Margaret Brown’s The Great Invisible is often a frank reminder of what George W. Bush once said: “America is addicted to oil.” Exploring the event and aftermath...
Honeymoon is a kind of Trojan horse; going in cold and not knowing that its playing in the “Midnighters” section of SXSW, you’d think you were in just another f...
Perhaps like the key demographic for DreamWorks' latest animation, I must begin by admitting I had been unfamiliar with the source material, Peabody’s Improbabl...
Set in gothic New Orleans, the first act of Repentance seems to offer more than its second and third acts deliver. One has to give director Philippe Caland poin...
Homer Simpson once described Branson, the setting for Todd Sklar’s Awful Nice, as “Vegas run by Ned Flanders.” With that said, like the Cedar Rapids of Miguel ...
The test screening process should be a useful one for filmmakers; showing a film to an audience, especially a comedy, you can figure out what works and what doe...
Once upon a time before Jason Blum's Blumhouse, there was Trimark Pictures. Launched by investors who also controlled video stores in 1988, Trimark was founded ...
Harkening back to IMAX's origins, Stalingrad -- the highest-grossing Russian film of all-time -- makes full use of the format with an absolutely dazzling sound ...
Strong performances help In Secret overcome what might have been a “prestige” retelling of Tyler Perry’s Confessions of a Marriage Counselor. Far from subtle, t...
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.
