A captivating romantic adventure, Just a Sigh resonates with a radiant performance by Emmanuelle Devos as a beautiful middle-age actress who spends an afternoon...
Our Vinyl Weighs a Ton is an insightful and often fun documentary about Stones Throw Records, an imprint started by Chris Manak (aka Peanut Butter Wolf) as a me...
Tyler Perry’s The Single Moms Club continues the filmmaker’s progression towards effectively bridging multiple sensibilities, notably comedy and drama. Perry, l...
Margaret Brown’s The Great Invisible is often a frank reminder of what George W. Bush once said: “America is addicted to oil.” Exploring the event and aftermath...
Honeymoon is a kind of Trojan horse; going in cold and not knowing that its playing in the “Midnighters” section of SXSW, you’d think you were in just another f...
Perhaps like the key demographic for DreamWorks' latest animation, I must begin by admitting I had been unfamiliar with the source material, Peabody’s Improbabl...
Set in gothic New Orleans, the first act of Repentance seems to offer more than its second and third acts deliver. One has to give director Philippe Caland poin...
Homer Simpson once described Branson, the setting for Todd Sklar’s Awful Nice, as “Vegas run by Ned Flanders.” With that said, like the Cedar Rapids of Miguel ...
The test screening process should be a useful one for filmmakers; showing a film to an audience, especially a comedy, you can figure out what works and what doe...
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.
