The First Omen (2024) – Movie Review
This remake focuses again on Damien’s origins, specifically what led to his birth.
Discover our top picks and latest reviews spanning from blockbuster hits to indie films, shorts, and festival premieres across various platforms.
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.
“Mea Culpa” portrays the struggles of Mea, a defense attorney, balancing career success with personal turmoil amid family conflicts and a high-profile murder case.
“Ashes” is more grey dirt than fire in Netflix’s new Turkish romance/thriller.
The final entry in the “Through My Window” franchise, “Through My Window – Looking At You,” might be the best one yet, partly thanks to the 2nd movie removing a certain character.
“Kemba” presents an important case highlighting how the NAACP, specifically the Legal Defense Fund (LDF), didn’t stop being assets after the 1960s.
“Bleeding Love” takes on a road trip that’s kept engaging by Ewan and Clara McGregor’s performances.
While “Ordinary Angels” isn’t firmly in the “faith-based” movie camp, it is undoubtedly a reminder that angels may appear in the strangest forms when you have reached a low point.
“No Way Up” feels like a fine survival drama trapped in a B-movie shark thriller.
“Welcome Home, Franklin” does more than give Franklin Armstrong’s backstory; it reminds you of when you were young, yearning for a friend, and found that perfect person.
Seemingly inspired by Jennifer Lopez’s own journey to find her forever love, “This Is Me… Now” encapsulates Lopez’s past in a way that could cause mixed feelings.
“Double Blind” is an intriguing experiment for viewers, but it wavers between making you a thrilling participant and passive observer.
“Players” has all the workings of a multi-season sitcom squeezed into a less than 2-hour movie.
Keir O’Donnell’s “Marmalade” is a madcap heist movie with plenty of charm and originality to boot.
In this campy horror-comedy, a young woman who just immigrated to England, got dumped and, alongside her co-workers, decides to get playful revenge, but things turn deadly.
Life goes from bad to worse in Nicola Peltz’s messy directorial debut, “Lola.”
“Skeletons In The Closet” may make you curious, thanks to the inclusion of Terrence Howard and Cuba Gooding Jr., but it lacks anything to justify your initial interest.
Andrea Bang stars in “Float,” which puts a dry romance front and center over all the ways this could have been intriguing.
Netflix’s “Orion and the Dark” is a colorful display of our childhood fears and a movie Pixar wish it had made.
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.