Destination of old published stories.
Infectious word of mouth says this is a … comedy + horror resulting a wild ride of raucous fun. Cheesy makeup effects, cliche character development, and loads of throwback lines …
A five star, 10-minute short with a kinetic kick. If you see it, you’ll luv it. The only problem is that five-star shorts like this can be hard to find after they debut at film festivals – that’s a bummer for this action, thriller with a Rod Serling denouement.
Gregg W. Morris
A visual and sonic feast of an eloquently told story about Tiara Brown, a Washington D.C. police officer who is also a gifted amateur boxer training to become a world class champion. There are lots of gritty, eloquent lines in this movie. This is one. Tiara Brown: “I would always bring back gold medals. Yet, when it came time to being interviewed or being on the front of the magazine, it would always be be the pretty long, tall blonde who would get chosen. The black girls weren’t being treated the same way the other girls were being treated. After going through that for years, I quit the team.” – #YouGottaSeeThisMovie
By Gregg W. Morris
Director Samantha Knowles, picture left. Is this an #YouGottaSeeThisMovie? This reviewer sure thinks so.
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
NO MORE WINGS Award Winning Director Abraham Adeyemi: “I always had this story [in mind], that I’d always thought was really good. And I didn’t have a script, but I just always thought to myself, if I write a story about these two people, who, growing up in the exact same way, but their lives have turned out very differently, what would that look like. If they’re meeting, where would they meet up? What’s the one thing that keeps them together? And it’s this chicken shop.”
By Gregg W. Morris.