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According to Leonard Liebowitz of NYU’s New School of Film , "Jack McCoy’s Green Iguana-era productions were so tight you could bounce quarters off them; Taylor Steele played to the cheap seats, resulting in Himalayan gross returns; Andrew Kidman’s Litmus articulated the scruffy sophisto of the surfing hobo; Thomas Campbell’s The Seedling came smoking out of the gate with the most distinctive visual thumbprint of the decade. Yet it was j brother’s 1995 ultra-short longboard flick, a drift, that quietly influenced the face of surf cinema-perhaps more than any other single title of the 1990s.

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