Reid Davenport:“All of the footage in I DIDN’T SEE YOU THERE is shot by me from my literal point-of-view. The motivation for this is twofold: 1, to jar viewers with shots from a camera held by my spastic body or mounted to my wheelchair, and, 2, to unequivocally rebuke the norm of disabled people being seen and not heard In this film, viewers listen to my voiceover without ever seeing the entirety of my face.”
Review, articles by Gregg W. Morris
Celebrating the art of cinema in the home of the Harlem Renaissance, The Harlem International Film Festival (Hi) inspires and entertains by honoring dynamic films by anyone about anything under the sun. Conceived from the belief that we all have…
Excerpt from the production notes: “On the original release of IRREVERSIBLE, critics responded vehemently, and the relationship between the violence of the film and its form was central to how it was perceived and valued. However, as yet, there has been little critical response to the Straight Cut and, as a result, there has been little discussion about how the revised structure impacts on the film’s meaning and the permissibility of its depiction of violence.”
MARLOWE is a thematic, mystifying, aesthetic riddle rather than a gumshoe “gripping noir crime thriller” being pitched, marketed, publicized and set to release in a fashionable grand style today, February 13, in Big Apple’s AMC Empire 25, Lincoln…
Despite jail-time, 12-step programs and five marriages, Annie played by Annie Pisapia begins an acting career because of a close encounter of a whacky kind with a director she meets at a Burger King in Queens, NYC. Definitely head spinning. – Review by Gregg W. Morris
“Movies are so rarely great art that if we cannot appreciate great trash, we shouldn’t go at all,” Pauline Kale was quoted as saying. And Roger Elbert, author of “Your Movie Sucks,” once acknowledged that some of his fans confided in him their need sometimes to see really bad movies even though the reasons were never explained. This reviewer believed those comments needed to be aired before he got into the guts of the review of first time director Zach Koepp’s 77-minute-long THE WILLOWBROOK, which was released on digital early in November.
Good horror films can make us twist and turn in our seats and cringe, wince, slink down in the same seats where we are twisting and turning and hiding for any kind of relief possible from what on the screen is scaring the bejesus out of us. Review by Gregg W. Morris
Maria Demeshkina Peek [responding to a question about what else they were doing]: … we are presently working on creating educational modules for schools that would be five minute videos that explain the story of a survivor from different perspectives.…
WORD, Gregg Morris So my question is, how does the United States compare to other countries in dealing with this? Is it doing a decent job or just waking it up? Are some countries ahead of the game on…
In the course of the Part 2 Review/Q&A, it made sense to this interviewer to ask Bole Essien about up and coming projects as well as what inspired – and even if she had some words for advice for my students. By Gregg W. Morris.