Greg Harrison

Owen Gleiberman, Entertainment Weekly
"An electrified sensation! For sheer visceral excitement, few of the films at Sundance could top Greg Harrison's Groove. It's an all-night, tribal courtship ensemble comedy in the spirit of American Graffiti and Dazed & Confused. Vibrant and winning."

The New Yorker
"A blast of such sheer happiness that movie audiences should bring their own glowsticks to wave joyously in the air."

Peter Travers, Rolling Stone
"Nearly jumps off the screen."

Dennis Harvey, Variety
"Helmer Greg Harrison keeps things popping via a lively pace, convincing atmosphere and well-turned performances."

Simon Reynolds, The Village Voice
"Groove conveys the joy, devotion, and weird energy [the rave] culture has magicked into being."

Elvis Mitchell, New York Times
"Groove connects like an ecstasy-fueled screwball comedy."

David Ansen, Newsweek
"Lively, likable, and refreshingly unsensationalistic about the drugs and sex that come with the territory."

US Weekly
"An energetic, unpretentious comedy... one of the year's most promising debuts."

SF Weekly
"Groove is to the nascent dance culture what the film Krush Groove was to hip hop."

Time Out New York
"It pulses throughout with frisson and warm wit, providing the most ardent film tribute yet to all-night escapism."

Ebert & Roeper
"Two thumbs up. A strong performance in a murky, sometimes confusing, but genuinely effective little movie that keeps you guessing until the end."

Lisa Schwarzbaum, Entertainment Weekly
"Director Greg Harrison's somber story of guilt, memory, and darkroom techniques can perhaps be described as an homage to the work of David Hockney: Just as Hockney assembles smaller, overlapped Polaroids that don't necessarily make sense into a big picture that does, so Harrison reveals the full circumstances of a violent crime through a flickering series of scenes modified in repetition."

Stephen Holden, New York Times
"Elisabeth Kübler-Ross meets David Lynch in a twisty paranoid thriller."

Todd McCarthy, Variety
"A stylistic tour-de-force."

Wired Magazine
"Visually stunning. A gripping story about the mutability of memory."

Los Angeles Times
"Highly stylized and atmospheric."

O Magazine
"An edgy psychothriller. Courteney Cox pulls of the move to dark drama with typical flair."

Detroit Free Press
"November is a reminder that memory, like images, can be fixed but not always trusted."

The Village Voice
"Its disparate, unnerving components are mesmerizing."