Warfare (2025) Review & Summary
Warfare brings what Alex Garland learned about the brutality of sound in Civil War, but lacks the characters and story to make this film comparably noteworthy.
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Warfare brings what Alex Garland learned about the brutality of sound in Civil War, but lacks the characters and story to make this film comparably noteworthy.
With already being an EGOT, it seems Viola Davis’ next goal is to become one of the biggest names in the action genre.
“The Accused” may contain interesting ideas, but it lacks the characters and story to execute them.
“Drop” wastes a perfectly good romance for a so-so thriller that has a decent mystery element and backends all the action seen in the trailer.
“The Amateur” may not feel as long as it is, but it is certainly forgettable, despite the names involved.
With a interesting gimmick, simple romance, and a touch of risque moments, while “My Love Will Make You Disappear” won’t be a classic, it is a good romantic comedy to hold you over till one shows up.
A mix between taking advantage of how much Ray Nicholson looks like his father and the name recognition of Samara Weaving only to make Alba Baptista the most interesting part of “Borderline.”
“The Woman In The Yard” is a reminder of how our thoughts and feelings, the lies we tell ourselves, often play the villains in our story.
While Jenna Ortega makes the best out of what is offered, a lot of “Death Of A Unicorn” is hit or miss.
Barbie Ferreira moves on from her Euphoria fame to a role which has the potential to make her a indie darling.
“Locked” gives you an idea of what the 1% wishes they could do in reaction to those who, at best, inconvenience them or, at worst, make them feel unsafe.
While there is a certain beauty to “Ash” it maybe questionable if it has the substance you’d want or expect.
“A Thousand Faces” feels like a play where two people needed to take a long hard look at themselves, through the reflection of another.
“Novocaine” is a reminder that spring is coming and we’re exiting the period where movies aren’t expected to be huge hits, but potentially the biggest of the year – with films like “Novocaine” being a warmup.
“Totto-Chan: The Little Girl at the Window” is a sweet movie, which not only gives a historical peek into Japan in the early 1940s but also delivers Totto-chan to the world.
“Salta” also known as “Jump” is one of the sweetest sci-fi family movies you may ever see, especially one that doesn’t involve someone being dead or trying to prevent a death.
The younger years of Frida Kahlo are brough to life via animation, and produce a wonderful display for those families or kids with someone who has sometimes debilitating ailments.
“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.
“My Dead Friend Zoe” is a tear inducing towards the end and primarily held together by Sonequa Martin-Green’s performance.
“I Love You Forever” joins a growing group of movies that exhibit how abuse begins from even the most unlikely of people, specifically men.
“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.
“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.
“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.
“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.
“Love, Brooklyn” has the makings of a classic that evolves as its initial audience watches it over and over throughout their lifetime.
“Bunnylovr” presents subtle and tame in ways that indeed are not for everyone.
“Companion” pushes Sophie Thatcher to the point of showing not only is she the top scream queen out there, but she could conquer the drama genre next.
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.