Full Writing Clips

Primetimer (2020-)

Q&A: Marielle Heller on Bringing What the Constitution Means to Me to Amazon

Roger Ebert (2020-)

Easy A at 10: The Definitive Millennial High School Movie Emerges

The Individual Top Tens of 2020 (contributor)

The Great Performances of 2020 (contributor)

The Playlist (2019-)

Todd Phillips Denies ‘Joker’ Sequel & Meeting Reports; Responds to Scorsese’s Marvel Comments

‘6 Underground’: Netflix Enables Michael Bay To Reach New Bombastic Heights [Review]

Daniel Craig Suggests Rewatching All Of His Bond Films Before ‘No Time to Die’ & Talks ‘Knives Out’ Sequel

‘Crip Camp’: A Hopeful, Joyous Documentary With An Activist Spirit [Review]

Michael Shannon Reflects on ‘Take Shelter’ During A Pandemic & Talks His New Film, ‘The Quarry’ [Interview]

‘The Great’: Nicholas Hoult Earns His Crown In Hulu’s Royal Romp [Review]

‘Capone’: Tom Hardy Goes For Broke, But Josh Trank’s Surreal Film Is Too Consumed With Paranoid Fever Dreams [Review]

‘Love Life’: Anna Kendrick’s Charm Can’t Sustain A Full Season In HBO Max’s Flagship Series [Review]

‘On The Record’ Is A Refreshingly Intersectional & Moving #MeToo Documentary [Review]

Jesse Plemons Reflects On ‘El Camino,’ Acting Opposite Philip Seymour Hoffman In ‘The Master’ & More [Interview]

Jon Stewart’s Electoral System Satire ‘Irresistible’ Confuses Activism And Artistry [Review]

‘The Old Guard’: Gina Prince-Bythewood Assembles Immortal Avengers With Charlize Theron [Review]

‘Spree’ Is a Terrifying, Provocative Addition To “Extremely Online” Cinema [Review]

Josh Boone Details How Fox-Disney Merger Affected ‘The New Mutants’ & How Movies Are “An Essential Service” [Interview]

‘Penguin Bloom’: Naomi Watts Succumbs To Ableist Tropes & Overwrought Metaphor In Glendyn Ivin’s Film [TIFF Review]

‘Monday’ Goes Downhill As Its On-Screen Couple’s Relationship Does [TIFF Review]

‘I Care A Lot’ Unleashes Rosamund Pike in Her Best Role Since ‘Gone Girl’ [TIFF Review]

‘Another Round’ With Mads Mikkelsen Is A Boozy Blast Of A Midlife Crisis Movie [TIFF Review]

‘The Climb’ Filmmakers & Stars Michael Angelo Covino & Kyle Marvin On Their Patient, Impulsive Buddy Comedy [Interview]

Mads Mikkelsen Talks Drinking and Dancing in ‘Another Round,’ Joining ‘Fantastic Beasts’ [Interview]

Writer/Director Thomas Vinterberg on Letting His Alcohol-Inspired ‘Another Round’ Remain Untamable [Interview]

‘Palmer’: We’re Past The Need For Another Antiquated Allyship Drama Like Apple’s Latest Film [Review]

‘Limbo’: Ben Sharrock’s Deadpan Humor Makes This Refugee Story Come Alive [Review]

‘Snake Eyes’: No Dice, As Paramount’s Attempt To Give ‘G.I. Joe’ A Renewed Bite Fails [Review]

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

‘The Incredibles’ Still Holds Up in the Age of the Marvel Cinematic Universe

Can the ‘Sicario’ Franchise Survive Without Emily Blunt?

The Distinctive Visual Style Of ‘Sharp Objects’ Can Be Traced Back To ‘Wild’

World Class Everyman Chris Messina Has Earned The Chance To Lead His Own Show

Hulu Stakes Its Claim As a Documentary Destination

Thomas Mann on Growing Up in Netflix’s ‘The Land of Steady Habits’

‘A Prayer Before Dawn’ is a Different Kind of A24 Film

Significant ‘Other’: How Chris Kelly’s ‘Other People’ Informs ‘The Other Two’ on Comedy Central

Smells Like ‘10s Spirit: How That Iconic Trailer Saved ‘The Social Network’

