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...
It’s been exactly 15 years to the day since The Borrowers last graced American screens in the form of Peter Hewitt’s delightful action comedy, also adapted from...
The Oscar Nominated Shorts, at least in the live action category, are as problematic as the Oscars themselves: all professionally made, and all without the prof...
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.
