For movie nerds like yours truly who grew up in the late 90s and early 2000s on films like Gregg Araki’s The Doom Generation and Rob Schmidt’s Crime and Punish...
Investigating the nature of altruism, director Penny Lane turns the camera on herself in Confessions of a Good Samaritan, showing her process as an organ donor...
Categorized as a documentary by the filmmakers and programmers of SXSW, Liza Mandelup’s Caterpillar has a lucid structure that feels like a loose, improvised s...
Like the latest Scream installment, Evil Dead Rise takes its horror into an urban landscape, grappling with demonic forces––e.g. motherhood––that are sometimes...
The future is either an incredibly exciting place where decentralized ledgers bring about change rapidly or a hellish landscape where organized groups can expl...
Well-documented controversies over the accuracy of its story notwithstanding, Eva Longoria’s high-energy feature-directing debut Flamin' Hot is a classic under...
The legal principle of "another body" is cited by local and state law enforcement to not pursue charges against the creators of deepfake pornography, content e...
Set in an alternative world that at times seems like our own, With Love and a Major Organ can also feel as if someone asked ChatGPT to write a quirky postmoder...
The feature debut of editor and short filmmaker Imran J. Khan, Mustache is a grounded coming-of-age story bursting with authenticity, even if the film feels at...
What does it mean to confront the colonial sins of the past and truly make reparations for the erasure of cultures? Lin Alluna’s Twice Colonized directly explo...
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.