Smells Like ‘10s Spirit: Why ‘Bridesmaids’ Owns the GIF Era of Movie Comedy

Smells Like ‘10s Spirit: How ‘The Avengers’ Assembled the First Successful Cinematic Universe

Smells Like ‘10s Spirit: How ‘Blackfish’ Epitomizes the Era of Hashtag Activism

Smells Like ‘10s Spirit: How ‘The LEGO Movie’ Gave Brands a New Way to Talk

Smells Like ‘10s Spirit: ‘Jurassic World’ and the Era of Nonstop Nostalgia

Smells Like ‘10s Spirit: How The Existence of ‘Deadpool’ Exemplifies the Power of Fan Culture

Smells Like ‘10s Spirit: How Memes Cemented ‘Get Out’ Firmly in the Cultural Lexicon

Smells Like ’10s Spirit: ‘Black Panther’ and the Shattered Myth of the Unbankable Black Film

Smells Like ‘10s Spirit: ‘The Irishman’ is Cinema’s Past, Present and Feared Future

How Much Time Actually Passes in the ‘Palm Springs’ Time Loop?

Best Movies on Amazon Prime Right Now

Best Movies on HBO Max

Best Movies on Disney+

12 Best New Movies on Netflix: April 2021’s Freshest Films to Watch

Best Movies on Peacock

Thanks to John Early, It’s Time for ‘Clockwatchers’ to Become a Cult Classic

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

TIFF Report: The Addiction Obsession

TIFF Report: Political, Not Polemical

Marshall Shaffer Says Don’t Forget: Did You Wonder Who Fired the Gun?

Marshall Shaffer Says Don’t Forget: Custody

Tribeca Report: The Inaugural Critics’ Week

Tribeca Report: Here Comes Generation Z

What To Expect at Fantasia Festival 2019

Fantasia 2019 Report: At the Mercy of the Programmers

Fantasia 2019 Report: Let the Punishment Fit the Crime

TIFF Report: Keeping the Faith

Review: Temblores

Review: Queen of Hearts

Review: Feast of the Epiphany

Marshall Shaffer Says Don’t Forget: Los Reyes

Marshall Shaffer Says Don’t Forget: Jawline

Review: Run This Town

How Greta Gerwig’s Little Women Rejects A False Cinematic Choice

The Box Office Has Never Moved Past August 13, 2010

Miss Congeniality at 20: Still Sandra Bullock’s Crowning Glory

Thoughts on a Biden-Era Cinema

Bifurcating Bahrani: A Defense of the Filmmaker’s Moral Dramas

Why Young Actors Are Addicted to Addiction Movies

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

Interview: Xavier Legrand on Custody and Domestic Violence

Interview: Bo Burnham on Treating Eighth Grade Like a War Movie

Interview: Jeremiah Zagar on the Intimacy of We the Animals

Operation Finale (review)

Interview: Nick Kroll on Operation Finale and Embracing Drama

Interview: Jacques Audiard on the Making of The Sisters Brothers

Interview: Melissa McCarthy on Lying to Achieve Truth in Can You Ever Forgive Me?

Interview: Richard E. Grant on Morality and Can You Ever Forgive Me?

Interview: Hirokazu Kore-eda on the Invisible People of Shoplifters

Interview: Alice Rohrwacher on Happy as Lazzaro and the Past in the Present Tense

Interview: Barry Jenkins on If Beale Street Could Talk and Generational Joy

Interview: Mike Leigh on Peterloo and the Currency of Period Films

Interview: Claire Denis and Robert Pattinson on the Making of High Life

Interview: Mary Harron on Charlie Says and Correcting the Record on Manson

Interview: Joe Talbot and Jimmie Fails on the Friendship Behind The Last Black Man in San Francisco

Interview: Jack Reynor on His Reverse Hero’s Journey in Midsommar

Interview: Lynn Shelton on Honing Her Process for Sword of Trust

Interview: Julius Onah and Kelvin Harrison Jr. Talk Luce’s Ambiguities

Interview: Lauren Greenfield on The Kingmaker and Threats to Democracy

Interview: Marielle Heller on Mr. Rogers and A Beautiful Day in the Neighborhood

Interview: Céline Sciamma on Redefining the Muse with Portrait of a Lady on Fire

Interview: Eddie Redmayne on The Aeronauts and Accessing Physicality

Interview: Ladj Ly on Sounding an Alarm Bell with Les Misérables

Interview: Kantemir Balagov on Avoiding Artistic Stagnation with Beanpole

Interview: Lesley Manville and Liam Neeson on Working Together on Ordinary Love

Interview: Josh O’Connor on Hope Gap and Inhabiting the Physicality of His Characters

