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There’s a task, not so insurmountable, that every comic book movie must meet. And it’s not championing a superhero—that’s the easy part. Whereas most science fiction and fantasy tropes are recognizable, if not outright taken for granted, a comic book movie must establish its worldbuilding cred clearly, early, and, most of all, believably. It’s suspension of disbelief, that nagging little pest, that’s the ultimate hurdle, hence the subgenre’s uphill climb. Hellboy II: The Gol

One would argue that Ruth Bader Ginsburg’s life and struggles are an allegory for the women’s movement, and I wouldn’t disagree. But how would we focus this same lens on On The Basis of Sex (2018), the film about her life and struggles? We wouldn’t. Because, actually, we can’t. Art—especially the artists who create it—answers to different standards, creates its own rules, bridges gaps between words and realities. So, how does the screenplay of this film, penned by Daniel S

Which is better, the book or the film? So goes the debate. I’ve always understood that when I read, especially when I read narrative prose, a “mental movie” runs through my head. My imagination fills in the blanks the text proffers. When viewing a film, you let someone else’s imagination do the work for you, and it’s much less exercise for your brain. So I guess you know which side of the fence I sit on. I’m also a high school English Teacher, so that skews the scale as well

How does a film illustrate authenticity? Through dialogue? Location? Elapsed time? Characterization? And how much authenticity do audience members truly seek, anyway? What bridges reality and make-believe in such a manner that makes a film feel real? In my view, and for many other viewers as well, I’m guessing, the authenticity of a film relies on a combination of the previously mentioned elements along with some other important factors. The Rip (2026), written and directed

Since I’ve become a student of Critical Theory, spending a few hours a day reading up on the concept, I need entertainment while I do so. Jim Butcher set an urban fantasy standard, establishing the "noir wizard" trope by merging traditional hardboiled detective stories with modern fantasy, forming a model that numerous writers and media franchises emulate today. Douglas Lumsden’s A Night Owl Slips into a Diner (Alexander Southerland, P.I. Book 4) aligns perfectly with this m

Wish fulfillment. For most of us, it’s a lofty goal. Either we achieve it, or we don’t. There’s no in-between. For Quentin Tarantino, it’s an idea he cultivates, a target he strives for, a weapon he wields, whenever he makes a film. Inglorious Basterds (2009) is a fine example of this credo. Tarantino rewrites history and smiles a little, pleased with himself. We’re pleased, too, if not deeply satisfied, with that warmth you only feel when great tragedy has been averted, whe

A friend of mine, Francine Roche Kay, suggested that I read up on Critical Theory, contending that I’ll become a better reader and reviewer in the process. So here’s my first step–my first book–in the process, Introducing Critical Theory: A Graphic Guide. In literature, Critical Theory is “a social, historical, and political school of thought and philosophical perspective which centers on analyzing and challenging systemic power relations in society, arguing that knowledge,

There’s reading, then there’s experiencing. When it comes to fiction, the difference between the two is considerable, like the difference between eating and dining, knowledge and understanding, affection and love. Said difference is not easily forgotten. I didn’t read the novella, Radioland, as much as I experienced it. Matt McHugh’s prose made that difference. On the surface, it’s a science fiction story about the novelty of new gadgets and the trials of midlife crisis, bu

A writer friend of mine, Matt McHugh, wrote this little gem about a group of radio enthusiasts experimenting with a gadget that records brain activity electrically and transmits it through satellite radio networks, which allows users to share their emotional states in real-time. One of them gets into it a little too much. As usual, I’ll share my thoughts when I’m through.

