The human experience, sometimes at its most raw, is what you’ll find in the drama tag.
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.
The final season of “My Brilliant Friend” makes it seem like, even with two additional episodes compared to past seasons, too much had to be covered, so everything is rushed.
Through Eddie Redmayne’s work and the development of his character, “The Jackal,” we get perhaps one of the best antiheroes of the year.
“Industry” remains one of the most consistent shows on television, with a 3rd season which reminds you why HBO has been a stable brand for decades.
“Brewster’s Millions Christmas,” like many movies using name recognition for a boost, feels like it didn’t and shouldn’t have used its predecessor as a crutch, for this one could have stood on its own.
“Allswell In New York” will likely become a movie you badly wish was at least a mini-series, for while a completed film, it feels like such a tease.
While it is always wonderful to see Raven Goodwin in a starring role, “Style Me For Christmas,” focusing on a talented woman’s desirability to an R&B superstar does lead to a tightrope walk between problematic and aspirational.
“The Fix” is a reminder that sci-fi productions don’t always need a major backer to look good and hold something compelling.
This is a character guide for Prime Video’s “Cruel Intentions,” with character descriptions, quotes, names of actors, and more.
Like most sequels, decades separated from the first movie, “Gladiator 2” doesn’t justify its existence, though Denzel Washington does act as a silver lining.
Prime Video revives the “Cruel Intentions” franchise with results that will likely make this show either a bust or one of their biggest young adult series—there is no middle ground.
A cast of familiar faces, ranging from Lynn Whitfield to J. Alphonse Nicholson, delivers a holiday movie that is dramatic but a bit more serious than your usual fare.
This is a character guide for Apple TV +’s “Before,” with character descriptions, quotes, names of actors, and more.
In “Here,” we watch as likable people live on this one plot of land for hundreds of years in a narrative that jumps around a bit much.
“Gazer,” thanks to its writing and lead, Ariella Mastroianni, keeps you engaged through its nearly two-hour mystery/investigation as a multitude of questions pop up.
“On Becoming A Guinea Fowl” does well in world-building, highlighting a part of Zambia’s less tourist-focused culture, as a family secret gets smothered due to a funeral, rather than getting you into its characters.
“Hard Truths” crafts a brilliant love-to-hate lead, but the limitations of movies will make you badly wish this was a miniseries.
“Cabo Negro” gives you a slice of life take on being queer and Muslim, but it may not have what many need to want to watch the full film.
Focusing on the founding, rise and fall of PTL, Tammy Faye is more about the company than the woman who made it matter.
“Anora” is probably going to be one of the funniest sex comedies you’ve seen that are heavy on the sex and got released beyond a limited release in theaters.
In “Rookie,” we watch a sports story which makes the leads’ attraction only part of the story.
Andrew Garfield and Florence Pugh star in a romance movie made for those in their 30s, who have had significant relationships and aren’t scrambling with money or their career.
“Shit.Meet.Fan” is dramatic and comical, and justifies why it there are limited tickets through its run that ends on December 15th.
“The Outrun” is a bit too dry to recommend to a general audience, unless they love someone involved or starring in the film.
“Joker: Folie à Deux” aims to not only strip down Arthur Fletch and his Joker persona, but also strip away much of what many loved about 2019’s “Joker.”
Featuring the voices of Lupita Nyong’o, Kit Connor, and Pedro Pascal, “The Wild Robot” delivers dark humor and tear-inducing moments, making this one of the best American-made animated movies of the year.
“Never Let Go” may star Halle Berry, but after a certain point, it is all about showcasing her young co-stars and furthering their careers.
“The Substance” pushes the need to question whether its potential message is lost in the pursuit of gore and its desire to show and critique the exploitation of a women.
While James McAvoy tapping into his crazy brings on some level of entertainment, as a whole, “Speak No Evil” plays it safe for a film despite its violence.
Aaron Pierre and AnnaSophia Robb star in a too long for its own good revenge tale that lacks what it needs to justify a 2+ hour runtime.
“The Front Room” starring Brandy is the kind of film that needs to be seen with an audience that will make commentary throughout in order to have the best experience.
“The Deliverance” mixes the family drama Lee Daniels has become known for with a supernatural horror element that, with Glenn Close’s performance, is a notable watch.
“Hoard” may not use its two hours to the best of its abilities, but star Saura Lightfoot-Leon will keep you engaged throughout.
“Afraid” compensates for not really tapping into the fear it could have consistently produced by giving you characters who deserve a better horror movie.
Willa Fitzgerald and Kyle Gallner star in a violent film where it appears a man is hunting down a woman for reason you’d have to watch the movie to learn why.
Elizabeth Olsen, Natasha Lyonne, and Carrie Coon star as three daughters, partly estranged, who spend time together as they await their father to take his last breath.
Starring recent Tony Award winner Kara Young, prepare for a play about two people trying to find closure, with a third character who, with the audience, don’t just watch but become part of the experience.
Hunter Schafer stars in what can be described as a slightly different horror movie than what usually comes out State side, even if it follows familiar beats.
Blake Lively stars in the adaptation of Colleen Hoover’s hit novel, which focuses on a woman with a traumatic childhood who is trying to secure her purpose, reciprocate love, and break generational trauma.
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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