The Boy and the Heron (2023) – Review and Summary
Miyazaki’s latest is as beautiful, if not more, than his last. However, it is by no means the type of character driven tales he is known for.
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.
Miyazaki’s latest is as beautiful, if not more, than his last. However, it is by no means the type of character driven tales he is known for.
“Sex Education” ends on a high note, but without some of the dream scenarios some may have wanted.
In the series’ penultimate episode, O and Maeve have emotional scenes that will get you in your feelings, and Aimee, Isaac, and Aisha take a stand against a college which claims to be progressive.
It’s Erin’s funeral, and Sean decides to make the day harder. But he isn’t alone as Eric comes to multiple realizations, as does Viv.
As Maeve struggles with all she left behind in the UK, O and Otis debate, and Eric seems to have renewed his faith in a notable way.
“SaW X” brings back John and Amanda and tries to milk them both for every last bit of nostalgia possible while failing to realize the franchise has rightfully moved on from them.
“The Kill Room” gives what is expected from Tarantino alumnus Uma Thurman and Samuel L. Jackson in a forgettable but likable crime comedy.
Part 1 delivers the drama you’ve been waiting for, but as the ending shows, we may have seen nothing yet.
Part 2 of “Love & Murder: Atlanta Playboy” focuses on the murder investigation and with Taye Diggs in it less, it means more drama from the caricatures of Lance’s past lovers.
As emotionally stirring as it is beautiful, “The Creator” presents the worst case scenario for humanity’s relationship with robots in such a way that the film has the potential to be seen as a modern classic at best or underrated at worse.
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.