Discover our top picks and latest reviews spanning from blockbuster hits to indie films, shorts, and festival premieres across various platforms.
“Maxine’s Baby,” is an inspirational depiction of how Tyler Perry built a film empire, but it also glorifies Perry and gives little insight into the serious critique against some of his characters.
“I Don’t Expect Anyone To Believe Me” is a bit of a sluggish film that tries to compensate by giving you violence and sexual situations, but its leads may not be enough to keep you watching for two hours.
“Genie” may focus on a father’s decline professionally and personally to begin, but once McCarthy shows up, it is no longer about that, and she steals the film.
Connie Cocchia’s “When Time Got Louder” is a gentle and heartfelt coming-of-age movie and family drama.
While Julianne Moore and Natalie Portman face off in ways that remind you of their most wicked characters, Charles Melton, trapped in the middle, finds room to have a remarkable performance, likely to shift his career.
“Dashing Through The Snow” doesn’t follow the usual holiday movie formula, thus requiring getting used to what it offers, which you could come to like.
“Wish” seems like it was made for Disney Plus as part of Disney’s 100th anniversary celebration, but someone had enough faith in it to garner a theatrical release.
“Best. Christmas. Ever!” might be the worst. movie. this year!
“Rustin” depicts a civil rights icon in ways not seen since Denzel Washington played Malcolm X.
Matthias Hoene and Neil Linpow’s “The Last Exit” is a good rainy day movie with plenty of twists and thrills.
If you wanted violence, gore, and a villain whose madness is almost justifiable, “Thanksgiving” makes up for the rather tame offerings we got in October.
While “Share?” may lack answers some people may crave from a film like this, it feels like a “Black Mirror” inspired movie that undoubtedly is enjoyable.
In one of Angus Cloud’s final movies, he plays a Fez-like character who ends up in a situation where you not only question if he may live but damn near everyone in the movie.
Michael Farris Smith and the Phillips Brothers’ “Rumble Through the Dark” makes some bold choices in storytelling, but they don’t quite pay off.
While it does waste its lead’s personal story, it compensates with a cute romantic relationship as its centerpiece.
Netflix’s “The Killer” showcases David Fincher at his most wry and ruthless. Fedoras and Hawaiian shirts have never been so menacing.
“It’s A Wonderful Knife” is a bit corny, undeniably bloody, but has a silver lining to it because of its supporting actors.
“Helen’s Dead” is a murder mystery, but the real mystery is why anyone would want to be in this movie.
“The Tunnel to Summer, the Exit of Goodbyes” doesn’t overstay its welcome, and by getting to the point, getting you invested, teary-eyed, and sending you on your way, it is the best kind of entertainment.
Daisy Ridley continues to prove she’ll have a career beyond Star Wars as she plays the daughter of a kidnapping and murderer.
Christopher Zalla and Eugenio Derbez’s “Radical” is based on a true story, but it’s a story audiences have seen plenty of times.
“A Wesley Christmas Wedding” largely sets aside the drama experienced in the first movie and more so gives us laughs, love, and a touch of loneliness from a few.
Hulu’s “Quiz Lady” squanders the comedy talents of Sandra Oh and Awkwafina to deliver a movie meant to play in the background.
Netflix and Melanie Laurent’s “Wingwomen” is a fun but forgettable action-comedy that is light in drama and plot.
“What Happens Later” may feature the archetypes that made Meg Ryan and David Duchovny staples in the entertainment industry, but they lack the chemistry needed to make this film good.
“Anatomy Of A Fall” will likely become this year’s top mystery movie, with the kind of performances that will likely cause the film and its lead actress to resurge in the zeitgeist when it’s time to dole out accolades.
In what may feel like a slightly familiar underdog story, a woman, who has recently been widowed, has to fight for what’s left from her marriage to secure her comforts and future.
In this revenge tale featuring voodoo, a nephew is tasked with executing their uncle’s revenge against their will.
Martin Scorsese’s “Killers of the Flower Moon” is a disturbing yet necessary story depicting genocide in Osage County and the horrors of greed.
While we are the first to call to question why any movie needs to be three hours, “About Dry Grasses” makes the best use of its time through enviable conversations and how it deconstructs its lead.
Juan Sebastian Torales’ “Almamula” demonstrates that for gay youth, religion can be far scarier than the demons it preaches about.
Zeno Graton’s “The Lost Boys” is an LGBTQ+ drama that creates a lovely atmosphere within a juvenile hall, but you may wonder where exactly this story is headed.
“Fingernails” is a sluggish two hour movie which lacks a hook.
“Perfect Days” spends nearly an entire hour testing its viewers loyalty, and once it makes an effort to get interesting, it doesn’t compensate for lost time as some may wish it had.
“Something You Said Last Night” exists in the very tame depiction of LGBTQ+ issues, and as much as it makes clear that something is going on with the lead, it doesn’t dig deep in any form or fashion to get you interested.
“Night of the Hunted” is an intense shooter that may start to drag in the end, but with the life-or-death situation the lead goes through, you’ll be on edge for most of the film.
Sandra Itäinen and Eman Abdelhadi’s documentary “Coming Around” displays the pain and beauty of generational change and intersectionality for a Muslim gay woman.
Jason Karman and Gorman Lee’s “Golden Delicious” is a fine coming-of-age story with a coming-out story we’ve seen all too often.
Luke Gilford’s queer cowboy movie “National Anthem” exudes so much warmth that it bursts from the screen and wraps its arms around you.
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.