There’s something to be said about allegories. Even if they’re subtle and not recognized as fully literary ones. Dungeon Crawler Carl, Matt Dinnaman’s popular series, has its titular hero act as said unsung allegory: a reluctant, frustrated, exasperated adult who winds his way through constant crises, shrugging and cursing all the way. Boy, do I feel like that sometimes. Minus the cursing—I am a high school teacher after all. Throughout the entirety of Book One, Carl is bare

After thoroughly enjoying Matt Dinnaman's Operation Bounce House, I eagerly anticipate reading Dungeon Crawler Carl. This is the first book in an eight-part series, featuring a hesitant protagonist who has recently experienced a breakup with his live-in girlfriend, as he finds himself caught up in an alien civilization's aggressive takeover of Earth. This LITRPG novel, a subgenre of speculative fiction, intricately weaves together conventional storytelling and RPG game mecha

There are books that can change everything. Sometimes for the world—but this is usually a far slower response—more often for the author. The Martian, by Andy Weir, is just such a book. It was this novel that catapulted the software engineer into a new life as a full-time writer; which, of course, is every aspiring author’s dream. Color me jealous, with the distinctive hue of admiration. So what is it about this novel that convinced the executives at Twentieth Century Fox an

Having enjoyed the book and film version of Project Hail Mary, I look forward to reading Andy Weir’s The Martian. In short, astronaut Mark Watney is marooned on Mars after a severe dust storm forces his crew to evacuate, wrongly assuming he is dead. With minimal supplies and no communication with Earth, he must leverage his expertise in botany and engineering to survive against seemingly insurmountable challenges. As usual, I’ll share my thoughts when I’m through.

A book title can be somewhat misleading. I say, somewhat. When I picked up to read The Killer and Frank Lloyd Wright: The True Story of Mass Murder in Paradise, by Casey Sherman, I expected an account of famous American architect Frank Lloyd Wright’s reaction to the massacre that occurred at his Wisconsin home, Taliesin, and the motivations of the massacreur, Julian Carlton. What I got was a biography. With details of the crime and the criminal. Not that I minded as much, b

There are some films you only need to see once. You know what I mean. Films that you not so much view as experience, films that mark you—if not momentarily smart you—films that leave you feeling something quite extraordinary. Again, these are films you only need to see once. Just once. That’s it. Weapons (2025), a film by Zach Cregger, is one of these films. I rate it up there with Hereditary (2018), Midsommar (2019), and The Substance (2024). It’s a horror film, like thos

I’m usually on the fence when it comes to true crime stories. But once in a while, one will grab me, quite especially if it’s an historical account. In The Killer and Frank Lloyd Wright: The True Story of Mass Murder in Paradise, bestselling author Casey Sherman recounts the tragic events that unfolded at the famed architect’s Wisconsin estate. The book examines Wright’s controversial affair with Mamah Borthwick, which became a national scandal, before chronicling the devast

It's always a toss-up with the first novel in a series. Across genres, its function remains the same: to establish the characters, define the series’ central premise, and plant the seeds of later conflict. Its purpose is also to draw you in, to entice you to read further. The real question is whether this first installment is compelling enough to make you care about what follows. But then I think about the first piece of advice given to me in my initial year of teaching: it

I like to sit in my recliner. I like to read, watch movies and streaming, while sitting in said recliner. I also like to sit in my office chair, at my desk, and write. And read. And watch movies and streaming. While sitting in said office chair. All in hopes of entertaining myself, broadening my knowledge and experience, exercising my imagination, and honing my critical thinking and communication skills. And this is the extent of my adventures. Watching a film like Apex (20

How do you conclude a darkly comic science-fiction cautionary tale without resorting to a wildly absurd, open-ended time loop? You can’t, really. Any other options threaten to readjust reality, if not at least viewers’ temporary perspectives. Yet once in a while, you’ll find one with such an ominous lesson to impart, you’ll rethink your everyday behaviors and customs. Perhaps for longer than a moment. What other purpose would a morality tale serve if not to warn us? If not t

The opening credits tracking shot of Jackie Brown (1997)—with Pam Grier’s (Foxy Brown) flight attendant character moving along an airport’s travelator—tells the viewer much of what’s in store. The film moves steadily, not quickly, with lingering shots that emphasize characters’ expressions and body language, with the story told at a steady, unhurried pace. Is this a Hollywood movie? It is for Quentin Tarantino (Pulp Fiction). In a nutshell: Middle-aged flight attendant, Jack