Foe (2023) – Review and Summary
Like many Sci fi dramas, especially those lacking action, “Foe” is dry and even with its twist, passable.
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Like many Sci fi dramas, especially those lacking action, “Foe” is dry and even with its twist, passable.
“The Royal Hotel” pushes you to asks questions, especially regarding perception, over be entertained.
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Kjersti Helen Rasmussen’s “Nightmare” creates a creepy atmosphere, but has a more sleepy than scary execution.
Netflix’s Spanish-language survival movie “Nowhere” is a great showcase for Anna Castillo, but a familiar story that doesn’t live up to its dystopian premise.
“SaW X” brings back John and Amanda and tries to milk them both for every last bit of nostalgia possible while failing to realize the franchise has rightfully moved on from them.
“The Kill Room” gives what is expected from Tarantino alumnus Uma Thurman and Samuel L. Jackson in a forgettable but likable crime comedy.
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“Barber” has two competing lead storylines, between its lead character’s personal life and case, that conflict and don’t complement each other well.
Ramon Felipe Pesante and Jenni Ruiza’s “Playing Sam” is a strong showcase for Ruiza’s talents and a love letter to any struggling artist.
If you’ve seen anything similar to “Vicious Affair,” I can guarantee you this movie’s only difference is who is in the cast.
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Aristotle Torres’ “Story Ave” provides a soulful depiction of the Bronx and career-best performances for Luis Guzman and Asante Blackk.
“Love & Murder: Atlanta Playboy” often feels like the type of movie you’ve seen many times before, with the only difference being this is based on the true story of Lance Herndon.
“Elevator Game” may have some missteps, and may not justify its villain’s motive well, but it does have likable characters who you are interested in enough to wonder if they will survive.
A woman betrayed by society and who she was close to prays for help and ends up getting what she asks for, but her prayers aren’t answered by who she expected.
A girl who doesn’t plan as well as she should meets a boy who leaves very little to chance, and rather than this leading to them balancing each other out, it sets up a meet-cute story that will certainly make you a fan of Haley Lu Richardson.
“A Million Miles Away” may not soar as a biopic, but Michael Peña gives a career-best performance José M. Hernández.
Michael Jai White’s “Outlaw Johnny Black” is a good silly 90-minute western trapped in a 2-hour middling movie.
Unfortunately, “Cassandro” sidesteps going too deep into any potential wound or struggle to give you a light-hearted drama that easily becomes dull due to its rounded edges.
In “A Haunting In Venice,” Hercule Poirot returns and makes it clear that, while the third movie starring the character, there is the potential for a James Bond-level number of movies starring lead and director Kenneth Branagh.
“What Happens In The Dark” shows some signs it could have been interesting, but instead, it is lukewarm thanks to a lack of information about what’s going on, how we got here, and who is dishing out the consequences.
In a woodburning oven type of romance featuring usual romance and LGBT+ tropes, you get “Aristotle and Dante Discover the Secrets of the Universe.”
Lee Whittaker’s “The Vigilante” is a timely action story about hunting down child traffickers. But it’s heavy on the action and less on the story.
Denzel Washington makes what is likely to be his final return to “The Equalizer” franchise, and while he shows he still has it, the film doesn’t present much to show why this film needed to become a trilogy.
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“Twisted Marriage Therapist” may give itself away with its title, but there are periods in it where it offers more than the usual.
“Sitting In Bars With Cake” will push you to be grateful for your best friend, or closest friend, as you watch two best friends hit many monumental moments – of which not all are positive.
“Midnight Hustle” may not tap into its full potential, but what it does offer someone may find interesting.
“Slotherhouse,” like most horror comedies, are enjoyable as long as you can embrace how ridiculous it is for if you look past the superficial, there isn’t much there.
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“Deltopia” may be the least fun movie about a party that I’ve ever seen, and writers Michael Easterling and Jaala Ruffman make college seem like a place you never want to go.
A cunning 12-year-old, living on her own, meets her father finally, but only after her mother dies.
“Retribution,” without question, is very on-brand for Liam Neeson, but with his character stuck in a car and not fighting anyone, he channels his trademark intensity in a different way.
Max Gold’s “Belle” is a beautiful and violent adaptation of “Beauty and the Beast” that creates its own individual magic by the end.
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.