The Biopic tag features productions focused on various figures and telling their life story as seen by those closest to them, or third parties.
Beyond being an inspirational story focused on Claressa Sheilds, “The Fire Inside” is a coming-of-age story you rarely see Black girls have on the big screen.
Focusing on the founding, rise and fall of PTL, Tammy Faye is more about the company than the woman who made it matter.
Colman Domingo uses his talents to give us a prison story about how the RTA (Rehabilitation Through The Arts) changed the lives of some incarcerated people.
Starring Glen Powell, known for the recent hit “Anyone But You”, in this Netflix release, he plays an everyday guy thrust to pretend to be a hitman for the New Orleans Police Department in a movie based on a real person.
While a bit of a drag and having the feel of Oscar bait at first, by the end of the movie you’ll be in tears so bad the back of your throat will ache.
“Kemba” presents an important case highlighting how the NAACP, specifically the Legal Defense Fund (LDF), didn’t stop being assets after the 1960s.
Sofia Vergara sheds away her well-known comic shtick for something far more serious with “Griselda,” which struggles to find her a good scene partner.
Like Leonard Bernstein himself, Bradley Cooper’s “Maestro” stays intriguing and frustrating in what it decides to show and hide about the legendary composer.
“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.
“Rustin” depicts a civil rights icon in ways not seen since Denzel Washington played Malcolm X.
With a notable focus on Louis Armstrong’s four wives, “A Wonderful World” might be Broadway-bound, but doesn’t seem like it may stay for long.
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.
“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.
“A Million Miles Away” may not soar as a biopic, but Michael Peña gives a career-best performance José M. Hernández.
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.
“The Beanie Bubble” is a comedic and dramatic tale about the ’90s Beanie Baby mania, but it’s light on comedy and drama.
Christopher Nolan has turned one of the most complicated scientists and his horrific creation into a blockbuster movie. The result is a beautifully shot film that pushes Nolan into exciting experimental territory, but an icky feeling of Hollywood tropes may take you out of the film.
Mary Herron and John C. Walsh’s “Dalíland” portrays the life of one of art’s most celebrated and inspiring figures with a tame and uninspiring story.
Keke Palmer’s “Big Boss” certainly had the potential to be something notable, but the music interrupts what brings the film value.
“Little Richard: I Am Everything” is more than a documentary on the architect of Rock n’ Roll, but an Ivy League course, shrunk to a little over an hour and a half, about his social and musical impact.
“Whitney Houston: I Wanna Dance With Somebody” will make you forget the countless TV movies that predates it.
“Blood Sex and Royalty” pursues edutainment with CW-type casting and performances mixed with actual historians to note the historical context.
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.
“Mike” is so good that it is unfortunate that it doesn’t involve or is supported by Mike Tyson.
In “Shaka Inkosi Yamakhosi” you’re given an overview of who the great Shaka Zulu was.
In “Pete,” whether trans, non-binary, or simply Pete, we watch as a young kid and their mom pursue the joys of little league baseball.
“More Than I Remember” presents a less palatable version of why people immigrate, in animated form, but is no less a story to behold.
From the perspective of Elvis Presley’s manager, “Elvis” chronicles the rise of a king and his imprisonment in Las Vegas.
The story of the Sex Pistols begins with a sad, lonely, but charming boy named Steve Jones trying to prove he is more than his molester says he is.
A Journal For Jordan is one of the most romantic movies you may have seen in a long time, and its highlight on the sacrifices of military families will pull at your heartstrings.
Tick, Tick… Boom! is a love letter and a piece of encouragement to any creative who feels their youth is fleeting and their chance to make it alongside it.
Tina — The Tina Turner Musical has all the moves to honor the legend but lacks the soul to do justice to her singing and story.
While at times excruciatingly dull, Kristen Stewart’s transformation, paired with the psychological aspect of being a public figure who is isolated and controlled, saves Spencer.
The Eyes Of Tammy Faye reminds you how those who seek money and power exploit and tarnish those who have faith in God.
Respect puts respect on Aretha Franklin’s name while still addressing her demons, sordid relationships, and her father.
Zola’s thrill seems a bit lost in translation from a viral Twitter feed to a motion picture.
The United States vs. Billie Holiday all boils down to Andra Day as Billie Holiday, and playing on the hatred of the FBI you surely have by now watching these stories.
Like nearly every well-crafted film about Black oppression in America, Judas and the Messiah will enrage you, tire you out, and make you hope J. Edgar Hoover and his enablers, rot in hell.
Ma Rainey’s Black Bottom gives you what you expect from Viola Davis, and in Chadwick Boseman’s final film, he makes it clear he could excel in a role of someone not already an icon.
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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