Cinema

Cinema
Andy Muschietti’s It Struggles with Adaptation.” Vague Visages, 11 September 2017.

Hostel: Part II and the Monster of Neoliberal Late-Capitalism.” The Film Stage, 8 June 2017.

No Desire If It’s Not Forbidden’: Dread, Eroticism, and Text Messaging in Personal Shopper.” The Seventh Row, 30 March 2017.

The Aesthetic and Formal Challenges of Jean-Luc Godard’s Contempt.” Vague Visages, 1 March 2017.

Diary of the Dead and George A. Romero’s Formal Self-Awareness.” The Film Stage, 14 February 2017.

The Many Peculiar Virtues of Wes Craven’s My Soul to Take.” Vague Visages, 7 February 2017.

Moments of Revelation in Martin Scorsese’s Silence and Shutter Island.” Vague Visages, 31 January 2017.

Genre Trauma in M. Night Shyamalan’s Split.” MUBI Notebook, 23 January 2017.

What I Learned from Martin Scorsese’s Life Lessons.” Vague Visages, 4 January 2017.

Toxic Masculinity and Empathetic Comedy: Martin Scorsese’s Alice Doesn’t Live Here Anymore.” Vague Visages, 3 January 2017.

The Way of the Future: The Connections Between Martin Scorsese’s Raging Bull and The Aviator.” Vague Visages, 2 January 2017.

James Benning’s Stemple Pass: Minimalist Horror for Trump’s America.” Vague Visages, 19 December 2016.

George Lucas’s Wildest Vision: Retrofuturist Auteurism in Star Wars Episode II: Attack of the Clones (2002).” Bright Lights Film Journal, 15 November 2016.

Experimenting with the Horrific: A Reappraisal and Retrospective of the Films of Tobe
Hooper.” Bright Lights Film Journal, 6 October 2016.

Don’t Breathe, Just Keep on Surviving.” Bright Lights Film Journal, 8 September 2016.

The Horror of a Nation’s Despair: Rob Zombie’s 31.” Bright Lights Film Journal, 4 September 2016.

Star Wars Episode III: Revenge of the Sith: George Lucas’s Greatest Artistic Statement?” Bright Lights Film Journal, 28 August 2016.

M. Night Shyamalan’s Terror Trilogy: Signs (2002), The Village (2004), and The Happening (2008).” Bright Lights Film Journal, 22 August 2016.

“The Relocation of Monstrosity: An Analysis of Horror in Brian De Palma’s Carrie.” Mount Royal Undergraduate Humanities Review, vol. 1.1, 2013.