Wildcat (2024) Movie Review
While you may think “Wildcat” is a biopic, more so, it is a series of short stories by Flannery O’Connor linked up and barely featuring the writer in a notable capacity.
Discover our top picks and latest reviews spanning from blockbuster hits to indie films, shorts, and festival premieres across various platforms.
While you may think “Wildcat” is a biopic, more so, it is a series of short stories by Flannery O’Connor linked up and barely featuring the writer in a notable capacity.
Zendaya plays the third wheel in one of the most intense love triangles in modern cinema.
“Asleep In My Palm” is one of those movies that drop you into a character’s life, doesn’t make much of a push to catch you up, and instead leans towards you seeing someone as they are.
Set in 1992, Chicago, specifically the – projects “We Grown Now,” is a coming-of-age film with few peers to compare it to quickly.
“The Brink Of” may have a few catchy indie pop songs, but the will they or won’t they at the heart of it may not win too many over.
While “Abigail” certain has developed characters that could derive interest, the story is made to only be good enough if the only thing you desire is the type of violence only a vampire movie could have.
In “Parachute,” we’re reminded how love and romance isn’t a cure but sometimes a drug to alleviate symptoms.
Netflix’s Swedish drama “Stolen” will educate and thrill viewers.
As a mutations cause some of humanity to turn into animals, we watch as one family deals with the government’s response.
“Don’t Tell Mom The Babysitter Is Dead” might be another remake of a popular property, but for those unfamiliar with the original, you may find yourself enjoying this.
In a world where monsters attack at night, we see yet another world, post-apocalypse, where a handful of people struggle to survive.
Grab a friend and watch the spicy fun that is “Becky.”
“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.
In a movie that largely sidesteps what the war is about, “Civil War” puts us in the point of view of journalists who make it clear there are no heroes in war, just dead bodies.
“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.
“Baby Assassins 2: Babies” delivers much of the same, but without the Yakuza and instead wannabe assassins who want to be official like our leads.
This remake focuses again on Damien’s origins, specifically what led to his birth.
In “Música,” Rudy Mancuso may not reinvent the musical genre but gives something different enough to revive your love for the genre if it has left you jaded.
In a comedy that evolves over time, a handful of wicked letters explores what it means to be a woman in small-town Britain in the 1920s.
“Winnie The Pooh: Blood and Honey 2” moves beyond the shock value of a murderous childhood icon and tries to add depth to its characters.
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.
In a complicated revenge tale, one assault leads to the desire to create revenge porn but when a romance blooms, so begins the question of whether to take things that far?
Prime Video’s “Road House” remake takes the plot and none of the heart from the original ‘80s cult classic.
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?
Writer and director Rose Glass flexes her pulp chic muscles in “Love Lies Bleeding.”
In what may feel like a series of shorts, “The Concierge” gives you a cute, potentially tear inducing, underdog story.
“Knox Goes Away” is a shakeup to the formula that was set by Liam Neeson’s recent filmography and is rarely challenged.
“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.
With a beautiful and balanced bond formed at the heart of the film, “Insomniacs After School” has less to deal with sleeping issues and more about reasons to be awake.
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.
Let Julio Torres’ “Problemista” shower you in its surreal depiction of our very real struggles.
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.
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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