Como Si La Tierra Se Las Hubiera Tragado: Review
“Como Si La Tierra Se Las Hubiera Tragado” reminds you of one of the many stories that continue, even when they aren’t the latest headline.
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“Como Si La Tierra Se Las Hubiera Tragado” reminds you of one of the many stories that continue, even when they aren’t the latest headline.
Tina decides to go out partying alone in “Luz Diabla” and learns why there is strength in numbers.
“Parthenope” is made for those who use the word cinema as it seeks out to appear like a modern adaptation of a literary classic.
“Love Hurts” may present interesting action sequences, but it falters, maybe even fails, regarding everything else it is expected to deliver.
“Heart Eyes” delivers decent laughs and an acceptable level of brutality, but lacks the writing needed to make the Heart Eyes Killer into an icon.
“Inkwo for When the Starving Return” has the makings of an anime that could aspire to the levels of “Avatar: The Last Airbender.”
“Ricky” begins as a rarely seen point of view about post-incarceration, follows a recidivisim storyline that is all too familiar.
“Sorry, Baby” is proof that being subtle can work if you know how to craft interesting characters and relationships.
“Virgin of the Quarry Lake” is a surprisingly bloody coming of age story, focused on a girl looking to have just one thing after a life filled with abandonment.
“Love, Brooklyn” has the makings of a classic that evolves as its initial audience watches it over and over throughout their lifetime.
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.