“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
“Matched by the acrobatic ferocity of Ferguson’s Faust, Cruise’s antics transform Rogue Nation into an explosive Cirque du Soleil performance on the grandest of scales.”
A Column by Dylan Moses Griffin
“‘Black Orpheus’ embraces sex as multiplicitous. This somehow makes the love more noble, because it is not confused with lust, and sex becomes a celebration rather than a symbol of it.”
A Column by Max Bledstein
“Throughout Unexpected, little is ever gained or lost, ultimately raising the question (albeit a rather absurd one when considering film): for whom was this made, and what is its intended purpose?”
“Fully asserting the series reboot mantra, M:I II eschews the original’s ethos in favour of half a Hitchcock riff (a lot of Notorious, with a pinch of To Catch a Thief) and half traditional, near self-parodic Woo bombast.”
Vaguebande 1
The Fifth and Final Installment of “Tightrope Cinema: John Cassavetes’ Highwire World” by Phuong Le
A Series by Dylan Moses Griffin
“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
A Column by Dylan Moses Griffin
“Pasolini suggests in ‘Mamma Roma’ that the spiritual beauty of humanity often emerges from vulgarity and contradiction.”
“Phoenix’s devastating final scene pretty much erases a need for the specifics of the moral blindness.”
“In choosing to cover so much breadth of ground, Felt falls well short of any meaningful examination of the gender issues plaguing American and world culture.”
“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 Column by Dylan Moses Griffin
“After my first viewing of ‘Vivre sa vie,’ I closed my laptop, went out and chopped my waist-length mane to a bob. Movies have always had that mysterious power of making me feel as if I have lived all the lives I see on-screen.”