Snack Shack (2024) Review: A Fun But Forgettable Summer
“Snack Shack” is fun but may leave you hungry for something more fulfilling.
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.
“Snack Shack” is fun but may leave you hungry for something more fulfilling.
There’s more to Derek Pike’s slasher thriller “Model House” than meets the eye.
“The Greatest Hits” brings visuals to the saying, “Music moves you,” as a woman is repeatedly transported through time when triggered by songs that hold memories of her deceased ex.
This remake focuses again on Damien’s origins, specifically what led to his birth.
Paired with tapping into fears of arachnophobia is a young girl trying to deal with her mom having a new baby and her stepdad trying to fill in the spot her biological dad abandoned.
While the animation in Ari Folman’s “Where is Anne Frank?” is gorgeous, the resulting narrative can be muddled and deter the film’s message.
Tubi’s “Romi” asks what if Disney’s “Smart House” had a splash more blood?
“The American Society of Magical Negroes” has a top-quality romance film, worth its own motion picture, weighed down by the usual conversations and monologues on American racial relations.
Like working an actual night shift, the horror movie “Night Shift” starts as fun but becomes a chore to get through.
While DeWanda Wise delivers a notable performance, the story of “Imaginary” makes it for naught.
While Damsel has a lead and story that could have packed a punch, it avoids the sense of danger and triumph it could have, like Elodie does dragon’s breath.
In the late 1980s, a non-binary person has just moved to Canada and while non-binary, they aren’t ace so crushes arise and sometimes makes things complicated.
While a bit of a drag and having the feel of Oscar bait at first, by the end of the movie you’ll be in tears so bad the back of your throat will ache.
You might regret hitching a ride with Ethan Coen’s roadtrip comedy “Drive-Away Dolls.”
Simone’s spirit refuses to die and even if Monica moves across the country, she seemingly will never escape Simone’s vengeance.
“Mea Culpa” portrays the struggles of Mea, a defense attorney, balancing career success with personal turmoil amid family conflicts and a high-profile murder case.
“Kemba” presents an important case highlighting how the NAACP, specifically the Legal Defense Fund (LDF), didn’t stop being assets after the 1960s.
“No Way Up” feels like a fine survival drama trapped in a B-movie shark thriller.
Seemingly inspired by Jennifer Lopez’s own journey to find her forever love, “This Is Me… Now” encapsulates Lopez’s past in a way that could cause mixed feelings.
“Double Blind” is an intriguing experiment for viewers, but it wavers between making you a thrilling participant and passive observer.
In this campy horror-comedy, a young woman who just immigrated to England, got dumped and, alongside her co-workers, decides to get playful revenge, but things turn deadly.
Andrea Bang stars in “Float,” which puts a dry romance front and center over all the ways this could have been intriguing.
“Played and Betrayed,” featuring “House of the Dragon” actress Savannah Steyn is in line with many of Tubi’s offerings, for better or worse.
Many films claim to be a sex comedy, but “Sex-Positive” truly lives up to its name and title of the subgenre.
While “Upgraded” is predictable and doesn’t pursue standing out, it is enjoyable if you allow it to be.
“Calamity Jane” feels like 90 minutes of people doing cosplay.
Daniel Hoesl and Julia Niemann’s dark satire “Veni Vidi Vici” begins with an extreme premise and no where else to go afterwards.
In a movie that may have more scenes of landscapes and walking than dialog, viewers are pushed to notice the subtle shift in dynamics between a father, daughter, and the father’s odd friend.
Like most Sci-Fi movies void of action or suspense, “Love Me” feels longer than it needs to be, leading to its highlights becoming muddled.
“Trunk – Locked In” reminds you of one of the many irrational fears a person can have, and why not prepping for the worst and hoping for the best can mean whether you live or die.
“The Breaking Ice” may lack what you’d expect from a love triangle, but you can appreciate each character’s humanity in its subtlety.
With less characters to keep track of and the eponymous Angel taking lead, “Dutch II: Angel’s Revenge” is an improvement but follows familiar beats.
In what is another push to transform Kevin Hart from his “Big Little Man” persona into a legitimate action star, he leads a heist crew forced to work for Interpol.
An isolated AI finds themselves luckily being in the company of two criminals who can potentially give them freedom, if they are foolish enough to let them out.
In this watch and forget you saw it type movie, we learn about a woman who is trying to end her contract killer so that, for the first time in her life, she can have normalcy.
“Night Swim” may scratch that itch for horror fans who need a jump scare, but it certainly won’t start off the year on a high note for Blumhouse like “M3GAN” did.
While “The Book of Clarence” may seem potentially controversial because it contains Jesus of Nazareth, outside of some of the conversations it could start, it is tame to the point of being boring.
As migrant workers increasingly disappear, a cop still mourning their partner finds the case to be just the distraction she needs.
“The Pod Generation” explores what childbearing and rearing might be like in a future where women don’t have to get pregnant.
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.