Theo

Winnie-the-Pooh: Blood and Honey – oh, bother. onesmallscreen.wordpress.com/2023/04/23/win…

Incantation (Kevin Ko, 2022) – religious taboos and broken rules. onesmallscreen.wordpress.com/2022/07/30/inc…

Òran na h-Eala (Steve Exeter, 2022) – the pressure of creativity. onesmallscreen.wordpress.com/2022/04/28/ora…

The Lost Daughter (Maggie Gyllenhaal, 2021) – narcissistic mothers and neglected narrative. onesmallscreen.wordpress.com/2022/01/18/the…

Birthday Boy (Leo LeBeau, 2021) – a compelling tale of a crucial perspective. onesmallscreen.wordpress.com/2021/10/21/bir…

Other People (Chris Kelly, 2016) onesmallscreen.wordpress.com/2021/08/08/oth…

Goodnight Mommy (Severin Fiala, Veronika Franz, 2014) – an empty narrative in a beautiful landscape. onesmallscreen.wordpress.com/2021/07/14/goo…

Adaption. (Spike Jonze, 2002) – convolution masked as clever self-reference. onesmallscreen.wordpress.com/2021/07/06/ada…

Monster (Patty Jenkins, 2003) – Theron’s brilliant transformation that captures the true nature of human desire. onesmallscreen.wordpress.com/2021/06/29/mon…

Baby Driver (Edgar Wright, 2017) – tunes, tension, and terrible female characters. onesmallscreen.wordpress.com/2021/06/04/bab…

Blue Ruin (Jeremy Saulnier, 2013) – a quiet take on the revenge genre. onesmallscreen.wordpress.com/2021/05/21/blu…

South Korean Horror: International Successes and Cultural Customs PART THREE onesmallscreen.wordpress.com/2021/04/27/sou…

South Korean Horror: International Successes and Cultural Customs PART TWO onesmallscreen.wordpress.com/2021/04/20/sou…

South Korean Horror: International Successes and Cultural Customs PART ONE onesmallscreen.wordpress.com/2021/04/12/sou…

Ma Rainey’s Black Bottom (George C. Wolfe, 2020) – blues, bands, and Boseman’s best performance. onesmallscreen.wordpress.com/2021/04/09/ma-…

Thunder Road (Jim Cummings, 2018) – a tragicomedy of perfect proportions. onesmallscreen.wordpress.com/2021/03/25/thu…

Blow-Up (Michelangelo Antonioni, 1966) – allusion to altered attitudes and the truths of perception. onesmallscreen.wordpress.com/2021/03/05/blo…

I’m Your Fairy Fu*king Godmother: the cost that comes with ambition. onesmallscreen.wordpress.com/2021/02/26/im-…

Malcolm & Marie (Sam Levinson, 2021) - a white voice spoken over a black character. onesmallscreen.wordpress.com/2021/02/21/mal…

Uncut Gems (Benny and Josh Safdie, 2019) – a semi-precious film. onesmallscreen.wordpress.com/2021/02/14/unc…