Winnie The Pooh: Blood and Honey (2023) – Review/ Summary
“Winnie The Pooh: Blood and Honey” feels like a throwback to when slasher movies began, and the goal was to freak out the audience with intense visuals.
“Winnie The Pooh: Blood and Honey” feels like a throwback to when slasher movies began, and the goal was to freak out the audience with intense visuals.
“Disquiet” gives “Angels of Death” vibes, as we watch a man try to escape a hospital with monsters who all want to kill him and some who may be friends or foes.
“JUNG-E” is the same kind of surprise that “Squid Games” was, but with a lower time commitment.
“Door Mouse” has cult classic workings that will make it a favorite amongst a niche group, but it may struggle to make a blip in a sea of video-on-demand releases.
While the visual and sound effects for action scenes may deserve a side eye, there is so much going on with the story that you might be willing to forgive the flaws in “Imani.”
“M3GAN” continues the horror trends of 2022 by trying to craft a new horror icon but also work well as a stand-alone feature (though it does set up a sequel).
“High Heat” delivers, mainly thanks to its notable kills, but certainly not its comedy.
“As Good As Dead” is yet another movie which makes you question why Michael Jai White isn’t a bigger action movie star?
In the first adaptation of Anne Rice’s Vampire Chronicles in serial form, race swapping isn’t the only notable thing about AMC’s version of “Interview With The Vampire.”
In this supernatural crime thriller, Martin Lawrence may not take a career turn like his peers, but he does find himself in one of his best productions in years.
The second season of “The Cleaning Lady” is a prime example of a sophomore slump, as it struggles to keep the focus on Thony, as her storyline drags out, and others try to emerge.
“Let The Right One In” completes its first season with few blemishes as it presents an emotional story with violence, love, and sacrifice.
While Jenna Ortega makes a superb Wednesday, unfortunately, they put her in a world reminiscent of the “Chilling Adventures of Sabrina” with boy drama and a mediocre mystery.
Somehow, “Violent Night” finds a way to be flinch-worthy violent, consistently comical, and even stir up your emotions.
Vengence, death, and colonization fuel “Black Panther: Wakanda Forever,” but rarely as far as you wish it would.
In a new sci-fi production from the producers of “Westworld,” past and present seem to collide all thanks to the next generation of virtual reality technology.
With being story-driven more than character-driven, “House of the Dragon” may seem like it has learned from its predecessor, but in reality, it is simply taking a different approach.
Dispel your skepticism as “Wednesday” is not only well cast but includes the supernatural in such a way you’ll question why isn’t it a horror release.
“Stars At Noon” leans on Margaret Qualley as a crutch, to the point of you imagining it bending and damn near breaking by the end of the film.
The third adaption of John Ajvide Lindqvist’s novel brings a heart not seen as strong in the previous movie adaptations.
Modernized in some ways but keeping the core story intact, we watch Louis again recounting meeting Lestat in an adaptation that struggles against its predecessors.
While “Mike” is an unauthorized bio-series of one of the greatest known boxers, it sets such a precedent that it’ll be hard to imagine an authorized version topping it.
“The Woman Kin” breaks the mold many may see Viola Davis trapped in as she takes on the role of an action hero during a daunting time in Africa’s history.
“Barbarian” has quality jump scares and freaky moments, but it leaves so many questions.
“Under Her Control,” aka “Le jefa,” is a rather dry film for most of the duration until it finally gets interesting in the latter half of the film.
The final season of “Motherland: Fort Salem” acts as a reminder that some shows are better off cancelled outright than given one last hurrah.
“Into The Deep” lacks the level of mystery needed to make its small cast flourish.
“The Invitation” is the type of film ruined by a trailer that gives everything away, and the film does not compensate for that.
“Three Thousand Years of Longing” is mainly about a Djinn’s attempts at love and freedom over three thousand years.
“Mike” is so good that it is unfortunate that it doesn’t involve or is supported by Mike Tyson.
While over a decade past any fathomable need for it, “Orphan: First Kill” does remind you why the original film was controversial and notable.
“Beast” is an unbelievable action film that presents a meager attempt at an emotional father/daughter relationship.
“Baby Assassins” has the vibe of a zany anime that got a live-action adaptation and kept the eccentricities of its cast.
While the beginning of “No Way Out” gets you wrapped up in its leads’ love affair, once it transitions from being a romance, it is all downhill – right off a cliff.
Amber Midthunder commands this “Predator” prequel that may lack notable characters beyond hers but provides the kind of violence expected.
“Bodies, Bodies, Bodies” satirical take on Gen Z/late Millennials will leave you giggling and potentially forgiving its ending.
“Bullet Train” reminds you not only of Brad Pitt’s star power but also how action at its best is done in close quarters.
In “Shaka Inkosi Yamakhosi” you’re given an overview of who the great Shaka Zulu was.
In this dramedy, an act of revenge becomes a lucrative business that may not test friendships but does lead to unexpected consequences.
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.
Pages