We need more directors willing to take risks with films like Get Out.
He sat there behind a bare table and talked for a couple of hours, and the reviews said he was good at it, and he hasn't shut up since.
That is not intended as a criticism but as an observation.
Gray's "Monster in a Box," like his earlier "Swimming to Cambodia", is a filmed monologue augmented by music, subtle lighting changes, and what dramatic interest, suspense and humor he can create with the sound of his own voice.
Like many second novels, this second monologue is largely a report on what has happened to the author since the startling success of the first one. Gray became famous for the first time in his life, was quoted, made deals, got better acting jobs, and ran into Hollywood agents who eyed him warily and said, "We all hope you're not one of those artists that's afraid to make money." He was not. In fact, unlike many monologists who burn with the zeal of their inner convictions, Gray seems like a disarmingly realistic man, an actor who has missed enough paychecks and received enough bad reviews for any normal lifetime, and is now content to bask in whatever fame he can muster. This frankness is one of the pleasures of his monologues; he does not claim for himself anything more than we can plainly see is there.