VV Shudder Selects: The Horrors of Friendship in ‘The Descent’
“While ‘The Descent’ is grounded in female friendship and showcases the power of women without the support of men, it also highlights the futility of teamwork in such a dire situation.”
Gazing at ‘Red Sparrow’
“‘Red Sparrow’ is no feminist masterwork — far from it. However, in its depiction of a male world full of predators — a patriarchal system constructed to oppress, exploit and then discard women — perhaps it offers a valuable first step towards that badly needed change.”
‘Deep Blue Sea’ Is Still the Biggest, Baddest Shark Movie Since ‘Jaws’
“Unlike its modern genre contemporaries, ‘Deep Blue Sea’ takes itself seriously, creating genuine fear and tension from the characters’ perilous situation.”
‘Mission: Impossible – Fallout’ Won’t Let You Down
“When it comes to sheer quantity of triple-crosses, double agents, remote control gizmo toys, one-liners, stunts and rubber mask fake outs, ‘Mission: Impossible — Fallout’ outdoes its predecessors. The big question now, however, is whether the longevity of this franchise is finally taking its toll on the overall quality.”
An Interview with ‘You Were Never Really Here’ Cinematographer Tom Townend
Sam Ankenbauer Interviews Cinematographer Tom Townend
A Terrain of Violence: Clio Barnard’s ‘Dark River’
“‘Dark River’ excels in the areas where Barnard has already proven herself adept: she draws stellar performances from her cast across the board, and creates a vibrant naturalism without sacrificing tone or style.”
Lost Amidst the Architecture: Aaron Katz’s ‘Gemini’
“In straining to emulate something in the order of a traditional thriller, Katz and his team of long-time collaborators find themselves sliding perilously towards the formulaic.”
Telling Stories in Order to Survive: ‘Argo’
“‘Argo’ allows you to enjoy the CIA’s outlandish caper, but it also confronts you with the ambivalence of the larger picture.”
Real Blood, Fake News: Dan Gilroy’s ‘Nightcrawler’
“Like a modern-day Machiavelli, his amoral world-view doesn’t see the ethical shades of his actions, only the gains and losses they might occur.”
On Familiar Ground: Paul Schrader and the Death Impulse
Michael J. Casey on Paul Schrader’s thematic links in ‘Taxi Driver,’ ‘Mishima: A Life in Four Chapters’ and ‘First Reformed’
Review: Coralie Fargeat’s ‘Revenge’
“‘Revenge’ is not quietly revolutionary. It makes its message quite clear. Loud, brash, neon-colored and shot like a music video, the flick is unabashedly cool.”
Cannes Film Festival Review: Asghar Farhadi’s ‘Everybody Knows’
“Though it’s not one of Farhadi’s best films, ‘Everybody Knows’ is still an effective, impactful thriller.”
Cannes Film Festival Review: Panos Cosmatos’ ‘Mandy’
“It’s unconventional and provocative, but with such a powerfully invigorating narration and clear passion between the lines, ‘Mandy’ feels like an explosive liberation.”
Vague Visages Is FilmStruck: Stefen Styrsky on John Huston’s ‘Reflections in a Golden Eye’
“Lending the story a rarefied patina is the cinematography.”
Loneliness and the Romance of Death: On Alain Guiraudie’s ‘Stranger by the Lake’
“In us all lurks a potential Franck — desperate for intimacy, willing to risk oblivion for a moment’s embrace.”
Escapism in Dark Places: How ‘Allure’ Accurately Captures Despair
“Carlos and Jason Sanchez’s ‘Allure’ might be one of the most beautifully distressing movies of the past year.”
Review: John Krasinski’s ‘A Quiet Place’
“‘A Quiet Place’ masterfully builds tension, pays it off in unexpectedly satisfying ways and provokes genuine emotional investment in its characters with precious few traditional tools at its disposal.”
Vague Visages Writers’ Room: Weekend Vibes 4.6.18
Weekend Vibes is a Friday column about streaming recommendations, new release hype and entertainment events.
Review: Lynne Ramsay’s ‘You Were Never Really Here’
“Ramsay and Phoenix eloquently communicate the trappings of depression, and how it grips the sufferer.”
Seeing the Giallo Truth in Dario Argento’s ‘Four Flies on Grey Velvet’
“One of the great characteristics of ‘Four Flies on Grey Velvet’ and numerous other giallo films is their willingness to destabilize traditional notions of subjectivity.”