The Out-Laws (2023) – Movie Review and Summary
“The Out-Laws” is a pleasant “watch because it is new, and you feel you’ve watched everything else” movie.
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.
“The Out-Laws” is a pleasant “watch because it is new, and you feel you’ve watched everything else” movie.
“Insidious: The Red Door” is a reminder of why it has been so refreshing for new horror movies to not only come out but also get a marketing budget so that you know they exist.
Can you imagine, to hopefully have kids one day, having to go to a room where everyone knows what you are doing and… you know.
Welcome to the 00s when TRL was huge, magazines mattered more than ever, and bellybutton piercings were all the rage thanks to so many pop princesses like Britney Spears.
The lack of a coherent plot and action in “The Dial of Destiny” brings Indiana Jones to a frustrating and disappointing end.
“Murder City” is a movie with fine actors and cinematography that’s in search of a more riveting story.
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While many horror films have drama elements, “Run Rabbit Run” flips things and is a drama with horror elements that doesn’t necessarily do much beyond give us a creepy child.
“The Mecca of Comedy” is an intriguing look into the DC comedy scene, but it could use another edit and more comedy.
While tediously as long as its predecessor, “Through My Window: Across The Sea” still works well as “365 Days” young adult counterpart.
“Blood for Dust” is a moody film that examines upwards mobility in America, yet the movie struggles to give you a reason to care for its protagonist.
“Love To Love You, Donna Summer” is extensive but underwhelming.
David Gelb and Disney’s “Stan Lee” is a sweet yet flawed and watered-down documentary about the Marvel creator’s life that becomes more interested in the superheroes rather than Lee himself.
“Sublime” delivers a slice-of-life story, and performances that gives perhaps the most tame LGBT story you may have ever watched.
Jennifer Lawrence plays what feels like an embellished version of her public persona in a pleasant film that seems like it should have been released on Hulu.
“Dead Girls Dancing” feels aimless as you await the story to pick up and make clear what we’re building up to.
“The Perfect Find” makes a decent romantic comedy once it moves past its ageism and misogynoir jokes.
“Suitable Flesh” may lack an explanation regarding what is happening, but you’ll be so locked in you may forget your questions until after the movie is over.
Mary Herron and John C. Walsh’s “Dalíland” portrays the life of one of art’s most celebrated and inspiring figures with a tame and uninspiring story.
“Perpetrator” is more interested in ways to use and shoot blood than truly give life to its characters and anything it sets up plot-wise.
“The Secret Kingdom” is a fantasy story for the family with unique visuals and character designs. Yet you’ll feel like you’ve seen this story before.
“The Graduates,” thankfully avoids showing a school shooting, but what’s left leaves you wanting more.
D.W. Medoff’s “Pollen” is a horror film that doesn’t frighten you with scares, but chills you with its authentic portrait of trauma.
“The Boogeyman” crafts grief, scares, and compelling performances in a way few monster movies do.
Sebastian Maniscalco’s “About My Father” showcases a sweet relationship between De Niro and Maniscalco, but it’s coated in forgettable comedy and a story we’ve seen too many times.
A few chronically funny mishaps and personalities lead to a half-a-million-dollar reward.
While “Mother’s Day” has a big personality character and decent action scenes, it lacks the emotion, adventure, or drive necessary to keep it from becoming background noise.
“The Little Mermaid” thankfully takes enough from the Broadway musical and further creative license from the Hans Christian Anderson story to make an entertaining, though serviceable, film.
“Robots” is a forgettable comedy that seems to yearn for when men got to be funny and women were meant to be seen and buzzkills.
“Fast X” is so entertainingly bad that it might be considered good.
Robert Rodriguez and Ben Affleck’s “Hypnotic” is a messy but intriguing movie with twists that change the movie’s characters, genre, and entire story.
Keke Palmer’s “Big Boss” certainly had the potential to be something notable, but the music interrupts what brings the film value.
Netflix and Jennifer Lopez’ “The Mother” is an intriguing drama suffocated by a bad action movie.
“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.
The Tutor gives Garret Hedlund and Noah Schnapp a chance to play victim and avenger. While the film’s suspense and thrills can be underwhelming, the final twist is memorable.
In the pursuit of the next “Half Baked” or “How High,” MTV presents its latest attempt to make a classic in “Pretty Stoned.”
Renfield, familiar to Dracula betrays him by seeking a new empowered and purposeful life in heroic pursuits, but there is Hell to pay!
“Hunger” might be a wonderful lesson about the cooking industry, but it doesn’t tap as deeply into its underdog story as it could have.
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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