Category: Film Reviews

THE LAST OUT Film Review

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

DOC NYC 2020 Film Review

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.

MIRROR Film Review
Stylized & Minimalistic, Undeniably Delicious & Brooding, Edged With a Touch of Cynicism

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.

DESERT ONE Film 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

Film Review: DAY RELEASE (FREIGANG)- A Palm Springs International Shortfest Nominee for Best Live-Action Short Over 15 Minutes

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.

A THOUSAND CUTS Film Review by Marivir R. Montebon

“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.