Books

• The Wire: The Complete Visual History (Simon & Schuster, 2022) — Essay: “The Wire Season One: An Act of Witnessing”

• The Wes Anderson Collection: The French Dispatch (Abrams Press, 2023) — Essay: “The Real and Imagined Worlds of Wes Anderson”

Journalism

The New York Times

• Hear Lata Mangeshkar in These Four Streaming Films (Online Edition, 2/10/2022)

• Lasting Legacy of a Towering Bollywood Star (Print Edition, 7/12/2021)

• Stream Three Great Performances by the Bollywood Star Dilip Kumar (Online Edition, 7/9/2021)

Time Magazine

• Payal Kapadia on Her Gently Radical Drama All We Imagine as Light

• Monkey Man‘s Political Critique Misses the Point

The Guardian

• Remembering 83: award-winning film pays tribute to India’s underdog heroes (Print Edition, 8/18/2022)

• ‘Nobody gave us a hope in hell’: 83, the feelgood film about India’s underdog cricket team (Online Edition, 8/16/2022)

Variety

• ‘BLKNWS: Terms & Conditions’ Review: Kahlil Joseph’s Rich, Impressionistic Docu-Fiction Essay Reimagines the World

• ‘Parthenope’ Review: Paolo Sorrentino Crafts an Exquisite Treatise on Cinematic Beauty

• ‘From Ground Zero’ Review: Palestine’s Oscar Entry Compiles 22 Video Diaries From Gaza

The Village Voice

• The Ramifications of Saudi Cinemas Opening Their Doors

• Padmaavat, an Indian Masterpiece Held Hostage, Sees the Light of Day

  • Cited in book Stardom in Contemporary Hindi Cinema (Aysha Iqbal Viswamohan, Springer)

• Thor: Ragnarok: Marvel From a Postcolonial Perspective 

  • Cited in book Film in the Anthropocene: Philosophy, Ecology, and Cybernetics (Daniel White, Palgrave MacMillan)

  • Cited in Master’s Thesis “Globalisation and Otherness in the Postcolonial Science Fiction” (English Literature, Radbound University)

Netflix/Tudum

• 6 Indian Films to Stream

New York Magazine

• Superman Was Always An Immigrant

• Ms. Marvel Was a Personal Journey Onscreen and Off

• The Electrifying Star Power and Joy of RRR’s ‘Naatu Naatu’ Dance Sequence

Empire Magazine

• Barbarian Review

• The Menu Review

• Conclave Review

IndieWire

• A Night of Knowing Nothing Review: Payal Kapadia’s Dreamlike Protest Documentary Is Personal and Political

• ‘Intercepted’ Review: Phone Calls from the Front Lines Score a Haunting Ukrainian War Doc

• Will ‘Monkey Man’ Even Be Released in India? An Uphill Battle with Censors Awaits — Opinion

IGN

• Watchmen Reviews

  • Winner, Best Criticism of TV at the 62nd Southern California Journalism Awards

• Series: The Films of Christopher Nolan

  • Winner, Best Film Critic at the 14th National Arts & Entertainment Journalism Awards (2nd Place)

• West Side Story Review

  • Winner, Best Criticism of Film at the 64th Southern California Journalism Awards

Letterboxd Journal

• Spotlight on India 2024: after a record-breaking first half of the year, eight more Indian gems for your watchlists

• Worldwide Wanderer: the indelible impact of Bollywood sensation Awāra on a global stage

The Daily Beast

• Kevin Hart’s Terrible New Heist Movie ‘Lift’ Steals Two Hours of Your Life

• ‘Ordinary Angels’: Hilary Swank Made a Faith-Based Drama…and It’s Miraculously Good!

• Liam Neeson Plays an Irish Assassin in a Movie You’ll Probably Watch on a Plane

Mashable

• Maestro review: Bradley Cooper falls just short of greatness once again

• Let's talk about Killers of the Flower Moon's ending

• Do Not Expect Too Much From the End of the World review: The absurdity of modern images

Fangoria

• Evil Eye Brings Indian Horror and Indian Mothers to the Fore (Issue #9)

Truthdig

• Aftersun: Fathers, Daughters and Videotape

• The Restless Radicalism of Planet of the Apes

• The Blind Man Who Did Not Want to See Titanic: The Cinematic Language of Disability

Inverse

• Interview: 2022 Belonged to RRR Director S.S. Rajamouli

• Avatar: Fire And Ash Doubles Down On Avatar’s Greatest Elements

• Civll War Will Set Your Senses Ablaze

Backstage Magazine

• How Cord Jefferson Dropped His Ego to Direct ‘American Fiction’

• The 15 Greatest Daniel Day-Lewis Performances, Ranked

• ‘Nickel Boys’ Filmmaker RaMell Ross Gets Up Close and Personal

Film Freeway

• How Robert Eggers Turned ‘Nosferatu’ Into a Psychosexual Nightmare

• The 10 Best Indie Films of 2024

• AI Screenwriting Could Be the Future—It Shouldn’t Be

Birth.Movies.Death.  

