F Mary Kill (2024): Review and Summary
“F Mary Kill” presents a lighter and comical version of “Cat Person ” regarding what women may fear when dating men.
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.
“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.
Serayah stars in “Robbin,” which, in the pursuit of entertainment, avoids getting bogged in what some may feel would have been worthwhile details.
Hunter Schafer stars in what can be described as a slightly different horror movie than what usually comes out State side, even if it follows familiar beats.
“I Thought My Husband’s Wife Was Dead,” starring Letoya Luckett starts off complicated and intriguing, but as it has to answer questions, it devolves into your usually over the top and messy drama.
Starring Dylan Sprouse and Patrick Warburton, “The Duel” provides just as many laughs as it creates opportunities to discuss the modern state of masculinity.
Kit Harrington stars in a werewolf movie that is more about the human being, the tortured, insecure soul, than the beast within (no pun intended).
Ryan Reynolds is back as Deadpool and Hugh Jackman comes out of Wolverine retirement to deliver a film more focused on nostalgia than anything else.
Starring Nick Jonas and Alexandra Shipp, we watch a young man romances one woman while he mourns, with his family, the death of his mother.
Featuring Peyton List, “The Inheritance” delivers a lot of familiar characters, and a well-tread story, but does give a certain creepiness factor.
“Dragonkeeper” focuses on a young girl who is tasked with rescuing a baby dragon, and discovering her true fate, not the assumed one of being a servant.
Starring Samantha Neyland Trumbo, we watch as a highly educated surgical resident joins a practice marred by a burgeoning scandal of recent patients being murdered.
Starring “Primo” actress Stakiah Lynn Washington, we watch as she plays an up-and-coming rapper who tries to navigate a cutthroat music industry.
Mia Goth returns as Maxine Minx, and with Pearl in her rear-view, so comes the question if Goth can find a way to justify the latest entry of this franchise as she did in “Pearl?”
In “Little Deaths,” we watch the ebb and flow of a relationship plagued by a disease that doesn’t cause a lockdown but certainly puts immense stress on a delicate relationship.
Sadie Sink is seduced into joining a cult despite her father, played by Eric Bana, making a career about community and loneliness.
A young woman with notoriety as a game tester and professional gamer is gifted a new headset that syncs with her brain and brings painful memories to life.
In “I Used To Be Funny,” Rachel Sennott veers towards a more dramatic role, which may struggle at times to hold your attention.
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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