Sanctuary (2023) – Movie Review and Summary (with Spoilers)
Margaret Qualley presents a dictionary-worthy depiction of mind f*** that deserves notice.
Films that either received a limited release or are released digitally, but not as part of a major streaming distributor.
Margaret Qualley presents a dictionary-worthy depiction of mind f*** that deserves notice.
Keke Palmer’s “Big Boss” certainly had the potential to be something notable, but the music interrupts what brings the film value.
“Monica,” in avoiding dramatics or the usual trauma porn feel of LGBTQIA+ stories, presents something which leaves you wanting more, in good and bad ways.
While a slow movie to start, as Maggie starts to be honest and Lloyd opens up, it becomes a beautiful father/ daughter story.
“Summoning Sylvia” is one of the funniest horror movies you may ever see, that is intentionally funny and good.
Intense in every which way the word can be used, “A Brush of Violence” hits hard, doesn’t overstay its welcome, and leaves you wondering what Daniel Lawrence Wilson may produce next.
“Winnie The Pooh: Blood and Honey” feels like a throwback to when slasher movies began, and the goal was to freak out the audience with intense visuals.
“Disquiet” gives “Angels of Death” vibes, as we watch a man try to escape a hospital with monsters who all want to kill him and some who may be friends or foes.
While the visual and sound effects for action scenes may deserve a side eye, there is so much going on with the story that you might be willing to forgive the flaws in “Imani.”
Two friends from high school reunite at a party, and there is the question of whether a crush might become something more.
While “Living” can operate as a joke of how bureaucracy can kill the soul, it also pushes you to remember your part in making a life easier or harder.
In “Lullaby,” Jewish faith is used to develop this horror film in ways you have likely not seen before.
In this supernatural crime thriller, Martin Lawrence may not take a career turn like his peers, but he does find himself in one of his best productions in years.
“Aftersun” is a dry, slice-of-life family movie that makes you wonder if you missed something of note while watching.
In this moving, biographical first feature from writer/director Elegance Bratton not only gives a stirring film but pulls from Jeremy Pope and Gabrielle Union the best performances of their careers.
Love blossoms, and apparently in a literal sense for Lily, as a new classmate catches her eye.
Being caught is always the worst nightmare but can it be different when you’re a girl and the person is of the same sex?
Male intimacy, and what western society is still adjusting to, makes “Close” a notable exploration of a loving friendship between two boys.
While the church is one way to meet people, what about meeting other men when you’re not sure of yourself?
“All I Ever Wanted” reminds you that sometimes, what you desire, has always been there.
“Lucky Fish” gives you the kind of cute moment between two people that can bring on happy tears.
“The Birth Of A Beautiful Butch” shows you why being your authentic self is the key to internal and external confidence
The slow burn that “Stay The Night” delivers a different kind of “Meet-Cute” story that makes every awkward and frustrating moment worth it.
While many films romanticize having long-lasting friendships, “The Razing” reminds you of the trouble that comes from people knowing the worst about you.
While “Margaux” has visual effects not up to the grade you might be used to, the cast and story will keep you around until the end.
As long as you start “The Harbinger” recognizing it is an indie movie, not a big-budget production, you can forgive its flaws and enjoy what is given.
In “Jane,” we’re reminded of the desperation high school seniors have to get into the right school, get the right job and have the lives they desire.
While the beginning of “No Way Out” gets you wrapped up in its leads’ love affair, once it transitions from being a romance, it is all downhill – right off a cliff.
In this dramedy, an act of revenge becomes a lucrative business that may not test friendships but does lead to unexpected consequences.
“The Wheel” questions whether love can heal someone with unresolved trauma who may not know what they have until they are about to lose them?
Two socially awkward people, tasked with figuring the other out, hope the relationship they build is real and they are far more than a mark.
In “The Lost Girls,” legendary literary figure Peter Pan is used as an entry point to talk about generational trauma, mental illness, and feeling disconnected from reality.
While you can tell there should be a deeper story at play, “Wyrm” feels like it is missing the scenes/ details meant to bring you to tears.
Best described as coming-of-age body horror, Hatching is just as much about the monster as an independent thing as its connection to the lead.
As They Made Us is an ode to children with complicated relationships with their parents, who stuck by them even when they knew, and were told they shouldn’t.
For nearly two hours, you are left with not only the mystery of who did what, but who will pay for the crime?
Family Squares is the kind of film which will make you laugh, cry, and maybe even call your family – including members who get on your last nerve.
While Help does make you raise an eyebrow about what’s going on, I wouldn’t say the ending gives you the payoff you desire.
Student Body is bloody, vulgar, and ridiculous. But whether or not it is in the best way? That’s hard to say.
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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