Four ladies of past Ready To Love seasons get a spin-off where they remain in the power position all season long, but will that be enough to help them find love?
Mike Flanagan’s “The Fall of the House of Usher” is an entertaining and ghoulish time, but fans of Edgar Allan Poe’s classics may roll their eyes.
A cast and character guide to Mike Flanagan’s “The Fall of the House of Usher,” now streaming on Netflix.
Chestnut,” with its lukewarm three-way romantic drama, is watchable but not must-see cinema.
Nathan Fielder and Benny Safdie’s “The Curse” holds up a mirror to our fascination with reality TV and fabricated feel-good moments.
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.
“Everything Now” ends its rollercoaster ride by reminding us how far Mia has come, how far she has to go, and what the alternative is to her continuing to work to be better.
This is a character guide for Netflix’s “Everything Now,” with character descriptions, quotes, names of actors, and more.
In the penultimate episode of the season, “Everything Now” decides to take a dive off the height that was episode 6 as Mia’s 17th birthday arrives.
“Everything Now” switches things up by focusing on what Alex, Mia’s little brother, has gone through and is going through, and it’ll make you wish and hope we get others perspectives in the final episodes.
Sean Price Williams and Nick Pinkteron’s “The Sweet East” is equally a fantastical road trip and giant trolling effort.
As Mia questions what is going on with Alison, Will explores something new and Viv’s secret is forced out into the light.
As sex becomes a topic of conversation Mia would love to avoid, she finds herself confronting everyone about the lies they have told.
As Mia reaches an epic high, she is reminded what goes up must come down.
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 Mia seeks out what kind of normal she can attain, she gets surprised by two who offer her a chance at a new normal rather than the one she expected or was used to.
In what can be seen as a mini-career and life retrospective, Tony Winner Alex Newell walks their audience through some of their favorites Broadway numbers, including those they made a hit.
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.
In a episode mainly focused on how Janelle made people feel a certain type of way, she mostly remains unbothered by their struggles.
“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.
“Everything Now” feels like a precedent setting show about the teen years that might be more honest, relatable, and nuance than what we often see.
“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.
“Sex Education” ends on a high note, but without some of the dream scenarios some may have wanted.
In the series’ penultimate episode, O and Maeve have emotional scenes that will get you in your feelings, and Aimee, Isaac, and Aisha take a stand against a college which claims to be progressive.
It’s Erin’s funeral, and Sean decides to make the day harder. But he isn’t alone as Eric comes to multiple realizations, as does Viv.
Kjersti Helen Rasmussen’s “Nightmare” creates a creepy atmosphere, but has a more sleepy than scary execution.
As Maeve struggles with all she left behind in the UK, O and Otis debate, and Eric seems to have renewed his faith in a notable way.
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 1 delivers the drama you’ve been waiting for, but as the ending shows, we may have seen nothing yet.
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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