Why Criticism: Not Quite the Apocalypse
“In Australia, our cinematic art has been trying to shake us from apathy for 50 years.”
Robert Eggers Unlocks ‘The Lighthouse’
“‘The Witch’ may be the superior film, but ‘The Lighthouse’ shows Eggers growing by leaps and bounds as a storyteller and visual stylist.”
Review: Ciro Guerra’s ‘Waiting for the Barbarians’
“‘Waiting for the Barbarians’ is utterly removed from anything of Italy, and yet echoes the most vulgar and despicable parts of film culture.”
Cannes Film Festival Review: Robert Eggers’ ‘The Lighthouse’
“Eggers is persistent in never revealing his hand, but I’ve got a hunch he’s hiding a royal flush.”
NYFF 2018 Review: Claire Denis’ ‘High Life’
“Denis’ approach resembles that of Pattinson’s performance: pointedly pared down to the bare minimum without fully untethering from recognizable humanity.”
Parody of Power: Benny and Josh Safdie’s ‘Good Time’
“By exposing the falsehood of one’s presumption of power, the Safdies awaken viewers to the inescapable consequences of their actions and weaknesses, along with the vulnerability of their own fate.”
Vague Visages Writers’ Room: Weekend Vibes 2.16.18
Weekend Vibes is a Friday column about streaming recommendations, new release hype and entertainment events.
Sundance Film Festival Review: David and Nathan Zellner’s ‘Damsel’
“A tremendously fun movie, ‘Damsel’ reinvigorates the Western aesthetic even as it defies many of the genre’s story conventions.”
Vague Visages Writers’ Room: Favorite Films, Albums and Books of 2017
Vague Visages Writers on Their Favorite 2017 Releases
Cannes Film Festival Review: Ben and Joshua Safdie’s ‘Good Time’
“‘Good Time’ plays like little more than a direct-to-video thriller.”