The Unbreakable Boy (2025) Review
“The Unbreakable Boy” will make you cry because of the performances that get you so invested in the individual and shared lives of the characters.
The human experience, sometimes at its most raw, is what you’ll find in the drama tag.
“The Unbreakable Boy” will make you cry because of the performances that get you so invested in the individual and shared lives of the characters.
“My Dead Friend Zoe” is a tear inducing towards the end and primarily held together by Sonequa Martin-Green’s performance.
“I Love You Forever” joins a growing group of movies that exhibit how abuse begins from even the most unlikely of people, specifically men.
“Sugar Baby” is strangely not as explicit as the TV-MA rating would lead you to believe and fits the mold of being too tame despite its subject matter.
“Ragamuffin” with a focus on a burgeoning queer girl raised in a southern motorcross world, creates the type of story that, with being based on its creator’s life, hopefully becomes a long term passion project.
“Almost Certainly False” feels like a preview to a movie you could love as it presents a slightly different take on the refugee experience.
A trip home doesn’t always mean a safe nor happy place, but you learn to make the best of it for the silver lining of what family could be.
“Como Si La Tierra Se Las Hubiera Tragado” reminds you of one of the many stories that continue, even when they aren’t the latest headline.
“Parthenope” is made for those who use the word cinema as it seeks out to appear like a modern adaptation of a literary classic.
“Clean Slate” stars Laverne Cox stars in one of the legendary Norman Lear’s final shows, which tries to balances a sense of universality with cultural specific stories.
“Ricky” begins as a rarely seen point of view about post-incarceration, follows a recidivisim storyline that is all too familiar.
“Virgin of the Quarry Lake” is a surprisingly bloody coming of age story, focused on a girl looking to have just one thing after a life filled with abandonment.
“Love, Brooklyn” has the makings of a classic that evolves as its initial audience watches it over and over throughout their lifetime.
“Bunnylovr” presents subtle and tame in ways that indeed are not for everyone.
“Companion” pushes Sophie Thatcher to the point of showing not only is she the top scream queen out there, but she could conquer the drama genre next.
“Disfluency” delivers a nuanced take on a devastating life event in ways that remind you there is no one way you must handle things.
While “Grafted” has a body horror element that appeals to subgenre fans, it lacks anything else that will captivate them.
“I Feel Fine” lulls you into the sense that this will be like any other coming-of-age movie, leading to the gut punch of realizing this is a film that may not have a happy ending.
While sometimes feeling like it lacks the expected payoff, “Inheritance” helps Phoebe Dynevor seem like a safe bet if she’s associated with a production.
“Marked Men” is made for a specific audience, and to capture that audience, it contains everything that could be interesting about this film.
“The Colors Within” creates what feels like a coming of age tale that doesn’t have overdone characters, struggles, or triumphs.
A video review and summary of Prime Video’s On Call: Season 1.
Prime Video’s “On Call” goes against trend when it comes to giving us a cop show, and while there is a certain level of adjustment required, it ultimately makes for a quality binge-watch.
While Pamela Anderson reinvents herself, it sometimes seems at the cost of giving the spotlight to her peers, with perhaps as much to prove.
With mixed results, “Good Side of Bad” seeks a less embellished version of experiencing a mental illness or supporting someone that does.
“Before” is one of those strange shows that starts and ends well but really challenges your loyalty throughout the middle.
“Babygirl” is the rare example where the story deserves more attention than the performances.
“Nosferatu” doesn’t justify bringing back the dead, even with Robert Eggers’ brand of visuals and eccentric performances to expendable characters.
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.
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.