• Jay-Z’s Moonlight Video: On Whiteness As American Export

  • Cited in book Empire and Black Images in Popular Culture (Joshua K. Wright, McFarland Publishing)

• Captain America: The Corruption of an American Symbol

  • Cited in academic journal Panic at the Discourse: Superheroes in Contemporary Media (Cultural Studies, Queen’s University)

• Power & Responsibility: Why Ms. Marvel Matters

  • Cited in PhD Dissertation “Comics as a Medium dor Inquiry: Urban Students (Re-)Designing Critical Social Worlds” (Department of Philosophy, University of Pennsylvania)

    
    

Polygon

• ‘I want your eye’: The metaphorical horrors of Get Out live on in modern Hollywood

• The Last Jedi dared to put the Buddhist philosophy of Star Wars in the foreground

• The AI-generated movie What’s Next opens a fresh debate over AI filmmaking

Observer

• The Best Documentaries of 2025

• Screening at BFI London Film Festival: Sophy Romvari’s ‘Blue Heron’

• The Power of ‘Yes!’ and the Limits of Dissent at Cannes

Collider

• The Disciple Review: An Immersive Spiritual Experience | NYFF 2020

• How the Donner Cut of Superman II Was the Original Snyder Cut

Firstpost

• The Irishman: Martin Scorsese is king of the gangster picture, but heavy lies the crown

• Uncut Gems: Adam Sandler leads a stressful, hyper-energetic masterpiece

• Why Quentin Tarantino's Inglourious Basterds remains as potent as ever, ten years after its release

Film Companion

• 60 Years of Jean-Luc Godard’s Breathless: Why The Film Was Ahead of Its Time

SlashFilm

• The Impeccable Sound Design of Little Women

• The Treehouse Combines Documentary Footage of Indigenous Tribes With a Science Fiction Story Set on Mars

• Deconstructing Comedy with Christopher Storer, Director of Make Happy and Homecoming King (Part 1/Part 2)

JoySauce

• All We Imagine As Light: is a Radiant, Radical Film About Indian Sisterhood

• A controversial Berlinale bookended by dueling Israeli hostage films

• How Fire Island Director Andrew Ahn Paints A Vivid Portrait of Queer Asian America

The Juggernaut

• Fighting to Make India's Cinemas Disability-Friendly

• What is Ritesh Batra Nostalgic For? An interview with the director of Photograph and The Lunchbox

• In Queens, the Bombay Theatre Persists

Verve Magazine

• Cinematic Ties: Lion

• Around the World With the Mumbai Film Festival

RogerEbert.com

• The Room at Midnight: The Complicated Politics of Irony

The Chicago Reader

• Beyond Bollywood: A beginner’s guide to Indian movies you can stream at home

Paste Magazine

• The Pull-and-Push of Progress in Lathe Joshi

Big Bad Film

• The Beautiful Chaos of Mission: Impossible – The Final Reckoning

Certified Forgotten

• ‘Shelby Oaks’ Review: Chris Stuckmann Covers the Hits in His Part-Found Footage Debut

The Film Stage

• The Venerable W. Examines the Roots of Modern Extremism

Video Essays

Playlist

CineFix - IGN Movies and TV

• Ryan Coogler and The Legacy That Built Black Panther: Wakanda Forever

• Jordan Peele and the Legacy of Horror Close Ups

• Green Goblin: How Dafoe’s Spider-Man Villain Became an Icon

• Pixar Grows Up: Perfecting the "Coming of Age" Story

Patrick (H) Willems

• The Secret Ingredient That Makes Raimi's Spider-Man So Great

  • Voted among the best video essays of 2022 by Sight and Sound Magazine

• Why Are Batman Movies Afraid Of Robin?

• RRR - The Biggest Blockbuster You've Never Heard Of

• Sam Raimi's Best Scene (Is In a Movie He Didn't Direct)