Perfect Days (2023) – Review and Summary
“Perfect Days” spends nearly an entire hour testing its viewers loyalty, and once it makes an effort to get interesting, it doesn’t compensate for lost time as some may wish it had.
The human experience, sometimes at its most raw, is what you’ll find in the drama tag.
“Perfect Days” spends nearly an entire hour testing its viewers loyalty, and once it makes an effort to get interesting, it doesn’t compensate for lost time as some may wish it had.
“Something You Said Last Night” exists in the very tame depiction of LGBTQ+ issues, and as much as it makes clear that something is going on with the lead, it doesn’t dig deep in any form or fashion to get you interested.
Jason Karman and Gorman Lee’s “Golden Delicious” is a fine coming-of-age story with a coming-out story we’ve seen all too often.
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.
This is a character guide for Netflix’s “Everything Now,” with character descriptions, quotes, names of actors, and more.
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.
Like many Sci fi dramas, especially those lacking action, “Foe” is dry and even with its twist, passable.
“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.
“Barber” has two competing lead storylines, between its lead character’s personal life and case, that conflict and don’t complement each other well.
If you’ve seen anything similar to “Vicious Affair,” I can guarantee you this movie’s only difference is who is in the cast.
“It Lives Inside” deserves praise for how it handles being a first-generation Indian in a White community but might be considered lackluster as a horror movie.
Aristotle Torres’ “Story Ave” provides a soulful depiction of the Bronx and career-best performances for Luis Guzman and Asante Blackk.
“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 woman betrayed by society and who she was close to prays for help and ends up getting what she asks for, but her prayers aren’t answered by who she expected.
“A Million Miles Away” may not soar as a biopic, but Michael Peña gives a career-best performance José M. Hernández.
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.