Steph Green’s Run & Jump is a film that will grow on you, slowly and subtly absorbing you into its world. With an observant structure, we are the third whee...
Oh, the internet. I wonder if you really have lead to a decrease in my productivity: on one hand, it’s full of almost everything, including cute cats. Then ther...
The Tribeca Film Festival continues its legacy of programming work about experimental film with Big Joy: The Adventures of James Broughton, an insightful docume...
Lenny Cooke is to basketball as Anvil is to rock-n-roll, and like Anvil, he now has a documentary. A departure for filmmakers Ben and Joshua Safdie who’s previo...
Frankenstein’s Army is a B-movie in every sense of the word. Not without laughs, moments of blood, gore and primitive surgery as its name suggests, the film unf...
A few years ago a professor of mine once cautioned that when times get tough, young people are more likely to sell their soul for cash, allowing themselves to b...
Tyler Perry is back in full force as a cinematic wonder, pulling off things that quite simply shouldn’t work. Creating an inherently theatrical work that requir...
I should sue TV pitchman Vince Offer for false advertising: a comedy implies humor and potentially laughter, yet not one laugh is found within easily the worst ...
“When it comes to punk:, New York has the haircuts, London has the treasures, but Belfast has the reason, ” Terri Hooley remarks in Good Vibrations, the latest ...
Medora is an especially powerful and perceptive film, telling a story all too familiar and perhaps all too real -- this is what the shrinking middle and lower c...
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.