Interview: Kleber Mendonça Filho and Juliano Dornelles on Bacurau’s Politics

Interview: Eliza Hittman on the Poetic Odyssey of Never Rarely Sometimes Always

Interview: Rob Morgan on the Long Ride to Leading Man Status in Bull

Interview: Odessa Young on the Intuitiveness That Fuels Shirley

Interview: Shannon Murphy on Charting the Wild Emotional Terrain of Babyteeth

Interview: Bill and Turner Ross on the Constructions of Bloody Nose, Empty Pockets

Interview: Seth Rogen on An American Pickle and Reconnecting with His Roots

Interview: Kate Lyn Sheil on Calibrating Her Performance in She Dies Tomorrow

Interview: Miranda July on Kajillionaire and the Malleability of Movies

Interview: Kirsten Johnson on Expanding Time with Dick Johnson Is Dead

Interview: Cooper Raiff Talks Shithouse, Nostalgia, and Being There for Others

Interview: Garrett Bradley on Exploring Human Dimensionality in Time

Interview: Joyce Chopra on Creating a Believable Teen Movie with Smooth Talk

Interview: Colman Domingo on Ma Rainey’s Black Bottom, Euphoria, & More

Interview: Richard Kelly on Southland Tales As an Ever-Evolving Work in Progress

Interview: Ephraim Asili on The Inheritance’s Insider View of Collectivism

Interview: Oliver Hermanus on Moffie and the Making of Men in South Africa

Interview: Ben Sharrock on Challenging Labels with Refugee Dramedy Limbo

Interview: Theo Anthony on All Light, Everywhere and Undermining Authority

Interview: Quentin Dupieux on Channeling the Surreal and Stupid in Mandibles

Interview: Tom McCarthy on How Stillwater’s Consequence Is in the Details

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]

The Streamer’s Guide to the 2018 Toronto International Film Festival: What Non-Festgoers Can Watch at Home

‘Monsters and Men’ is an Uneven but Potent Drama About Police Violence [TIFF]

‘Beautiful Boy’ Provides a Moving Showcase for Timothée Chalamet and Steve Carell [TIFF]

‘Ben Is Back’ Haunts As It Shows the Ripple Effect of Addiction [TIFF]

‘Climax’ Review: Gaspar Noé’s Latest Dances Deliriously Toward Death [TIFF]

‘mid90s’ Review: Jonah Hill’s Directorial Debut is a Masterful Coming-of-Age Tale [TIFF]

‘Everybody Knows’ Review: Javier Bardem and Penélope Cruz Lead a Thrilling, If Impersonal, Kidnapping Drama [TIFF]

‘Gloria Bell’ Review: Julianne Moore Charms in a Fun but Melancholy Romance [TIFF]

‘Assassination Nation’ Review: A Fascinating Tale of Online Justice Falters in Its Second Half [TIFF]

‘What They Had’ Review: Michael Shannon Dominates a Pleasant, If Unremarkable, Debut Feature [TIFF]

‘Boy Erased’ Review: Lucas Hedges Devastates in Conversion Therapy Drama [TIFF]

‘Maya’ Review: Mia Hansen-Løve Falters Slightly With Familiar Drama [TIFF]

‘The Hummingbird Project’ Review: An Engaging Financial Thriller Stops Just Short of Greatness [TIFF]

‘Can You Ever Forgive Me?’ Review: Melissa McCarthy Gets More Real Than Ever as a Legendary Fake [TIFF]

‘Teen Spirit’ Review: Max Minghella’s Directorial Debut Lacks Pop [TIFF]

‘Dogman’ Review: A Morality Tale We Deserve [TIFF]

‘Peterloo’ Review: A Different Kind of Historical Epic [TIFF]

‘Non-Fiction’ Review: Olivier Assayas’ Latest Film is a Droll Delight [TIFF]

‘Birds of Passage’ Review: A Thrilling and Refreshing Take on the Drug Trade [TIFF]

