Teacher / Writer / Author of ‘Fate in Film,’ published by @WallflowerBks / Contributor to @FilmInt, @beneficialmag, @blfj / Editor of @BigPicFilmMag
Chicago
Joined February 2014
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Beyond excited to announce that 'Fate in Film,' my book on deterministic genre cinema, is being published this October by @WallflowerBks and @ColumbiaUP. A true honor and privilege. More info forthcoming!
cup.columbia.edu/book/fate-i…
What better place than this social media hellscape to discuss ‘Primetime’?
screenicebergs.blogspot.com/…
I levitated in my chair when ‘Buddy’ riffed on this shot from ‘The Night of the Hunter.’ Bravo, @heyCasperKelly!
Some thoughts on The End of Oak Street, which has my vote for film of the year. Odyssey eat your heart out.
screenicebergs.blogspot.com/…
Speaking of which, some words on The Odyssey, which I nearly hated.
screenicebergs.blogspot.com/…
Thomas M. Puhr retweeted
“Author Christopher McKittrick makes a persuasive case for celebrating the consummate professional Miles became rather than mourning the icon she never was….”
Thanks to @FilmInt & @ThomasPuhr for the review of my book about VERA MILES! #classicfilm
filmint.nu/vera-miles-the-hi…
Wanted to exercise my 100-words muscles a bit: it's been a minute. Some thoughts on Alexandre Koberidze's beguiling 'What Do We See When We Look at the Sky?'
screenicebergs.blogspot.com/…
With the new Nosferatu right around the corner, there's no better time to dig into some German expressionist-inspired tales of terror, courtesy of @RealBearManor
Follow the below link for an excerpt from my book Fate in Film. And while you're there, check out the fantastic work being published in Horror Homeroom. It's a treasure trove for horror buffs!
@ColumbiaUP @horrorhomeroom
An excerpt from a fascinating 2022 book by @ThomasPuhr from Wallflower Press's Short Cuts series, FATE IN FILM: A DETERMINISTIC APPROACH TO CINEMA. Not surprisingly, given the topic, many of the films discussed are #horror films @ColumbiaUP
horrorhomeroom.com/fate-in-f…
Thomas M. Puhr retweeted
An excerpt from a fascinating 2022 book by @ThomasPuhr from Wallflower Press's Short Cuts series, FATE IN FILM: A DETERMINISTIC APPROACH TO CINEMA. Not surprisingly, given the topic, many of the films discussed are #horror films @ColumbiaUP
horrorhomeroom.com/fate-in-f…
A truly great horror film is scary both in the moment and in retrospect, and usually for very different reasons. Case in point: The Exorcist, whose family dynamics are deeply unsettling upon rewatch.
"We know we're serving you garbage," those behind Deadpool & Wolverine seem to be saying, "so that makes it okay." Their ironic self-awareness isn't fun but weirdly defensive and cynical.
Some thoughts on Hlynur Pálmason’s exhausting and altogether remarkable Godland.
thebigpicturemagazine.com/ne…
Wasn't as taken with Talk to Me as others seem to be, but enjoyed it nonetheless. Some words, courtesy of @FilmInt.
filmint.nu/danny-and-michael…
A Thread of Violence sets a new bar for true crime: critical, thorough, thrilling - but never salacious.
Dead Reckoning is the first in the MI series that feels like a joyless exercise. An oddly muted retread of Fallout.
Such an honor to contribute to the LARB. Check out my piece on cinematic absence in Mark Jenkin's 'Enys Men' here!
“This is what a cinema of absence can do. By withholding, it pulls us in. It demands our presence.” Thomas M. Puhr (@ThomasPuhr) discusses absence in cinema, art horror, and Mark Jenkin’s film “Enys Men.” lareviewofbooks.org/article/…
