The inescapable problem at the core of any omnibus or anthology film with multiple cooks in the kitchen is, by all design, things will be uneven. Yet V/H/S/99 ...
For die-hards who have been there from the beginning, it can be frustrating to watch the evolution of a filmmaker's work as they branch out and try their hand ...
The relationship between documentary subject and documentarian has been fraught with conflict since the genre’s evolution beyond “actualities” and into a narra...
Despite its generic title, B.J. Novak’s feature-directing debut Vengeance is a smart, subversive fish-out-of-water comedy about a stereotypical coastal elite t...
Considering comedy is entirely subjective and in the eye of the beholder, I suspect fans of the comedians in Sarah Adina Smith's The Drop––allowed free reign t...
Roger Ebert once said movies are like a machine that generates empathy. Such is the third feature by Frank Berry (Michael Inside, I Used to Live Here). Followi...
Despite the rich texture of its late-1970s setting—the beginning of the latch-key kid era—Scott Derrickson’s The Black Phone fails to transcend its central pre...
As complex and conflicted as the man himself, Rudy! A Documusical––which premiered on the same evening as the first primetime January 6 hearing––never quite kn...
A random VHS tape of a Mcdonald's janitorial training video serves as ground zero for Joe Pickett and Nick Prueher’s lifelong obsession with obscure video clip...
If the apocalypse comes, we’re all screwed. Fancying himself a survivor with a desire to provide for his family should “things go south," Joe (Clayne Crawford)...
John Fink is a New York City area-based critic, filmmaker, educator and curator. He currently serves as the Artistic Director of the Buffalo International Film Festival.
