Christmas Angel (2023) – Review/ Summary (with Spoilers)
While it does waste its lead’s personal story, it compensates with a cute romantic relationship as its centerpiece.
The human experience, sometimes at its most raw, is what you’ll find in the drama tag.
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.
“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.
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.
In “A Haunting In Venice,” Hercule Poirot returns and makes it clear that, while the third movie starring the character, there is the potential for a James Bond-level number of movies starring lead and director Kenneth Branagh.
“What Happens In The Dark” shows some signs it could have been interesting, but instead, it is lukewarm thanks to a lack of information about what’s going on, how we got here, and who is dishing out the consequences.
Netflix’s “Dear Child” starts with heart-racing suspense, but your heartbeat slows as the mystery drags to a disappointing ending.
“Jaja’s African Hair Braiding” is the type of play that demands an audience reaction as it exhibits community on stage and fosters it within the audience.
In a woodburning oven type of romance featuring usual romance and LGBT+ tropes, you get “Aristotle and Dante Discover the Secrets of the Universe.”
Denzel Washington makes what is likely to be his final return to “The Equalizer” franchise, and while he shows he still has it, the film doesn’t present much to show why this film needed to become a trilogy.
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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