We Are Legion: The Story of the Hacktivists is the second of two documentaries screening at SXSW that deal with the notion that “information wants to be free” –...
Martha Stephens’ Pilgrim Song takes place, as many a SXSW 2012 film did, in the woods. James (Timothy Motton) is a music teacher recently let go due to budget c...
Families have weird quirks all their own. The Do-Deca-Pentathlon contains small victories and strange rituals – directed by two brothers who instead of compete,...
Jordan Roberts’ Frankie Go Boom is, above all, a good time. There’s many ways a comedy like this can fail, most run out of steam after promising first act, but ...
Once upon a time there was an comedian named Chris Farley and a movie named Tommy Boy. Farley, coming from a hardworking middle class Midwestern family, often m...
I had missed Surrogate Valentine at SXSW 2011. However, I learn that Daylight Savings is a continuation of the story of Goh Nakamura (playing himself), an Asian...
Scarlett Road makes a compelling and compassionate argument in its portrait of Rachel Wotton, a mid-30s sex worker in New South Whales Australia, where her indu...
There’s very little redemption in Crazy Eyes, a film that opens with the type of disclosure that appears buried in the end credits next to the copyright informa...
I would have never guessed Louisa Krause had it in her, front and center as a webcam girl in King Kelly, with an opening as she masturbates for her adoring fans...
Rebecca Thomas’ Electrick Children opens in an undefined time and like another film about a village, it is revealed what appears to be the past is present day. ...
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.
