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Vague Visages

Independent Film/TV Criticism • Forming the Future • Owned & Operated by Q.V. Hough Since 2014 • $1.99/Month or $11.99/Year • 30-Day Free Trial • New Articles Free to Read on Publication Day

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Review: Michael Chaves’ ‘The Conjuring: The Devil Made Me Do It’

Prano Bailey-Bond Visits Britain’s Video Nasty Era in ‘Censor’

Mannhunting: Exploring Masculinity in the Films of Michael Mann – Part Three

Review: Damian Mc Carthy’s ‘Caveat’

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New by Bill Bria • Tribeca 2021 Review: Hannah Marks’ ‘Mark, Mary & Some Other People’

New by Alistair Ryder • Review: Jon M. Chu’s ‘In the Heights’ #InTheHeights

New by Joey Keogh • Review: Prano Bailey-Bond’s ‘Censor’

New by Thomas Quist • The Unfashionable: Thomas Bezucha’s ‘Let Him Go’

New by Jerry Sampson • Trash, Trauma and Revenge in Matthew Bright’s ‘Freeway’

New by Luís Correia • ‘State Funeral’: Joseph Stalin’s Grand and Ominous Farewell Procession Revisited

New by Mo Muzammal • Review: Michael Chaves’ ‘The Conjuring: The Devil Made Me Do It’

New by Greg Carlson • Prano Bailey-Bond Visits Britain’s Video Nasty Era in ‘Censor’

New by Bill Bria • Mannhunting: Exploring Masculinity in the Films of Michael Mann – Part Three

New by Soham Gadre • You Must Be THIS OLD to Ride in George A. Romero’s ‘The Amusement Park’

New by Joey Keogh • Review: Damian Mc Carthy’s ‘Caveat’

New by Dipankar Sarkar • Interview with ‘Picasso’ Filmmaker Abhijeet Warang

New by Greg Carlson • Theo Anthony’s ‘All Light, Everywhere’ Contemplates the Role of the Camera in Policing

New by Blake Howard • The Art of the Score: David Mamet’s ‘Heist’

New by Bill Bria • Review: George A. Romero’s ‘The Amusement Park’

New by Mo Muzammal | Review: John Krasinski’s ‘A Quiet Place Part II’

New by Arun A.K. • The Metaphorical and Elusive Camera of ‘The Disciple’

New by Dipankar Sarkar • Interview with ‘Irul’ Filmmaker Naseef Yusuf Izuddin

New by Greg Carlson • Collecting Movies with Author Melissa Maerz

New by Mo Muzammal | Review: Robert Connolly’s ‘The Dry’

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