Sugar Baby (2025) Review
“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.
Due to this movie having a few quirks, of which may work for some and for others be a problem, we believe your enjoyment of this movie will depend on your taste.
“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.
“Almost Certainly False” feels like a preview to a movie you could love as it presents a slightly different take on the refugee experience.
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.
“Ricky” begins as a rarely seen point of view about post-incarceration, follows a recidivisim storyline that is all too familiar.
“Bunnylovr” presents subtle and tame in ways that indeed are not for everyone.
While “Grafted” has a body horror element that appeals to subgenre fans, it lacks anything else that will captivate them.
“Marked Men” is made for a specific audience, and to capture that audience, it contains everything that could be interesting about this film.
While Isabelle Fuhrman creates a connection with viewers, her connection with Mena Massoud is tainted too early in “Wish You Were Here” to remain in love with the idea of these two.
While Pamela Anderson reinvents herself, it sometimes seems at the cost of giving the spotlight to her peers, with perhaps as much to prove.
With mixed results, “Good Side of Bad” seeks a less embellished version of experiencing a mental illness or supporting someone that does.
“Blended Christmas” shows the challenges of a family which includes bonus children, an ex-spouse, and the effort for everyone to come together during Christmas.
“Nosferatu” doesn’t justify bringing back the dead, even with Robert Eggers’ brand of visuals and eccentric performances to expendable characters.
“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.
“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.
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.
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.
“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.
“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.
“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.
“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.
“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.
Aaron Pierre and AnnaSophia Robb star in a too long for its own good revenge tale that lacks what it needs to justify a 2+ hour runtime.
Lucy Hale and Keir Gilchrist may deliver familiar characters from their repertoire, but amongst the odd story and comedy of “Running On Empty,” they make it work.
“Hoard” may not use its two hours to the best of its abilities, but star Saura Lightfoot-Leon will keep you engaged throughout.
Elizabeth Olsen, Natasha Lyonne, and Carrie Coon star as three daughters, partly estranged, who spend time together as they await their father to take his last breath.
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.