Full Writing Clips

Decider (2018-)

‘Dunkirk’ And The Christopher Nolan Lie

Duncan Jones Can Rebound From ‘Mute’ By Finding Another ‘Source Code’

It’s Time We Stop Taking Carey Mulligan For Granted

‘Thank You for Your Service’ and ‘Only the Brave’ Establish The Ethos Of A New Decade For Miles Teller

Lynn Shelton’s ‘Outside In’ Wrestles With The Effects Of The Prison System

Crooked Marquee (2017-)

I, Tonya, Foxcatcher, and Fallen Athletes of the ’90s

Lean on Pete and The Rider: Foreign Visions of a Diminished American West

Tribeca Report: High-Stakes Parenting

Slant (2017-)

Interview: Rosamund Pike Talks Hostiles and Career Post-Gone Girl

Interview: Daniela Vega on Her Breakout Role in A Fantastic Woman

Interview: François Ozon Talks Double Lover and Modern French Cinema

Interview: Sebastián Lelio on the Making of Disobedience

Interview: Xavier Beauvois on the Making of The Guardians

Slashfilm (2017-)

‘Battle of the Sexes’ Review: It’s Steve Carell vs. Emma Stone in an All-Too-Timely Showdown [TIFF]

‘Breathe’ Review: Andrew Garfield Astounds in Andy Serkis’ Directorial Debut [TIFF]

‘Downsizing’ Review: Matt Damon Shrinks Himself in Alexander Payne’s Sci-fi Satire [TIFF]

‘Chappaquiddick’ Review: Jason Clarke Plays Ted Kennedy in an Absorbing, Maddening Drama [TIFF]

‘Kings’ Review: Halle Berry and Daniel Craig Lead a Well-Intentioned Misfire [TIFF]

‘On Chesil Beach’ Review: Dominic Cooke’s Adaptation Is Dead on Arrival [TIFF]

‘Hostiles’ Review: Christian Bale Leads a Weary and Grim Western From Scott Cooper [TIFF]

‘First Reformed’ Review: Paul Schrader Crafts a Modern Masterpiece About Faith [TIFF]

‘Jim and Andy: The Great Beyond’ Review: A Revelatory Treasure Trove of Comedic Brilliance [TIFF]

‘Unicorn Store’ Review: Brie Larson’s Directorial Debut is a Charming, Honest Film [TIFF]

‘Foxtrot’ Review: Tragedy and Comedy Intermingle in One of the Best Movies of 2017 [TIFF]

‘Let the Corpses Tan’ Review: A Brain-Breaking (For Better and Worse) Midnight Movie [TIFF]

‘Lean on Pete’ Review: A Striking, Shattering and Altogether Sensational Journey [TIFF]

‘The Florida Project’ Director Sean Baker on Finding the Humor in Tragedy [Interview]

How ‘Twin Peaks’ Prepared Laura Dern for ‘Star Wars’

2017 Was a Bad Year for Cinema’s “Tortured Artists”

The Unpopular Opinion: ‘Inherent Vice’ is Top Tier Paul Thomas Anderson

The Streamer’s Guide to Sundance 2018: What Non-Festgoers Can Watch at Home

How Jennifer Lawrence Reclaims Power in ‘Red Sparrow’

The Unpopular Opinion: ‘The Darjeeling Limited’ is Wes Anderson’s Best Film

‘Back Roads’ Review: Alex Pettyfer Makes a Promising Directorial Debut [Tribeca]

‘Disobedience’ Review: Rachel McAdams Thrillingly Rages Against the Patriarchal Machine [Tribeca]

‘To Dust’ Review: A Uniquely Humorous Hasidic Jewish Story of Death and Life [Tribeca]

Bradley Cooper and Robert DeNiro Discuss ‘A Star Is Born,’ Their Collaboration and More at Tribeca

‘Maine’ Review: A Wilderness Journey About Neither the Destination Nor the Journey [Tribeca]

‘Song of Back and Neck’ Review: Toby from ‘The Office’ Laughs Through the Pain [Tribeca]

Bright Wall Dark Room (2017-)

Sex, Violence, and Spring Breakers

Little White Lies (2017-)

Why Baby Driver is the movie musical we’ve been waiting for

The Fourth Estate – first look review

Film School Rejects (2017-)

Robert Pattinson: From Bedhead to Bushy Beard

How ‘A Ghost Story’ Completes a Texan Triptych on Time

He’s With The Band: Greg Barker on His Obama Administration Doc ‘The Final Year’

Vague Visages (2016-)

Binge Moviegoing: An 18 Hour Day at Fantastic Fest 2016

Fantastic Fest 2016: A Talk with Director Ana Lily Amirpour on Inspiration and ‘The Bad Batch’

Fantastic Fest 2016: Cannibalism and Competition – On ‘Toni Erdmann’ and ‘Raw’

Interview with Kelly Reichardt, Director of ‘Certain Women’

Houston Cinematic Arts Festival: Interview with Cinematographer Frederick Elmes

Knockin’ on Heaven’s Door: Analyzing Martin Scorsese’s ‘Silence’ as a Remake of His 1967 Debut

