Fatal Affair (2020) – Review/ Summary (Spoilers)
“Fatal Affair” is tame, predictable, and lacks any sort of chemistry between its lead actress and her co-stars.
While one or two elements kept us going until the end, unfortunately, we’re of the opinion this film never reached the potential it was marketed to have.
“Fatal Affair” is tame, predictable, and lacks any sort of chemistry between its lead actress and her co-stars.
“365 Days” tries to make Stockholm syndrome sexy and ends up just making a big-budget soft-core porn.
Like “Rings,” the “SaW” remake, and so many other horror franchises that reboots were attempted for, “The Grudge” seems like it shouldn’t have been made.
Somehow an hour and 19-minute film feels so much longer by means that is hard to explain, but we’re going to try.
Brother (Mon frère) is far more appealing in the trailer than the actual film.
Rattlesnake helps you understand why Netflix no longer allows people to comment or see community ratings.
Secret Obsession doesn’t contain a single secret the trailer doesn’t reveal, or you couldn’t guess.
Point blank: There is little to nothing freaky about Kinky and it doesn’t compensate being a soft R with its characters or storyline.
After hopes between an English accent, a troubled boy, and a girl you could live vicariously through, it may be able to keep your attention.
The Prodigy barely meets the expectation of at least having quality jump scares, leaving you feeling disappointed in a multitude of ways.
Velvet Buzzsaw barely lives up to the expectations of what you expect from a horror, lacks the urgency of a thriller, and is mostly just posh art world drama.
Target’s desire to be both a silly comedy and a mystery conflicts in ways which lead it to disappoint both genres.
The Truth About Christmas tries, it tries really hard. But I can’t firmly say it succeeds in everything it was trying to say or do.
Robin Hood (2018) seemingly just wants to take advantage of the hero’s name recognition and very little of the known story.
3rd Night lacks potential scares despite holding many elements most horror movies have to conjure up fear.
I’m doing my best to just see Slice as a campy comedy, but even with that in mind – I struggle to find a means to spin this into a positive light.
Outside of two moments in which the lead is sexually assaulted, and the protagonist being Black, The Darkest Minds is as generic as they come.
Rosy is just too simple, with a male lead who seems misplaced, to match the assumed intention of the story.
How It Ends not only doesn’t answer its title’s question but also makes for a terrible online release thanks to its writing, pacing, and maybe even acting.
Uncle Drew, despite its comedic leads and sports stars, doesn’t deliver strong laughs or even play up what seemingly was supposed to be a touching story.
Sadly, Terminal is the type of film which seemingly believes it is much smarter than you and has a mystery which doesn’t quickly unravel.
Between a plot which seems like a small budget Minority Report to the dryness of Clive Owen and Amanda Seyfried, this may be the perfect film for a Sunday afternoon nap.
Blue Caprice has all the pieces needed to be an action film with a decent amount of drama, but it loses you somewhere.
Red Sparrow is further proof that sexual content and violence cannot compensate for a lack of intriguing characters or story.
Peeples wastes all its potential for the sake of bad jokes and situational comedy.
To be quite honest, I am not sure how I discovered this movie exactly. I was just searching about and found this despite not knowing a single actor, or anyone involved. Still, the trailer made it seem very interesting so I decided to give it a chance.
Annihilation shows why the sci-fi genre is usually combined with the thriller or comedy genre, and not with artsy indie drama.
Golden Exits is a melancholy indie film which relies heavily on Emily Browning’s charm to get you through it.
Unlike A Christmas Prince, there isn’t anything really to redeem this Christmas movie.
Thumper gives away the one thing which could have made it interesting within the first 25 minutes and then it just coasts downhill.
From what it appears, Jigsaw is a reboot of the SAW franchise – but a bit less gruesome and with less interesting “victims.”
One Percent More Humid lacks investment in its tragedy to the point it makes the survivor’s tears for naught.
It’s that time of the year again for a disappointing thriller featuring a whole bunch of Black people of which one is really crazy. Which is what you get in Til Death Do Us Part.
Thanks to some bizarre decisions, #RealityHigh loses the few things likable it had to utter and complete nonsense.
Tulip Fever has the best thing period dramas can have (an excellent score) and the worse (the most boring soap opera kind of story imaginable).
When Love Kills: The Falicia Blakely Story is good if you look at it from the stand point of it being a hood TV movie. However, if you expand your expectations beyond that, you may not have a good time.
A long time ago, I said I would just wait for films to come out locally rather than head to NYC to see them. I so badly wished I did that for The Only Living Boy in New York.
Message From The King is a procedural revenge story where our lead finds one guy, to learn the name of another, and this process repeats until he is ready to exact his bloody revenge.
At its heart, Valerian and the City of a Thousand Planets is a cheesy love story wrapped up in an overly reliant on CGI action film. The kind which really makes it seem Luc Besson isn’t capable of producing another classic.
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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