punk.”
Vague Visages Is FilmStruck: Jeremy Carr on Andrei Tarkovsky’s ‘Solaris’
“The film goes beyond strict and narrow generic classification and touches upon something universal, something profound about undying affection and the unreliability of reality.”
Netflix from 5 to 6: Daniel Barber’s ‘The Keeping Room’
“There’s no blaze of glory, but rather a collective maturation. Patience is their virtue.”
There’s Something Inside You: Nicolas Winding Refn’s ‘Drive’
“It’s the subliminal drive toward the realization of his ideal self that evokes his potential.”
Devious Dialogues: Anya Stanley and Mike Thorn on Fox’s ‘The Exorcist’
A.M. Novak and Mike Thorn Discuss FOX’s ‘The Exorcist’!
Review: Albert Maysles’ ‘In Transit’
“‘In Transit’ attests to the possibility of human connection and serves as a reminder to the insights Albert Maysles has given us over the last 50 years.”
Album Review: INVSN ‘The Beautiful Stories’
“INVSN may not make the music that flawed people deserve, but it’s definitely the music that we all need right now.”
It’s Real to Me: On Gia Coppola’s Understanding of the Teenage Experience in ‘Palo Alto’
“Instead of skipping to the binary found at the beginning and end of the color swatch, ‘Palo Alto’ flushes every color in the middle, every emotion found in growing up.”
The Limits of Freedom in Makoto Shinkai’s ‘Your Name’
“While lush animation and detailed backdrops make Shinkai’s films visually stunning, without character depth, it’s a beauty which rings hollow.”
Sheffield Doc/Fest Review: Toby Paton’s ‘Jo Cox: Death of an MP’
“‘Jo Cox: Death of an MP’ is a difficult film that resonates now more than ever with a minority Tory government, the knock-on effects of Brexit felt.”
Sheffield Doc/Fest Review: Josh Homme and Andreas Neumann’s ‘American Valhalla’
“There is a sense of bearing witness to history-in-the-making and of the unlikely melding of soulmates.”
Sheffield Doc/Fest Review: Nick Broomfield’s ‘Whitney: Can I Be Me’
“‘Whitney: Can I Be Me’ plays out like a tragedy of the most cinematic kind.”
Oak Cliff Film Festival Review: Dustin Guy Defa’s ‘Person to Person’
“‘Person to Person’ posits a world where forgiveness, kindness and neighborliness are actualized by a recognition of the innate goodness of humanity.”
Oak Cliff Film Festival Review: Alex Ross Perry’s ‘Golden Exits’
“In ‘Golden Exits,’ the miserable find company in the spaces they inhabit. Nothing is shared; nothing is collective.”
Open Roads: New Italian Cinema 2017 – Andrea De Sica’s ‘Children of the Night’
“De Sica has mentioned ‘The Shining’ and ‘Dead Poets Society’ as influences, and ‘Children of the Night’ is at its best when it favors the former.”
Open Roads: New Italian Cinema 2017 – Roberto Andò’s ‘The Confessions’
“Sleek visuals and cryptic dialogue aren’t enough to save a film that’s essentially a truncated season of ‘House of Cards.'”
Open Roads: New Italian Cinema 2017 – Edoardo De Angelis’ ‘Indivisible’
“‘Indivisible’ is a fantastically imaginative coming-of-age tale, an opera of sweeping creativity and a universal human love story.”
Vague Visages Is FilmStruck: Jeremy Carr on Pier Paolo Pasolini’s ‘Mamma Roma’
“The compassion Magnani and Pasolini elicit from this affectionate portrait is manifestly sympathetic — she just tries so hard.”