My Soul To Take is bland cinematic comfort food, evoking pleasant childhood memories of the Scream series, the type of pre-9/11 horror film that wasn’t so s...
I’m convinced everything sounds better with a British accent. Streetdance 3D is the British 3D version of Step Up in reverse. In Max Giwa and Dania Pasquini...
Your first time is not always your best time. Perhaps the audience for The Virginity Hit, the new mockumentary by veterans of the genre Huck Botko and Andre...
I approach The Promise: The Making of the Darkness on the Edge of Town with the preconception no documentary can capture the passion and brilliance of Bru...
Laura Isreal’s Windfall is a compelling look at the darkside of Wind Power. Opening with several beautiful compositions the film toggles between a formalism...
Bruce McDonald is as renegade a filmmaker you’ll find these days, with an ever-shifting style. The common link between his works is an impulse to tell narra...
Small Town Murder Songs is the promising and well crafted feature from emerging filmmaker Ed Gas-Donnelly, filmed with strong visuals of on an Ontario an ho...
NEDS, an acronym for Non-Educated Delinquents is writer/director Peter Mullan’s follow up to his controversial 2003 film The Magdalene Sisters. Set in wor...
At this summer’s Flaherty Seminar I found myself in a debate regarding Fredrick Wiseman’s approach. A film scholar I was having lunch with attempted to conv...
The Pipe is a captivating documentary directed by former television news cameraman Roistered Ó Domhnaill. Working as a journalist he captures the little k...
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.
