The Holdovers (2023) – Review
Let the “The Holdovers” be your family in what’s possibly my favorite movie this year.
The human experience, sometimes at its most raw, is what you’ll find in the drama tag.
Let the “The Holdovers” be your family in what’s possibly my favorite movie this year.
“American Fiction” may not have anything new to say with its social commentary about media, but it still is able to deliver laughs, touching moments, and a handful of frustration.
Christopher B. Stokes, with Marques Houston, bring you another film in their wheelhouse focused on cheating, secrets, and revenge.
In this disaster movie, instead of action stars, we get leads known for their dramatic abilities who are tasked with surviving apocalyptic situations with none of them playing the role of the world’s savior.
“I Don’t Expect Anyone To Believe Me” is a bit of a sluggish film that tries to compensate by giving you violence and sexual situations, but its leads may not be enough to keep you watching for two hours.
This is a character guide for Hulu’s “Bllack Cake,” with character descriptions, quotes, names of actors, and more.
Connie Cocchia’s “When Time Got Louder” is a gentle and heartfelt coming-of-age movie and family drama.
While Julianne Moore and Natalie Portman face off in ways that remind you of their most wicked characters, Charles Melton, trapped in the middle, finds room to have a remarkable performance, likely to shift his career.
“Rustin” depicts a civil rights icon in ways not seen since Denzel Washington played Malcolm X.
Acting as a comedy, think piece, and a reminder of the power and dangers of the KGB, “Spain” excels in some ways but can seem to be word vomit in others.
While it does waste its lead’s personal story, it compensates with a cute romantic relationship as its centerpiece.
“The Tunnel to Summer, the Exit of Goodbyes” doesn’t overstay its welcome, and by getting to the point, getting you invested, teary-eyed, and sending you on your way, it is the best kind of entertainment.
Daisy Ridley continues to prove she’ll have a career beyond Star Wars as she plays the daughter of a kidnapping and murderer.
Christopher Zalla and Eugenio Derbez’s “Radical” is based on a true story, but it’s a story audiences have seen plenty of times.
Aubrey Plaza’s brand of bizarre comes to New York City, and like the majority of her roles, there is complexity beyond the madness.
“Anatomy Of A Fall” will likely become this year’s top mystery movie, with the kind of performances that will likely cause the film and its lead actress to resurge in the zeitgeist when it’s time to dole out accolades.
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.
In what may feel like a slightly familiar underdog story, a woman, who has recently been widowed, has to fight for what’s left from her marriage to secure her comforts and future.
In this revenge tale featuring voodoo, a nephew is tasked with executing their uncle’s revenge against their will.
Martin Scorsese’s “Killers of the Flower Moon” is a disturbing yet necessary story depicting genocide in Osage County and the horrors of greed.
While we are the first to call to question why any movie needs to be three hours, “About Dry Grasses” makes the best use of its time through enviable conversations and how it deconstructs its lead.
Zeno Graton’s “The Lost Boys” is an LGBTQ+ drama that creates a lovely atmosphere within a juvenile hall, but you may wonder where exactly this story is headed.
“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.
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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