Jamie Meltzer’s True Conviction explores a quasi-detective agency in Dallas (seemingly run out of the the Hickory House BBQ restaurant) founded by three men who...
Searching for meaning in retirement, Kenny Anderson, an NBA All-Star in 1994, finds himself at a crossroads: he’s a charming man who gets exactly everything he ...
Exploring the personal and geopolitical political fall-out of the Elián González saga, Ross McDonnell and Tim Golden’s documentary is a comprehensive look at wh...
At about the hour mark, I was very glad to see the filmmakers and subjects of Flames, Zefrey Throwell and Josephine Decker, had entered some kind of counseling ...
It’s hard to imagine Literally, Right Before Aaron existing without The Graduate as a template. Ryan Eggold’s lame-brained paint-by-numbers romantic comedy reli...
Opening with a voice-over explaining how a recent University of Toronto graduate went from surveying supermarket clerks about display placements to a becoming a...
Set in an familiar and ambiguous time and place (mid-90s in anytown USA), Super Dark Times functions as a kind of trojan house until its twist. Delivering horro...
Early in Afterimage avant garde artist Władysław Strzemiński sits huddled in a cramped apartment painting. When his only light source is blocked by the red of a...
Perhaps not all films are suited for the Duplass brothers treatment. Take Me, an amateurish directorial debut from actor Pat Healy, working from a script by Mik...
There’s a moment late in Camilla Hall’s Copwatch when a rare officer of color from the Ferguson Police Department engages a group of copwatchers, a term used fo...
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.