The Streamer’s Guide to the 2018 New York Film Festival: What Non-Festgoers Can Watch at Home

‘The Favourite’ is a Sublime Send-Up of Royal Power Games [NYFF]

‘Her Smell’ Review: Alex Ross Perry’s Elisabeth Moss-Starring Punk Movie Smacks of Greatness [NYFF]

‘American Dharma’ Review: Errol Morris Takes on Steve Bannon in His Newest Documentary [NYFF]

‘The Ballad of Buster Scruggs’ Showcases the Wide-Ranging Brilliance of the Coen Brothers [NYFF]

’22 July’ Review: Paul Greengrass Tackles a Different Kind of Terrorism

Writer/Director Jonah Hill and the Cast of ‘mid90s’ on Bringing a Skateboarding Crew to Life On Screen [Interview]

7 Things We Learned About ‘The Favourite’ from Emma Stone, Rachel Weisz and Yorgos Lanthimos [Interview]

Joe Alwyn on ‘The Favourite’ and His Busy 2018 in Movies [Interview]

Paul Lieberstein on Directing ‘Song of Back and Neck’ and Not Being Invited to ‘The Office’ Reunion on ‘SNL’ [Interview]

The Streamer’s Guide to Sundance 2019: What Non-Festgoers Can Watch at Home

“Hail Satan?” Review: A Blasphemous Ball of a Documentary

‘The Art of Self-Defense’ Director Riley Stearns Tells Us All About That Shocking Ending [Spoiler Interview]

‘Mosul’ Director Matthew Michael Carnahan on Filming His Directorial Debut in a Language He Didn’t Speak and in a Foreign Nation [Interview]

The Streamer’s Guide to the 2019 Toronto International Film Festival: What Non-Festgoers Can Watch at Home

‘The Laundromat’ Review: Steven Soderbergh Delivers an Uneven but Undeniably Ambitious Slice of Modern History [TIFF]

‘Guns Akimbo’ Review: A Gaming Satire That Indulges in What It Critiques [TIFF]

‘Jojo Rabbit’ and ‘A Hidden Life’ Offer Alternate and Equally Compelling Takes on Fighting Back Against Nazis [TIFF]

Taking ‘The Goldfinch’ from Page to Screen with Editor Kelley Dixon

“Now Is Our Time”: How Global Female Directors at TIFF 2019 Subverted Everything

The Unsung Gems of TIFF 2019: Three Under-the-Radar Films You Should Know About

The Streamer’s Guide to the 2019 New York Film Festival: What Non-Festgoers Can Watch at Home

‘Liberté’ Review: A Prolonged Graphic Experience That Overstays Its Welcome [NYFF]

‘Young Ahmed’ Review: A Realistic But Uneven Look at the Effects of Extremism [NYFF]

‘Varda by Agnès’ Review: A Fittingly Vibrant Sendoff to a Master Filmmaker [NYFF]

‘The Moneychanger’ Review: A Slight Political Drama with a Few Delights [NYFF]

‘Wasp Network’ Review: Even Recut, It’s Still a Clunker [NYFF]

10 Lessons From Watching the Entire 2019 New York Film Festival Main Slate

‘Motherless Brooklyn’ Review: A Beguiling Riff on ‘Chinatown’ for New York City [NYFF]

‘First Cow’ Review: Kelly Reichardt’s Intriguing Tale of Early American Capitalism [NYFF]

‘Waves’ Spoiler Interview: Writer/Director Trey Edward Shults on the Film’s Startling Second Half

‘Little Joe’ Review: A Disquieting and Precise Blend of Sci-Fi, Horror, and Human Drama

‘Little Joe’ Director Jessica Hausner on Combining Genres and Maintaining a Personal Stamp [Interview]

‘Knives and Skin’ Review: A Neon-Soaked Domestic Drama That Flirts Effectively with Genre

‘Knives and Skin’ Director Jennifer Reeder on Reworking Problematic Genre Elements [Interview]

The 10 Biggest, Craziest and Most Important Cinematic Career Reinventions of the Decade

‘Invisible Life’ Review: An Unabashed, Affecting Brazilian Melodrama

The Streamer’s Guide to January 2020: What to Watch at Home to Prepare For This Month’s Theatrical Releases

