Inspired by real-life couple Jennifer Carter and Solomon “Sol” Chau, All My Life is the sanitized, sanded-down version of what probably would have been a very ...
It’s difficult enough for anyone to sort through the artifacts of their deceased parent or grandparent’s home and figure out what to save, what to donate, and ...
Late in Justin Staples’ brief exploration of the sub-genre known as "SoundCloud Rap," New York Times pop music critic Jon Caramanica opines that "what young pe...
Thought no fault of the filmmaker, Katrine Philp’s affecting Beautiful Something Left Behind arrives in an unusual period of global certainty, bravely explorin...
It's a tough act for a critic to try and explain the joys and pleasures of Derek DelGaudio’s In & of Itself. In short, it’s an evocative exploration of nar...
As an optimist that believes theatrical exhibition will survive, I look forward to the day when David Prior’s The Empty Man is introduced by a genre geek at an...
Throughout his sixteen feature films, prolific Toronto-based, Egyptian-born filmmaker Atom Egoyan has explored obsession, modern technology, fragmented familie...
A dazzling and frank dance musical (with, truth be told, very little memorable music), Boaz Yakin’s Aviva is an ambitious picture free from the restraints of t...
Arguably the most eclectic director of the “Toronto New Wave," Bruce McDonald returns with his most ambitious and perhaps most frustrating film yet, Dreamland....
The story is so simple that there must be more to it: Melissa Lucio, a young mother of fourteen children with demons of her own, is tried and convicted by a ju...
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.
