Amari is the founder and head writer of Wherever-I-Look.com and has been writing reviews since 2010, with a focus on dramas and comedies.
With having to handle Viper and a guild that would rather exploit the people than create a mutually beneficial relationship, they learn Uchimura is willing to work around the system if he has to.
As Robyn takes on another case we’re likely to see no follow-up on, Marcus finally meets his brother James.
“Poppa’s House” relies heavily on Poppa and Junior, and the formula long perfected, which leads to an episode that shows “Poppa’s House” can’t continue to rely on those two.
In a lighthearted drama, which may trigger memories of “Desperate Housewives,” we watch as four likable people kill someone, and you barely feel worried about them getting caught.
While new characters bring new life to a familiar formula, others push the idea that if there is a season 4, their group/characters wouldn’t be a loss if removed.
“The Unbreakable Boy” will make you cry because of the performances that get you so invested in the individual and shared lives of the characters.
Liz Miele returned to her home state with Neil Rubenstein and things got awkward thanks to their jokes, and a notable heckler.
As Taissa’s past finally gets investigated, a possible theory appears regarding all that was heard and seen in the past.
Someone who clearly didn’t want to take the journey seriously ends up gone, while background gives you some insight on people you may have been surprised got to stay.
“My Dead Friend Zoe” is a tear inducing towards the end and primarily held together by Sonequa Martin-Green’s performance.
As Uchimura faces being manipulated for his kindness, so comes the question if that dark side may come out.
While there is clearly a formula for how “The White Lotus” operates, that doesn’t mean it lacks notable excitement.
“The Equalizer” returns from its winter break with season villain Angel Salazar also returning. But as Delilah and Aunt Vi’s storyline grow, is there still enough room for them on the show?
“I Love You Forever” joins a growing group of movies that exhibit how abuse begins from even the most unlikely of people, specifically men.
While Taissa and Van need to catch up quickly, everyone else is either shaking off-season gap rust or going full speed.
Three seasons in and it could be submitted the past still offers far more than the present may ever.
As the second group are featured, “Ready To Love” shows itself better than ever at developing “characters” to invest in.
“Sugar Baby” is strangely not as explicit as the TV-MA rating would lead you to believe and fits the mold of being too tame despite its subject matter.
“The Monkey” with being inspired by a short story by Stephen King, and slight “Final Destination” vibes, gives you a horror movie that will hit the spot.
“Ragamuffin” with a focus on a burgeoning queer girl raised in a southern motorcross world, creates the type of story that, with being based on its creator’s life, hopefully becomes a long term passion project.
“Poppa’s House” continues to do a disservice to the actresses on the show, as it starts to make its formula seem via Poppa’s weekly excuse for his actions.
Uchimura continues to show a level of cunning, even when faces with someone who has lucrative but bad business practices.
“Almost Certainly False” feels like a preview to a movie you could love as it presents a slightly different take on the refugee experience.
“Hoops, Hopes & Dreams,” alongside presenting how President Obama used Dr. Martin Luther King Jr.’s playbook, also presents MLK in the most engaging way you’ve ever seen.
“Remember Me” feels like the pitch for an odd, but lovable and relatable show.
A trip home doesn’t always mean a safe nor happy place, but you learn to make the best of it for the silver lining of what family could be.
“Como Si La Tierra Se Las Hubiera Tragado” reminds you of one of the many stories that continue, even when they aren’t the latest headline.
Tina decides to go out partying alone in “Luz Diabla” and learns why there is strength in numbers.
“Ready To Love” changes a significant part of its formula by leaving the South, but will a new locale mean better results?
“Parthenope” is made for those who use the word cinema as it seeks out to appear like a modern adaptation of a literary classic.
“Love Hurts” may present interesting action sequences, but it falters, maybe even fails, regarding everything else it is expected to deliver.
“Heart Eyes” delivers decent laughs and an acceptable level of brutality, but lacks the writing needed to make the Heart Eyes Killer into an icon.
“Clean Slate” stars Laverne Cox stars in one of the legendary Norman Lear’s final shows, which tries to balances a sense of universality with cultural specific stories.
As Uchimura teaches us about anchoring for new products, multiple long-term antagonist may potentially be introduced.
As it continues to seem that no one knows what to do with Ivy and Nina is stuck being a wife, Poppa and Junior deal with their friendships, or lack thereof.
“Inkwo for When the Starving Return” has the makings of an anime that could aspire to the levels of “Avatar: The Last Airbender.”
“Ricky” begins as a rarely seen point of view about post-incarceration, follows a recidivisim storyline that is all too familiar.
“Sorry, Baby” is proof that being subtle can work if you know how to craft interesting characters and relationships.
“Virgin of the Quarry Lake” is a surprisingly bloody coming of age story, focused on a girl looking to have just one thing after a life filled with abandonment.
The overall goal of Wherever I Look is to fill in that space between the average fan and critic and advise you on what’s worth experiencing.