FICTION/POETRY (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.
A BIT AFTER SEVEN ON TUESDAY MORNING - a poem featured at The Raw Art Review in August, 2018
SHORT-FORM CRITICISM (click on title for full text)
FLOWER (2018) - film review for Vague Visages
A QUIET PLACE (2018) - film review for Vague Visages
RECOMMENDATION: "THIS IS THE END" - music criticism for Memoir Mixtapes
RECOMMENDATION: "CURIOUS HANDS" - music criticism for Memoir Mixtapes
You can also find me at the weekly IndieWire film critics survey
SELECTED ESSAYS (click on any title for full text)
WATCHING THE WHEELS - for the 'Work' issue of Bright Wall/Dark Room, I wrote about Jim Jarmusch's Paterson and what it might be able to tell us about living a life of meaning.
I LOST MY SHIT AT THE MOVIES - in an essay for Medium, I considered why a frightening world makes us crave tearjerkers.
THERE'S MORE TO THIS WORLD THAN YOU HAVE SEEN - for the 'Second Time Around' issue of Bright Wall/Dark Room, I wrote about my complex relationship with Paul Thomas Anderson's Punch-Drunk Love. This piece was subsequently republished at RogerEbert.com.
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.
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.
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.
THE UNCANNY TERROR OF CARNIVAL OF SOULS - for Audiences Everywhere, I celebrated the 55th anniversary of one of the strangest horror classics.
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 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.
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.