Despite its generic title, B.J. Novak’s feature-directing debut Vengeance is a smart, subversive fish-out-of-water comedy about a stereotypical coastal elite t...
Considering comedy is entirely subjective and in the eye of the beholder, I suspect fans of the comedians in Sarah Adina Smith's The Drop––allowed free reign t...
Roger Ebert once said movies are like a machine that generates empathy. Such is the third feature by Frank Berry (Michael Inside, I Used to Live Here). Followi...
Despite the rich texture of its late-1970s setting—the beginning of the latch-key kid era—Scott Derrickson’s The Black Phone fails to transcend its central pre...
As complex and conflicted as the man himself, Rudy! A Documusical––which premiered on the same evening as the first primetime January 6 hearing––never quite kn...
A random VHS tape of a Mcdonald's janitorial training video serves as ground zero for Joe Pickett and Nick Prueher’s lifelong obsession with obscure video clip...
If the apocalypse comes, we’re all screwed. Fancying himself a survivor with a desire to provide for his family should “things go south," Joe (Clayne Crawford)...
After struggling to find its footing over an initial season, Loren Bouchard’s Bob’s Burgers has become one of the most delightful half-hours on TV. Its feature...
Dolly Parton was everywhere at SXSW, from her documentary Still Working 9-5 to her collaboration with Blockchain Creative Labs which involved both a well-recei...
An authorized but often unflattering portrait of rapper Jahesh Dwayne Ricardo Onfroy, known as XXXTentacion, Look at Me is a comprehensive study of his career,...
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.
