All Criticism

Film Cred

• The Anxiety of David Byrne: Stop Making Sense and American Utopia

• Review: PG: Psycho Goreman

• Review: Evangelion 3.0 + 1.0: Thrice Upon a Time

Film Daze

• Queer Coding in Bram Stoker’s Dracula

• Identity and Hong Kong: Ghost in the Shell at 25

• Over the Moon Review: Netflix’s Animated Film Never Achieves Lift Off

• The Trial of the Chicago 7 Review: Sorkin’s Courtroom Drama Searches for Order

• MIFF 2020 Wendy Review: Childlike Imagination Takes Flight

• MIFF 2020 Kill It and Leave This Town Review: A Personal and Strange Debut

• Phineas and Ferb The Movie: Candace Against the Universe Review: More of a Good Thing

• MIFF 2020: Animated Shorts Roundup

• Fantasia 2020 A Mermaid in Paris Review: A Sweet, Derivate Romance

• Tenet Review: Nolan Goes for Broke with this Temporal Spy Thriller

• MIFF 2020 No Hard Feelings Review: A Moving Dissection of 21st Century Identities

• MIFF 2020 The Killing of Two Lovers Review: A Beautiful-Looking Misfire

• Fantasia 2020 The Old Man: The Movie Review: An Udderly Weird and Thoroughly Amusing Experience

• Homosexual Erasure in Cat on a Hot Tin Roof

• Disclosure Review: An Incisive Examination of Collective Trauma

• Trolls World Tour Review: There’s Music in this Noisey Sequel

• Ride Your Wave Review: A Splashy but Uneven Affair

• Bob and Linda Belcher: The Beauty of an Unspectacular Romance

• Children of the Sea Review:  A Messy but Undeniably Beautiful Vision from Ayumu Watanabe

• Away Review: A New Animation Auteur Arrives

• Dreams, Fears, and The Unknown: Over the Garden Wall at 5

• Downton Abbey Review:  A Glamorous Farewell to One of Television’s Finest

• Weathering With You Review: An Intoxicatingly Gorgeous Melodrama

• End of the Century Review: A Powerful and Honest Gay Romance

• Criterion Month: Killing the Author in Clouds of Sils Maria

• In Defence of Neon Genesis Evangelion’s Shinji Ikari

• After We Leave Review: An Intimate Sci-fi Feature

Film Inquiry

• Chaos Walking: Talk Less, Do More

• Page-to-Screen: Who is Love, Simon’s Happy Ending For?

• Page-to-Screen: How Jojo Rabbit Fails to Adapt Anti-Fascism

• Page-to-Screen: On the Guernsey Literary & Potato Peel Pie Society and the Power of Sharing Stories

• Page-to-Screen: The Goldfinch was a Perfect Adaption — That’s Why It Failed

Flip Screen

• Review: Freshman Year is a Romantic Ode to Messy, Lonely, Glorious Teenage Years

Gayly Dreadful

• Living in the Margins: Desire and Power in Shirley

Grow Up

• Our Lives Are Liminal: Queer Love in We Are Who We Are

Jumpcut Online

• Spectacular, Spectacular — Moulin Rouge! at 20

Kill Your Darlings

• Taylor Swift and the Rebirth of Poptimism

Much Ado About Cinema

• The Heterosexual Coming Out Story: On Love, Simon and Boy Erased

Overland

• If he can’t have it, no one can: Christopher Nolan’s billionaire world destroyer

• What are ‘we’ looking for in the 60s?

Rough Cut

• The Active Listening of In My Blood It Runs

Screen Queens

• The Landscape of Pride in The Adventures of Priscilla, Queen of the Desert

Screen Speck

• Why Do We Want Disney to Say Gay, Anyway?

So Textual

• Kate Bush, Medieval Dreamer

• Cinematic Writing