Adriana Mather
Morgan
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Apr 26, 2015 · Honeyglue: Directed by James Bird. With Adriana Mather, Christopher Heyerdahl, Jessica Tuck, Booboo Stewart. After learning she only has three months to live, Morgan flips her conservative protected life upside down.
- (621)
- Drama, Romance
- James Bird
- 2015-04-26
Honeyglue. Honeyglue is an American romantic drama film written and directed by James Bird, produced by Zombot Pictures. The film stars Adriana Mather, Zach Villa, Christopher Heyerdahl, Jessica Tuck, Booboo Stewart, and Amanda Plummer. The film premiered at Newport Beach Film Festival and was released theatrically in the United States on June ...
- James Bird
- Zombot Pictures
- Anya Remizova
- James Bird
Upcoming Movies and TV shows; ... Rated 4.5/5 Stars • Rated 4.5 out of 5 stars 01/21/23 Full Review Audience Member Honeyglue is obviously a film made with a lot of heart, and is a story about ...
- (12)
- James Bird
- R
- Adriana Mather
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Honeyglue is 10864 on the JustWatch Daily Streaming Charts today. The movie has moved up the charts by 6162 places since yesterday. In the United States, it is currently more popular than Star Wars: Episode III - Revenge of the Sith but less popular than Kingdom of War: Part 1.
- Morgan; Jordan; Dennis
- James Bird
- 2016
- 107 min
Jun 3, 2016 · Honeyglue - Metacritic. Summary After learning that she has three months left to live, Morgan turns her protected middle class life upside down. That is when she meets Jordan, a rebellious, gender-defying artist and together they embark on an adventure of a lifetime. With a hand-held camera, the pair document their time together, creating a ...
- (8)
- James Bird
- R
Jun 5, 2016 · Film Review: ‘Honeyglue’. A dying girl and a cross-dressing boy embark on a faux-unconventional romance in James Bird’s twee indie. For a film about throwing caution to the wind and bucking ...
Telling the story of Morgan (Adriana Mather), a dying girl with three months to live, who falls in love with Jordan (Zach Villa), a gender-bending ex-junkie, “Honeyglue” makes repeated stabs at breaking down the gender binary, but it keeps submitting to the dictates of the squarest form of conventional melodrama.