Vague Visages Is FilmStruck: Marshall Shaffer’s #FilmStruckFebruary

Interview with Eleanor Coppola, Director of ‘Paris Can Wait’

‘The Bling Ring,’ Recontextualized in Post-Election America

Fantasia 2017 Review: Federica Di Giacomo’s ‘Libera Nos’

Fantasia 2017 Wrap-Up: My Festival vs. Your Festival

TIFF 2017 Review (Wavelengths): Denis Côté’s ‘A Skin So Soft’

TIFF 2017 Review (Wavelengths): Lucien Castaing-Taylor and Verena Paravel’s ‘Caniba’

TIFF 2017 Review: Guillermo del Toro’s ‘The Shape of Water’

Dead Kennedys at TIFF 2017: The Rise of a New Zeitgeist

TIFF 2017 Capsule Reviews

Vague Visages Is FilmStruck: Marshall Shaffer on Michael Haneke’s ‘Benny’s Video’

“Well, Childhood’s Over” – Claiming Adulthood with Some Help from Greta Gerwig

Vague Visages Is FilmStruck: Marshall Shaffer’s #FilmStruckFebruary – The Beginning

Vague Visages Is FilmStruck: Marshall Shaffer on Agnès Varda’s ‘Mur murs’

Vague Visages Is FilmStruck: Marshall Shaffer on Valentine’s Day and a FilmStruck Wedding

Vague Visages Is FilmStruck: Marshall Shaffer on Paul Robeson

Vague Visages Is FilmStruck: Marshall Shaffer on Ingmar Bergman’s ‘Silence of God’ Trilogy

Vague Visages Is FilmStruck: Marshall Shaffer on FilmStruck’s ‘Black in America’ Collection

Five Films to See at Rendez-Vous with French Cinema 2018

Movie Mezzanine (2015-2017)

Fantastic Fest Review: “Green Room”

Fantastic Fest Review: “Son of Saul”

Fantastic Fest Review: “The Witch”

Fantastic Fest Review: “The Club”

Interview: Davis Guggenheim of “He Named Me Malala”

How the Dardennes Inspired John Crowley’s “Brooklyn” (interview)

Josh Mond on “James White” and the Close-Up’s Comeback (interview)

Adam McKay: From “The Other Guys” to “The Big Short” (feature)

Sundance 2016 Dispatch: The Future of the “Sundance Film”

Sundance 2016: Hard Bodies, Soft Sells

The Best Films of Sundance 2016

SXSW 2016: Forward to the Past

SXSW 2016: Fingers on the Pulse

Sundance 2017 Dispatch: Connecting with the World

Sundance 2017 Dispatch: Three Distinct Love Stories

Sundance 2017 Wrap-Up

Indulging Mightily with Alex Ross Perry and the “Golden Exits” Cast

Breaking Standards with Julian Rosefeldt of “Manifesto”

A New Way of Telling Love Stories (interview with Drake Doremus, director of Newness)

Reviews published by Camel City Dispatch (2014-2015)

Film r/eview – The Skeleton Twins

r/view: Birdman

r/view – Listen Up Philip

r/view – Jon Stewart’s Rosewater

r/view – Laggies

r/view – The Theory of Everything

r/view – Wild

r/view – Possibly the Most Important Film of 2015 – “CitizenFour”

r/view – The Imitation Game

CCD Review – Selma

r/view- Two Oscar Nominated Films Open Friday in Camel City (Foxcatcher, Whiplash)

r/view – Boyhood

r/view – Two Days, One Night

r/view – Human Capital

r/view: Timbuktu & Still Alice

REVIEW: Fifty Shades of Grey

r/view- Opening Friday – Girlhood & Mr. Turner

r/view – Gett- The Trial of Viviane Amsalem & Ballet 422

r/view: Leviathan

r/view – It Follows

r/view – Kumiko, The Treasure Hunter – Deli Man – Wild Tales

Full Frame Film Fest – 2015

r/view – The Hunting Ground

Interview with UNCSA’s Brett Haley, Director of “I’ll See You In My Dreams”

r/view – Spotlight

Christian Science Monitor (2011)

A look at a classic: Charlie Chaplin in “Modern Times”

Midnight in Paris: movie review

Larry Crowne: blogger movie review

Submarine: blogger movie review

Horrible Bosses: blogger movie review

Conan O’Brien Can’t Stop: blogger movie review

Another Earth: Marshall and the Movies review

Want more Woody Allen after seeing ‘Midnight in Paris’? Check out ‘Small Time Crooks.’

Wake Forest University homepage

Unconventional class

Developing a Cannes-do attitude

Posts for syndication written at Premier Communications

Top films set in Boston (to promote The Heat)

Press releases worked on at The Academy of Motion Picture Arts and Sciences

The Academy to Screen Festival Favorite “Snowpiercer”

The Academy to Premiere New Digital Restoration of 1934 Best Picture “It Happened One Night”

The Academy To Screen Festival Standout “Whitey: United States Of America V. James J. Bulger”

Academic film writing

All About Amour on the Other Side of the Window (from Film Theory and Criticism)

Bad Apples Up on Top (from Political Sociology)

Jaws: Baby, There’s a Shark in the Water (from Great Directors)