The Streamer’s Guide to Sundance 2020: What Non-Festgoers Can Watch at Home

‘Parasite’ Editor Jinmo Yang on Subtlety and the Time Director Bong Joon-ho Apologized to Him [Interview]

The Streamer’s Guide to February 2020: What to Watch at Home to Prepare For This Month’s Theatrical Releases

‘The Assistant’ Director Kitty Green on the Banality of Evil in #MeToo Workplace Drama [Interview]

‘The Whistlers’ Director Corneliu Poromboiu on His Wild New Crime Caper [Interview]

The Streamer’s Guide to March 2020: What to Watch at Home to Prepare For This Month’s Theatrical Releases

Off-Broadway’s ‘All the Natalie Portmans’ Showed the Power and Limitations of On-Screen Identification

How ‘First Cow’ Rewrites the Rules of the American Western For the Better

Have the Directors of ‘Boys State’ Predicted the Future of American Politics?

‘Apples’ Review: A Pandemic Movie, But Make It Greek Weird Wave [TIFF 2020]

‘New Order’ Review: This Class Conflict Makes ‘Parasite’ Look Tame [TIFF 2020]

‘Good Joe Bell’ Review: Mark Wahlberg’s Anti-Bullying Drama Has Nice Message, Muddled Execution [TIFF 2020]

‘Summer of 85’ Review: Young Love Burns Brighter Than Dark Noir [TIFF 2020]

‘The Water Man’ Review: David Oyelowo Makes His Directorial Debut With a Wholesome Adventure [TIFF 2020]

‘Night of the Kings’ Review: Neon’s Latest Acquisition Title is a Thrilling Ode to Storytelling’s Power [TIFF 2020]

The Inside Story of How NYFF 2020 Became America’s First Big Pandemic-Era Film Festival

‘French Exit’ Review: The Discreet Smarm of the Bourgeoisie [NYFF]

A Tall Task for Short Films: How Festivals Are Adapting to a Changing Landscape for Viewers

2020 is the Year to Finally Nominate a Documentary for Best Picture

America’s Dad Grows Up: Exploring the “New” Tom Hanks Heroes and How They Reflect Changing Times

How the Tribeca Festival Reflects the Frustration, Exhilaration and Innovation of Post-Pandemic Moviegoing

Bright Wall Dark Room (2017-)

Sex, Violence, and Spring Breakers

I Must Think of a New Life: On the Deliberate Duration of Judd Apatow’s Funny People

Eternal Sunshine of the Spotless May: Elaine May’s Discarded Women in A New Leaf and The Waverly Gallery

The Sense of an Ending: Billy Wilder’s Parting Shots as Auteurist Stamp

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 (2017-2018)

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 (2016-2020)

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

TIFF 2018: Embracing the Oxymoronic – A Review of Jacques Audiard’s ‘The Sisters Brothers’

TIFF 2018: One Small Step – A Review of Damien Chazelle’s ‘First Man’

TIFF 2018: Interview With ‘Dogman’ Actor Marcello Fonte

NYFF 2018 Review: Paul Dano’s ‘Wildlife’

The Moon and the Kitchen: An Interview with ‘First Man’ Editor Tom Cross

NYFF 2018 Review: Claire Denis’ ‘High Life’

No Comfort Zone: An Interview with ‘Cold War’ Star Joanna Kulig

The Kids Aren’t Alright: A Preview of Rendez-Vous with French Cinema 2019

Tribeca Film Festival Review: Christoph Waltz’s ‘Georgetown’

Tribeca Film Festival Review: Mary Harron’s ‘Charlie Says’

Tribeca Film Festival Review: Tom Harper’s ‘Wild Rose’

BAMCinemaFest Review: Tayarisha Poe’s ‘Selah and The Spades’

BAMCinemaFest Review: Diana Peralta’s ‘De Lo Mio’

TIFF 2019 Review: On the Spiritual Strivings of Trey Edward Shults’ ‘Waves’

TIFF 2019 Review: ‘Knives Out’ Shows Rian Johnson Sharp as Ever

TIFF 2019 Review: James Mangold’s ‘Ford v Ferrari’ Provides an Old-School Adult Drama

Rendez-Vous with French Cinema 2020: Brief Encounters

Tribeca 2020 Documentary Round-Up: Pro Forma(t)

Interview: Kôji Fukada on the Mysteries of ‘A Girl Missing’

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)