Chestnut (2023) – Review and Summary
Chestnut,” with its lukewarm three-way romantic drama, is watchable but not must-see cinema.
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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.
Ramon Felipe Pesante and Jenni Ruiza’s “Playing Sam” is a strong showcase for Ruiza’s talents and a love letter to any struggling artist.
If you’ve seen anything similar to “Vicious Affair,” I can guarantee you this movie’s only difference is who is in the cast.
“It Lives Inside” deserves praise for how it handles being a first-generation Indian in a White community but might be considered lackluster as a horror movie.
Aristotle Torres’ “Story Ave” provides a soulful depiction of the Bronx and career-best performances for Luis Guzman and Asante Blackk.
“Love & Murder: Atlanta Playboy” often feels like the type of movie you’ve seen many times before, with the only difference being this is based on the true story of Lance Herndon.
“Elevator Game” may have some missteps, and may not justify its villain’s motive well, but it does have likable characters who you are interested in enough to wonder if they will survive.
A woman betrayed by society and who she was close to prays for help and ends up getting what she asks for, but her prayers aren’t answered by who she expected.
A girl who doesn’t plan as well as she should meets a boy who leaves very little to chance, and rather than this leading to them balancing each other out, it sets up a meet-cute story that will certainly make you a fan of Haley Lu Richardson.
“A Million Miles Away” may not soar as a biopic, but Michael Peña gives a career-best performance José M. Hernández.
Michael Jai White’s “Outlaw Johnny Black” is a good silly 90-minute western trapped in a 2-hour middling movie.
Unfortunately, “Cassandro” sidesteps going too deep into any potential wound or struggle to give you a light-hearted drama that easily becomes dull due to its rounded edges.
In “A Haunting In Venice,” Hercule Poirot returns and makes it clear that, while the third movie starring the character, there is the potential for a James Bond-level number of movies starring lead and director Kenneth Branagh.
“What Happens In The Dark” shows some signs it could have been interesting, but instead, it is lukewarm thanks to a lack of information about what’s going on, how we got here, and who is dishing out the consequences.
In a woodburning oven type of romance featuring usual romance and LGBT+ tropes, you get “Aristotle and Dante Discover the Secrets of the Universe.”
Lee Whittaker’s “The Vigilante” is a timely action story about hunting down child traffickers. But it’s heavy on the action and less on the story.
Denzel Washington makes what is likely to be his final return to “The Equalizer” franchise, and while he shows he still has it, the film doesn’t present much to show why this film needed to become a trilogy.
With a “Sex Education” and “Stranger Things” alumni, and the Russo Brothers as executive producers, this had to be good… right?
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.