Fate catches up to a retired Hong Kong hit man who found sanctuary, spiritually and otherwise, as a fisherman on the peaceful Grass Island where he dutifully takes care of his mom who is being ravaged by dementia. One day, his former Chinese apprentice shows up to execute him.
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.
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
Palm Springs Shortfest – JOSIAH nominated for the Best U.S. Short; explores Hollywood’s unconscious stereotyping. DAY RELEASE, nominated for the Best Live-Action Short Over 15 Minutes;story of a single incarcerated mother facing a grave deadline. THE LAST FERRY FROM GRASS ISLAND, nominated for the Best U.S. Short; story of a hunted former Triad.
By Gregg W. Morris
Director Anthony Banua-Simon’s CANE FIRE has the soul of a searing polemic in the form of a sobering memoir about the tropical Hawaiian island of Kaua’i. It looks like a paradise of paradises. For the indigenous and working class people who make the tourist industry shine it’s as bad as the eighth ring of Dante’s hell.
By Gregg W. Morris
“The humanitarian crisis in Mexico has reached a fever-pitch, even more intense than at the time the film was produced. And yet, much like the conquistador, the central government is trying to minimize the scope of the crisis and undermine the voices calling for justice and accountability.”
By Gregg W. Morris
499, Best Cinematography Award at Tribeca Film Festival 2000 and recent winner of the Special Jury Prize at Hot Docs, directed by Rodrigo Reyes. Audiences should prepare themselves for a transtemporal nonfiction historical movie by a filmmaker taking on the challenge of wanting nothing less than the absolute truth.
By Gregg W. Morris.
Cowabunga! Audacious and raunchy with panache, this bite-me movie spits in your eyes – and winks at key moments. Because of deft direction and acting, 12 HOUR SHIFT sails on an elevated cloud of entertainment, mercifully and artfully sparing an audience fhe dregs of insipid slapstick it would have been in lesser hands.
By Gregg W. Morris
The Scene That Won’t Be Spoiled in This Article: “In fact, we’re not in a situation where I’m sitting here thinking, oh my god, no one gets it. Because everyone does get it, in their own way, but it still had the impact I wanted it to have. And the only person who will ever know what the [inaudible 00:28:06] could’ve been is me, who can see it in their head.”
By Gregg W. Morris
Beatific and surrealistic, scene-segues of the older Issac & Jude to the younger Issac & Jude and back, glow effervescently, figuratively speaking. These weren’t flashbacks, that was for sure. At the time of the interview, however, the writer-reviewer was fumbling, like a misfiring engine, with questions about what he had seen. The director resolved his dismay.
By Gregg W. Morris