The entirety of Jones plays as a sort of disquieting delusion. Miller and cinematographer
SELF-DISTRIBUTED PICK of Film Comment Mar/Apr 2008 edition.
Early in Preston Miller's tough, formally elegant, micro-budgeted Jones, the camera, a la Antonioni, tracks the alienated protagonist, a no longer young but hardly middle-aged father-to-be from South Carolina, as he walks along Broadway near Times Square. That Miller stole the three-block-long shot from a moving car without once having stop for traffic or red lights proves that he's either lucky or ingenious or both. The eponymous Jones (Trey Albright) is in New York on a business trip: he videotapes depositions for an insurance company. At night, he does all the things lonely tourists are programmed to do- drinks himself blotto, talks to strangers in bars, gets lost on the subway, telephones his wife, and summons an Asian call-girl to his dreary hotel room. But just when you think you have Jones's number, he surprises you by, say, expressing a passion for the Japanese writer Haruki Murakami or taking a taxi to Queens to further explore his libidinal leanings towards all things Asian. Jones is a find.
What's enjoyable and surprising about "Jones" is how little judgment Messrs. Miller and Albright pass on their lead character. Needy, alienated, wide-eyed, and a bit slow on the uptake here and there, Jones is a considerably more honest and three-dimensional approximation of the everyman of his generation than one usually sees in American movies.
by M. Faust
|Prior to the popularity of Hong Kong action films and J-horror, Asian cinema was best known for contemplative dramas that favored an open, direct gaze over camera movement and editing. That tradition is the inspiration behind this independent feature, which has a substantial layer of humor as well. It is based on a true story about a religious cult of Taiwanese men and women who gathered in Texas to await the arrival of God. Their leader, Teacher Chen, has prophesized that this is where God will return to earth, to take away the faithful in a space ship that holds 100,000 people. At least, we’re told that these are the words of the teacher, but he never speaks—we learn of the cult’s beliefs from his aide. Mr. Liu, who could be making it all up himself. He holds a series of increasingly bizarre press conferences to explain what will happen on earth prior to the arrival of God, who will then broadcast to the world from a local public access station.|
"...leads Lin and Ka are remarkable, and Chiu is a charming, unaffected child performer. The film is strongest when it stays close to the family, whose complicated dynamic is delineated with considerable grace and subtlety. The poignant conclusion neither ridicules nor endorses the cultists' belief, instead acknowledging that the experience of divinity is a deeply personal thing whose transformative power isn't subject to consensus."
Jackson Ning as Teacher Chen
Lee and Shing Ka
Shing Ka and jodi Lin
Yung Lam, Wayne Chang, Jackson Ning, Kevin B. Lee, Kaitlyn Suen & Brandon Suen