This Reviewer Doesn’t Agree with the Raving Reviewers’ Descriptions & Opinions About Why They Are Raving … But He Absolutely Agrees with Their 5-Star Ooh-and-Ah Ratings.
By Gregg W. Morris
THROUGH THE NIGHT is a bewitching, beguiling cinéma vérité, fly-on-the-wall picture perfect film about the lives of the owners and customers of a grassroots New Rochelle, New York, 24-hour day care center. It’s lensed by a filmmaker who wants to flood pop culture “with beautifully complex portrayals of the lives of working-class women of color” and their families who stoically draw on “titanic strength, love, and selflessness” in the menacing face of racism and sexism and the inequality of American capitalism.
Review by Gregg W. Morris
Opens tomorrow, December 11, 2020 in multiple virtual cinemas.
Karen Dalton – In My Own Time
Released 2013-07-05 on Light In The Attic
1. 00:00:00 Karen Dalton Something on Your Mind
2. 00:03:23 Karen Dalton When a Man Loves a Woman
3. 00:06:22 Karen Dalton In My Own Dream
4. 00:10:40 Karen Dalton Katie Cruel
5. 00:13:02 Karen Dalton How Sweet It Is
6. 00:16:45 Karen Dalton In a Station
7. 00:20:37 Karen Dalton Take Me
8. 00:25:17 Karen Dalton Same Old Man
9. 00:28:02 Karen Dalton One Night of Love
10. 00:31:21 Karen Dalton Are You Leaving for the Country
The late Karen Dalton has been the muse for countless folk rock geniuses, from Bob Dylan to Devendra Banhart, from Lucinda Williams to Joanna Newsom. Legendary singer Lacy J. Dalton actually adopted her hero’s surname as her own when she started her career in country music.
© 2013 Light in the Attic
℗ 2013 Light in the Attic
Eighty-four minutes of riveting cinematography. An edge-of-your-seat, bittersweet, smashingly lensed story about the fates of three young promising Cuban ballplayers dreaming of making it big in Major League Baseball in the States. Because of the U.S. embargo against Cuba, however, Cuban ball players like them who want to be signed to big contracts must leave their homes to try to establish residency in The Dominican Republic, Haiti or Costa Rica. This Caribbean rite of passage means players must trek the dangerous Central American migrant trail where bodies and atrocities never stop piling up.
By Gregg W. Morris
Eighten-plus-minutes of exquisite black and white imagery of the gruesome and the horrific rendered beautifully in a narrative using folklore about the ungodly desolation caused by Super Typhoon Yolanda AKA Super Typhoon Haiyan, a Category 5 mega-monster that started laying siege to the Philippines Visayas group of islands, the country’s central region, population 17 million people, November 26, 2013. It shook the Philippines to its roots.
This stunning film short is winning one award after another.
By Gregg W. Morris
Filmmaker Joanna Vasquez Arong weaves together myths to tell how a small town in the Philippines copes with devastation and trauma in the aftermath of a typhoon. A girl’s voice divulges bits and pieces of her own memory of her grandmother and mother to tie in the experiences she felt visiting this ravaged town. Premiered at the 2020 Slamdance Film Festival.
Filmmakers Magnus Skatvold and Greg Mallozzi exquisitely and tellingly profile former NYC police officer Bob Leuci, who in the 1960s was a member of the NYPD’s Special Investigative Unit AKA SUI, a major undercover narcotics operation. BLUE CODE of SILENCE’s 74 minutes of virtuosic cinematic story telling, nevertheless, caused this reviewer to navigate swells of ambivalence. There is obviously more to this movie than just a profile of a rogue cop who was treated as a prince of the city even though he had a mega-measure of antagonists who considered him a rat.
Director Aleksandr M. Vinogradov’s visually stunning 91-minute film about the Belgian choreographer Thierry Smits’s creating his new visually stunning contemporary dance piece, Anima Ardens – stirring up this reviewer’s collective unconsciousness and consciousness to a feverish pitch. The athleticism of 11 men, naked, whirling, pirouetting, dashing around huge alabaster stage as well as enmeshing and scrumming with arms and legs and heads and torsos going this way and that, rhythmically and synchronously and kinetically, forming and reforming edificial shapes and collages with human building blocks that expand and melt away into other forms and entities was transfixing.