Perhaps all of the films are starting to run together. Nina Davenport’s often hilarious and extraordinarily brave First Comes Love finishes a trilogy of very ho...
It’s so easy to take cheap shots at the Tea Party; in fact what Bill Maher can do in a joke or a monologue, Janeane from Des Moines spends 77 minutes doing with...
Dan Algrant’s Greetings from Tim Buckley simultaneously tracks the artistic development of musician father and son Tim and Jeff Buckley at around the same times...
The opening title explains that the Ship of Theseus was replaced, piece by piece, and rebuilt into a new ship – therefore the questions is asked: which ship is ...
It takes a deranged mind to be this fascinated with psychopaths, let alone seven of them. Colin Farrell’s Marty gets to quite literally take his work home with ...
The work of David Redmon and Ashley Sabin first came on my radar when they arrived in Hartford, CT to promote their eye-opening documentary, Mardi Gras: Mad...
I’m not sure what to make of the core argument of 2016: Obama’s America, a film with exotic locations and a logic that seems to fall apart as it hurls towards i...
Sylvester Stallone is a senior citizen. And he’s not too old for this shit. The Expendables 2 is a glorious summer guilty pleasure – unapologetically badass, it...
Diary of a Wimpy Kid appeals to me much in the same way that watching a rerun of Full House on ABC Family does. It’s become comfort food. Luckily, the three fil...
Dance movies, not unlike pornography, deliver exactly what they promise, sometimes dressed up with a “plot.” Step Up Revolution delivers both a plot (a lame lov...
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.
