Quiz Lady (2023) – Movie Review
Hulu’s “Quiz Lady” squanders the comedy talents of Sandra Oh and Awkwafina to deliver a movie meant to play in the background.
Discover our top picks and latest reviews spanning from blockbuster hits to indie films, shorts, and festival premieres across various platforms.
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.
Chestnut,” with its lukewarm three-way romantic drama, is watchable but not must-see cinema.
At the minimum, “Eileen” delivers entertaining performances worth the ticket price, and at max, you will witness at least one performance worthy of a major accolade.
“The Elderly” takes forever to get to the point, which may or may not be a play on who and what it focuses on.
Addressing both characters’ individual cultures and how sometimes the personal clashes with the timing of something romantic, “This Place” is less about causing butterflies and more about how the timing of love can be imperfect, but people can make time if they can and want to.
As usual, a person with a mental illness ends up killing people, with the only difference in “Wake” being that person is a rapper.
“Vindicta” is a Latin term that refers to “just revenge,” yet after watching “Vindicta,” viewers might want to enact their own justified revenge on the filmmakers.
Sean Price Williams and Nick Pinkteron’s “The Sweet East” is equally a fantastical road trip and giant trolling effort.
In a tragic, long-in-the-tooth, multi-generational love story, two people have a constant case of bad timing, which ruins the love that could be.
Ryûsuke Hamaguchi’s “Evil Does Not Exist” is a quiet film that whispers questions that can linger long after the film ends.
Josh Sharp and Aaron Jackson’s “Dicks: The Musical” is gross, horrid, and very funny. If you ever wanted to see John Waters’ version of The Parent Trap, this movie is for you.
In this simple revenge tale, a young lady’s best friend decides she no longer wants to be alive, which sets off a chain of events to kill off the man who blackmailed her.
“Totally Killer,” as its title implies, is a fun horror movie to watch but ultimately is more content to consume than a new movie to put into your annual Halloween rotation.
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.
Miyazaki’s latest is as beautiful, if not more, than his last. However, it is by no means the type of character driven tales he is known for.
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.
Part 2 of “Love & Murder: Atlanta Playboy” focuses on the murder investigation and with Taye Diggs in it less, it means more drama from the caricatures of Lance’s past lovers.
As emotionally stirring as it is beautiful, “The Creator” presents the worst case scenario for humanity’s relationship with robots in such a way that the film has the potential to be seen as a modern classic at best or underrated at worse.
“Barber” has two competing lead storylines, between its lead character’s personal life and case, that conflict and don’t complement each other well.
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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