Discover our top picks and latest reviews spanning from blockbuster hits to indie films, shorts, and festival premieres across various platforms.
Beyond being an inspirational story focused on Claressa Sheilds, “The Fire Inside” is a coming-of-age story you rarely see Black girls have on the big screen.
“F Mary Kill” presents a lighter and comical version of “Cat Person ” regarding what women may fear when dating men.
OWN For The Holidays returns, and as it becomes one of the last instances when OWN releases scripted content, this tame but likable film is not the best way to start the season.
While “Y2K” may bug anyone born in the 1990s and before, it could be a fun film for those who only know the time through Tumblr aesthetics and unearned nostalgia.
“Werewolves” reminds you why the werewolf trend hasn’t revived like vampires despite multiple movies in a year with no true revival in sight.
“Brewster’s Millions Christmas,” like many movies using name recognition for a boost, feels like it didn’t and shouldn’t have used its predecessor as a crutch, for this one could have stood on its own.
“Allswell In New York” will likely become a movie you badly wish was at least a mini-series, for while a completed film, it feels like such a tease.
“The Day Before Christmas” gives you a corny but likable romance building around Christmas.
While much of what is to be expected is given with “Sweethearts,” at least the gay character, who feels obligatory/formulaic for films like this, is given a much better storyline than expected.
While it is always wonderful to see Raven Goodwin in a starring role, “Style Me For Christmas,” focusing on a talented woman’s desirability to an R&B superstar does lead to a tightrope walk between problematic and aspirational.
“The Fix” is a reminder that sci-fi productions don’t always need a major backer to look good and hold something compelling.
Like most sequels, decades separated from the first movie, “Gladiator 2” doesn’t justify its existence, though Denzel Washington does act as a silver lining.
BET+’s staple holiday franchise returns with the Wesley family heading to South Africa as Todd and Chris’ company tries to close a deal with a major South African tech firm and family.
“An Almost Christmas Story” is the perfect way to start the season, especially if you have little ones.
A cast of familiar faces, ranging from Lynn Whitfield to J. Alphonse Nicholson, delivers a holiday movie that is dramatic but a bit more serious than your usual fare.
“The Best Christmas Pageant Ever” is a tear-inducing movie that reminds us that it really only takes one person, giving grace and kindness, to change the hearts of many.
“Heretic” uses the hook of horror as an entry point for a deeper conversation about the role and purpose of religion in society.
Dylan Sprouse stars as a veteran who is caught in a terrorist attack on American soil, trying to keep his little sister from being killed in action.
In “Here,” we watch as likable people live on this one plot of land for hundreds of years in a narrative that jumps around a bit much.
“Time Cut” feels so middle of the road, to appeal to maybe too many segments, that it just feels like a poor imitation of a better product.
“Gazer,” thanks to its writing and lead, Ariella Mastroianni, keeps you engaged through its nearly two-hour mystery/investigation as a multitude of questions pop up.
“On Becoming A Guinea Fowl” does well in world-building, highlighting a part of Zambia’s less tourist-focused culture, as a family secret gets smothered due to a funeral, rather than getting you into its characters.
“Hard Truths” crafts a brilliant love-to-hate lead, but the limitations of movies will make you badly wish this was a miniseries.
It’s a romance, it’s a revenge tale, it is Melissa Barrera proving she doesn’t need “Scream” to be a movie star.
“Cabo Negro” gives you a slice of life take on being queer and Muslim, but it may not have what many need to want to watch the full film.
“Anora” is probably going to be one of the funniest sex comedies you’ve seen that are heavy on the sex and got released beyond a limited release in theaters.
“Carnage For Christmas” gives you a campy horror movie that may have notable visuals, but some may find it lacks substance.
“Smile 2” presents the idea the franchise is perfecting a formula which should be able to get it through a few movies before getting stale.
“Young Hearts” delivers the type of innocent, first love you rarely see since most LBTQ+ romances are about kids well into their teens who see the pinnacle of any potential relationship as having sex.
In “Rookie,” we watch a sports story which makes the leads’ attraction only part of the story.
Andrew Garfield and Florence Pugh star in a romance movie made for those in their 30s, who have had significant relationships and aren’t scrambling with money or their career.
“The Outrun” is a bit too dry to recommend to a general audience, unless they love someone involved or starring in the film.
“Joker: Folie à Deux” aims to not only strip down Arthur Fletch and his Joker persona, but also strip away much of what many loved about 2019’s “Joker.”
“Bagman,” starring Sam Claflin and Antonia Thomas of “The Good Doctor,” lacks everything needed to be a compelling horror film, and not just because it is PG-13.
Featuring the voices of Lupita Nyong’o, Kit Connor, and Pedro Pascal, “The Wild Robot” delivers dark humor and tear-inducing moments, making this one of the best American-made animated movies of the year.
“Never Let Go” may star Halle Berry, but after a certain point, it is all about showcasing her young co-stars and furthering their careers.
Dave Bautista takes advantage of his known action hero persona to push the idea he could also be the lead in romance movies in the future.
“The Substance” pushes the need to question whether its potential message is lost in the pursuit of gore and its desire to show and critique the exploitation of a women.
While James McAvoy tapping into his crazy brings on some level of entertainment, as a whole, “Speak No Evil” plays it safe for a film despite its violence.
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.
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