Christmas Revisited (2023) – Movie Review
With the recent death of the friend who bound them, the five who remain try to see if they can move forward together rather than continue to drift apart.
Whether you’ll have to go to the movies, download or stream, movies of this category are worth your time and money with few, if any, qualms from us.
With the recent death of the friend who bound them, the five who remain try to see if they can move forward together rather than continue to drift apart.
In Christopher B. Stokes and Marques Houston’s latest, there is the question of whether a comeuppance will come for a man who stepped out on his marriage for feeling neglected.
In “Anyone But You” two people find themselves in a push and pull situation as they fake a relationship they realize might be just what they needed.
Like Leonard Bernstein himself, Bradley Cooper’s “Maestro” stays intriguing and frustrating in what it decides to show and hide about the legendary composer.
A murder accusation leads a woman to try to work with a corrupt cop for her freedom or suffer jail time.
“The Iron Claw” may not go far enough to push any specific actor into an accolade conversation, but there is no denying this movie can drive you to tears.
Timothee Chalamet, in channeling the light, curiosity, and silliness of Willy Wonka, brings the more lovable side out of the iconic character.
In this sweet-as-can-be movie, a woman learns to say yes to something outside of working toward career goals, allowing her to have a fulfilling personal life.
Bollywood takes on the Archie comics in Netflix’s clever and creative “The Archies.”
Thanks to cops wanting to get a local dealer by any means necessary, a young mother finds herself becoming an unwilling CI.
“A Christmas Serenade” feels like a rare, tame holiday movie. But with a heavy focus on faith, a church setting, and quoting of scripture, it might be for those who grow tired of how Christmas movies have become very liberal and dramatic.
“Surprised By Oxford” pushes you to recognize it as a romance film, but without having the lead obsessed with the idea of finding love.
Eddie Murphy has his first, surprisingly, holiday movie, and between Jillian Bell and Chris Redd, you’ll find yourself laughing with the kids in the room too.
Let the “The Holdovers” be your family in what’s possibly my favorite movie this year.
In this disaster movie, instead of action stars, we get leads known for their dramatic abilities who are tasked with surviving apocalyptic situations with none of them playing the role of the world’s savior.
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.
“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.
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.
Netflix’s “The Killer” showcases David Fincher at his most wry and ruthless. Fedoras and Hawaiian shirts have never been so menacing.
“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.
“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.
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.
Sandra Itäinen and Eman Abdelhadi’s documentary “Coming Around” displays the pain and beauty of generational change and intersectionality for a Muslim gay woman.
Luke Gilford’s queer cowboy movie “National Anthem” exudes so much warmth that it bursts from the screen and wraps its arms around you.
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.
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.
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.
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.
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.
Aristotle Torres’ “Story Ave” provides a soulful depiction of the Bronx and career-best performances for Luis Guzman and Asante Blackk.
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.