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. ...
In Our Nature is a strong debut feature by Brian Savelson. There is a trend this year (and somewhat last year with Sophia Takal’s Green) of people in their late...
Many a Whit Stillman character has pondered if people really change. In Barcelona it’s argued that you can’t change, but you can change your context. Somebody U...
A running theme in SXSW is urbanites returning to the land. Either that or as sometimes happens when you’re seeing 3-6 screenings a day, unconscious themes neve...
After Jacob Wysocki's shining performance in the title role of Terri, Azazel Jacobs’ story of an overweight loner’s unlikely friendship with his principal, he i...
I have to believe Tyler Perry is smarter than this. The primary disconnect between critics and audiences of his films is essentially Roger Ebert’s law, his firs...
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.
