Essays and More
Closer Look: The Kremlin in ‘Mission Impossible: Ghost Protocol’
The first article in an ongoing, periodic series of scene analyses from non-new releases. I love writing about individual scenes more in-depth—with a close eye on both the technical aspects of the…
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A Sad Lesson from Pitching Articles
I don’t hate all Marvel movies, I promise. But as an aspiring film (and culture, whatever that means) writer, it’s not what I want to write about. I’d prefer to be commissioned…
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‘Thor: Love and Thunder’ and queer aesthetics
With a few daring visuals and innovative artistic references, writer-director Taika Waititi’s “Thor: Love and Thunder” merits more superlatives than any of its peer Marvel Studios blockbusters following 2018’s “Avengers: Infinity War.” …
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Special Effects Cinema at Its Finest: S.S. Rajamouli and RRR
In his review of Star Wars: Episode III — Revenge of the Sith (2005), Roger Ebert wrote with his usual eloquence, “special effects should be judged not by their complexity but by the degree that they…
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Buddhism, Christianity, and a New Filmic Grammar
There are few more complete stylists working in the English language.
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Watching Movies on Small Screens is a Better Experience. If You Care about Audio.
One of the best movie experiences of my life was watching John Krasinski’s A Quiet Place on a 13.5” MacBook Pro screen with puffy $20 over-ear headphones.
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Of Myths and Monster Hunters, Part 2: The Divine Player and Visual Theology in the Films of Paul W.S. Anderson
The following piece, using the theologian Friedrich Schleiermacher as a resource, is an auteur analysis of the visual grammar of Anderson’s films that argues his visuals invoke a sense of a “divine player” through their resemblance to the visual grammar of video games.
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The Transcendent Cinema 