This reviewer has no idea if Director Christina Yoon ever watched a ‘Twilight Zone,’ and could care less if she did or didn’t. It is only in this reviewer’s imagination that there are irresistible similarities between MIRROR and ‘Eye of the Beholder,’ a Twilight Zone episode. If challenged, I would give Sterling’s 5 stars out of 5 for its time. And Yoon’s? 5 stars, undeniably delicious.
A familiar ring of a single, hard working mom willing to do whatever she can muster to help her young daughter. But it’s the sumptuous way that Director Xiu tells the story with impressive acting by principal and supporting actors, imaginative cinematography, a suspenseful plot with several surprises, a film score poignantly sweet. There will come a time in this film when viewers will gasp like they’ve never gasped before because of a brilliantly done scene in a exquisitely made film with flawless cinematography. Audiences should also for a tapestry of spell-binding irony.
Chronicling the riveting history and personal experiences – at once liberating and challenging, harrowing and inspiring, deeply revealing and profoundly transforming – of African Americans on the road from the advent of the automobile through the seismic changes of the 1960s and beyond. By acclaimed historian Dr. Gretchen Sorin and Emmy–winning director Ric Burns.
By Gregg W. Morris who is working on review.
Shimmying like a kinetically charged Hollywood action-adventure film, DESERT ONE can make audiences feel as if they are flies on the wall, eyewitnesses to history through the marvel of a space-time-continuum created for them by a filmmaker in pursuit of truth, the whole truth and nothing but the truth regarding The 1979 Iranian Hostage Crisis.
By Gregg W. Morris
A hell of a story. Compelling. Picturesque, from the doe eyes of star Anna Suk playing with incredible finesse single mom Kathi (with a felony conviction) struggling to keep the nasty fates and cruel verities of life that have dogged her from being passed on to her wide-eyed son Patrick, played with aplomb by Patrick Schmidl.
“Diaz’s film is clear, gripping, balanced – straight from the mouths of journalists, apologists, and the president himself. One is taken to the finer detail of the glorification of power, the abuse of power, and the deadly engagement of writing it as it is.”
By Marivir R. Montebon.
This program travels the globe from Ireland to Argentina to Kazakhstan, and the festival will be presented digitally for the first time. Tickets go on sale Wednesday, July 1. For additional information visit Film at Lincoln Center at filmlinc.org, Dance Films Association at dancefilms.org, and follow tlhem on social media: @filmlinc and @dancefilms.
Gregg W. Morris