LOW LIFE generates a visceral cinematic vibe akin to the visceral whoosh Ukraine freedom fighters reportedly get from a f*ckin anti-Putin HIMARS (High Mobility Artillery Rocket System) obliterating a column of #fckinRussian tanks and weaponry – if not Vladimir Putin himself. True, this movie is not about the Ukraine-Russian war but a war of sorts being wage against pedophiles by a small time YouTube-ing vigilante, Benny Jensen, played by Wes Dunlap. – By Gregg W. Morris
Author: Greggory Morris
One of the Most Intriguing – If Not the Most Intriguing – in Recent Memory
TOO ROUGH
Eighteenth Annual 72 Hour Shoot Filmmaking Top Ten Premiere: Joyful Resistance Winners

The premiere at The Asia Society showcased compelling and nuanced stories from underrepresented filmmakers. The premiere screening was followed by a filmmaker panel, moderated by Virginia Myung of CAPA (Coalition of Asian Pacific Americans). The films will be available on VOD for the next week through the festival. – By Gregg W. Morris
Film Short Review
An Astonishing Cinematic Experience That Can Leave Audiences Breathless
The Word Is Out: Horror Fans Can Have the Bejesus Scared Out of them in Multiple Fright Nights Watching 67 Films at the 18th Annual HollyShorts Oscar-Qualifying® Film Festival, Screening from August 11-20, 2022
Third in a Series of Film at Lincoln Center Articles About NYFF 60

Laura Poitras’s All the Beauty and the Bloodshed is the centerpiece selection for the 60th New York Film Festival at Alice Tully Hall on October 7. Photographer and documentary subject Nan Goldin will design the 60th New York Film Festival poster to be l be revealed at a later date. – By Gregg W. Morris
Second of Several Articles About 2022 New York Film Festival 60, September 30 – October 16
Noah Baumbach’s WHITE NOISE Opens New York Film Festival 60 – First of Several Articles

Film at Lincoln Center: “In one of the year’s most gratifyingly ambitious American films, Noah Baumbach (Marriage Story) has adapted Don DeLillo’s epochal postmodern 1985 novel WHITE NOISE, long perceived as unfilmable, into a richly layered, entirely unexpected work of contemporary satire.” – By Gregg W. Morris