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Large Language Questions I wrote Large Language Questions while testing how grammar itself can fracture under pressure. Each question turns syntax into a physical object—hinge, blade, lock—so that language becomes a machine grinding against desire....

Mike End Kicks: The Heartbeat in the Haze Mile End Kicks blends comic chaos with romantic drift, anchored by Barbie Ferreira’s grounded performance. Chandler Levack’s direction keeps the film warm even when its structure wavers, resulting in a slightly mixed but charming portrait of creative youth....

FACES OF DEATH (2026): A BLOOD‑SPLATTERED COMIC EPIC ABOUT WATCHING, NOT JUST DYING Daniel Goldhaber’s Faces of Death is a messy, ambitious, and darkly comic meta‑remake anchored by Barbara Ferreira’s steady, forceful performance. Its uneven tone becomes part of its charm, turning the film into a pseudo‑epic exploration of virality, spectatorship, and the strange hunger that drives digital attention....

The Dress This poem began with the image of a man holding a dress in a dim room, an object behaving as both memory and disguise. Its theme is how clothing can momentarily alter the body’s outline and expose what grief refuses to say....

Moana: Same Ocean, Smaller Waves The live‑action Moana recreates the animated film so literally that nearly all of its mythic charm and visual invention evaporate. Despite strong casting for Moana herself, the remake’s tonal misfires—especially around Maui—and its loss of animated expressiveness make it feel unnecessary, flattening a once vibrant story into a cautious, overly literal retread....

FORBIDDEN FRUITS: A MALL COVEN WITH MORE ATTITUDE THAN PURPOSE Forbidden Fruits delivers attitude, mall‑witch theatrics, and a few vicious shocks, but its aesthetic confidence outweighs its narrative ambition. Strong performances keep the film afloat even as its satire thins and its horror arrives without the groundwork it needs....

Ferry I wrote Ferry after watching a river crossing where sound and weight seemed to trade places. The poem explores how movement and release—mechanical, not emotional—can become a form of grace....

A Loss I wrote A Loss after burning a photograph that refused to fade on its own. The poem examines how ritual and chemical reaction replace sentiment, turning memory into residue and pressure.

Young Washington: A Stern, Handsome Monument to Ambition Young Washington delivers a stern, carefully controlled portrait of George Washington’s formative years, emphasizing ambition over personality. Its rigidity limits emotional depth, but its disciplined tone and clear staging make it a respectable, mildly compelling biographical drama....

Minions and Monsters: BANANA MONSTRO FANTASTICO: MINNIONS GO BOOM‑BOOM HOLLYWOODO! Minions & Monsters” delivers a chaotic, clever, and joyfully absurd new chapter in the Minions saga, with Pierre Coffin pushing the franchise into its most inventive territory yet. The film blends monster mayhem, Hollywood parody, and Minion gibber‑comedy into a surprisingly sharp and consistently hilarious experience....

The Choral: England Sings on the Edge of Rui

Enola Holmes 3: A Wedding, A Kidnapping, and a Woman Determined Not to Vanish

Love Is I wrote Love Is after my cancer surgery, when my wife sat beside me and held my hand as I woke. The poem is about how love survives the body’s breaking — not through comfort, but through the persistence of touch after pain.

Peace Wheel I wrote Peace Wheel after watching monks construct a sand mandala outdoors, where the wind kept undoing their precision. The poem explores the friction between breath and wind—human control against the inevitability of dispersal....

Little Brother and the Trouble With Good Intentions

VOICEMAILS FOR ISABELLE RINGS WITH GRIEF, MISCHIEF, AND A WOBBLY KIND OF HOPE

GOOD LUCK, HAVE FUN, DON’T DIE MAKES CHAOS FEEL HAND‑CRAFTED