Playing Sam (2023) – Review and Summary
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.
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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 Nun II” reminds you that it isn’t just Disney and the Marvel Cinematic Universe that milks its franchises past its prime – the horror genre has been doing that since its inception.
“Twisted Marriage Therapist” may give itself away with its title, but there are periods in it where it offers more than the usual.
“Sitting In Bars With Cake” will push you to be grateful for your best friend, or closest friend, as you watch two best friends hit many monumental moments – of which not all are positive.
“Midnight Hustle” may not tap into its full potential, but what it does offer someone may find interesting.
“Slotherhouse,” like most horror comedies, are enjoyable as long as you can embrace how ridiculous it is for if you look past the superficial, there isn’t much there.
Fares Fares writes, directs, and stars in “A Day and a Half,” a white-knuckle powerhouse drama that shouldn’t be missed.
“#ChadGetsTheAxe” harnesses the idea of an influencer in a horror movie in ways that have yet to be done at this level – and it is probably one of the best digital releases of the year.
Lisa Arnold and Kate Larson’s “Into the Spotlight” is cheerful and sunny even in its darkest moments, but the movie spreads itself thin and doesn’t explore its key ingredients in enough detail.
“Deltopia” may be the least fun movie about a party that I’ve ever seen, and writers Michael Easterling and Jaala Ruffman make college seem like a place you never want to go.
A cunning 12-year-old, living on her own, meets her father finally, but only after her mother dies.
“Retribution,” without question, is very on-brand for Liam Neeson, but with his character stuck in a car and not fighting anyone, he channels his trademark intensity in a different way.
Max Gold’s “Belle” is a beautiful and violent adaptation of “Beauty and the Beast” that creates its own individual magic by the end.
“The List” is a simple, cute, though sometimes uninspiring romantic comedy.
Emile Hirsch may be out to save Israel in “The Engineer,” but he can’t save this movie from being a disappointing thriller.
Blue Beetle’s emphasis on family makes this superhero movie the most fun origin story in a long time and a surprising late summer treat in theaters.
“Birth/Rebirth” in using death as the villain, and humanity as morally grey, gives you an engaging horror film that isn’t dependent on blood, guts, and violence to keep you watching.
“The Monkey King” is like its title character: a whole lot of style with very little substance.
Landscape with Invisible Hand starts off strong when focused on the humans dealing with an alien invasion. However, once the aliens become a prominent part of the film, it’s hard to maintain interest.
“Ruined” fits the bill of the crazed light skin person whose desires for one half of a married couple lead to them becoming so crazy they are willing to kill.
In “Below Deck Deceit,” a seemingly relaxing yacht vacation unveils a web of deception, old connections surfacing, and the perils of fame.
As long as you are just looking for a Boomer to kill some millennials, you have come to the right place. If you want more than just that, this may feel too barebones.
While “Mad Fate” is bizarre and makes an effort to keep up a high level of energy as you are led to wonder when, or if, its lead may snap and kill again, after a certain point, it becomes a bore.
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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