FICTION (click on title for full text)
MALCOM STRICKLAND'S DREAMS - in this short story, published in the New Limestone Review in April, 2018, we examine the mysteries surrounding the work and disappearance of an underground '60s filmmaker.
CRITICISM (click on title for full text)
FLOWER (2018) - film review for Vague Visages
ESSAYS (click on any title for full text)
CHIHIRO IN WONDERLAND - in my first piece for Bright Wall Dark Room, I considered Miyazaki's Spirited Away through the lens of having become a father at the dawn of the Trump presidency.
IS THIS SOMETHING, OR IS THIS JUST RIGHT NOW? - for the 'Sex' issue of Bright Wall Dark Room, I looked at Charlie Kaufman's Anomalisa, and the differences between sex in the movies, and sex in real life.
THE THREE SHININGS - for Audiences Everywhere, I looked at the two adaptations of my favorite book—Kubrick's film, and the ABC miniseries—and the perils of adapting Stephen King.
ON THE ABSURDITY OF DAVID LYNCH - for the 'David Lynch' issue of Bright Wall Dark Room, I looked at the relationship between Lynch's work and the absurdist tradition.
THE UNCANNY TERROR OF CARNIVAL OF SOULS - for Audiences Everywhere, I celebrated the 55th anniversary of one of the strangest horror classics.
THE GOSPEL OF THE PSYCHEDELIC SIX-GUN - for the 'Head Trips' issue of Bright Wall Dark Room, I looked at a quartet of acid westerns, and their connection with the traditions of world religion.
GUY MADDIN'S HOME MOVIES - for the 'Home' issue of Bright Wall Dark Room, I dove deep into the three autobiographical films Guy Maddin made, and the one he never did.
HOW TO MAKE A MOVIE SHOW? - for the 'Best of 2017' issue of Bright Wall Dark Room, I talked about Brigsby Bear, and the way it helped me come to terms with a traumatic experience of my own.
LIVING BROKEN DREAMS - for the 'Mental Health' issue of Bright Wall Dark Room, I wrote about the documentary The Devil & Daniel Johnston.
THE FIXERS - for the 'Steven Soderbergh' issue of Bright Wall Dark Room, I wrote about The Informant! and Soderbergh's choice to cast comedic performers in dramatic roles.