Carnage For Christmas (2024): Review and Summary
“Carnage For Christmas” gives you a campy horror movie that may have notable visuals, but some may find it lacks substance.
From the Montclair Film Festival in New Jersey, New York’s NewFest, Tribeca Film Festival, and Urban World Film Festival, to the famed Sundance Film Festival, here you’ll find our film festival coverage (which contains movies, shorts, and episodic content).
“Carnage For Christmas” gives you a campy horror movie that may have notable visuals, but some may find it lacks substance.
“Young Hearts” delivers the type of innocent, first love you rarely see since most LBTQ+ romances are about kids well into their teens who see the pinnacle of any potential relationship as having sex.
In “Rookie,” we watch a sports story which makes the leads’ attraction only part of the story.
Colman Domingo uses his talents to give us a prison story about how the RTA (Rehabilitation Through The Arts) changed the lives of some incarcerated people.
Starring Margaret Cho and Kenneth Choi, in “All That We Love,“ we watch as an estranged ex husband and father with the best/worst timing, tries to reconcile with his ex wife and daughter.
As two long time friends, deal with how they have become estranged, one is dealing with the weight of pending fatherhood, which is leading them to become an anxious mess.
Starring Natalie Dormer and Naomi Harris, prepare for twists, reveals, and a shocking ending that reminds you the writing needs to match the performances for any surprises to work.
Three brothers, mourning their mother, are tasked with creating a machine that could bring her back. However, as they make progress, things and people end up sacrificed.
Friends with secrets and drama between them begin to get killed off right before an infamous music festival.
After her best friend’s wake, a woman travels back to a weekend they shared to relive experiencing her friend one last time.
Starring Elizabeth Banks, we watch as a doctor handles the death of a patient from her protégé’s guilt, the administration’s desire to lessen the blow, to parents who just want answers.
In a multi week spanning movie, Farrah tries to navigate her feelings and frustrations as another wave of COVID hits, as well as the realization some of her relationships might be over.
Starring Jenna Ortega and Percy Hynes White known for “Wednesday”, in this Tribeca Film Festival release, the two are seniors unsure of where their relationship could or should go.
In what may feel like a series of shorts, “The Concierge” gives you a cute, potentially tear inducing, underdog story.
With a beautiful and balanced bond formed at the heart of the film, “Insomniacs After School” has less to deal with sleeping issues and more about reasons to be awake.
“Rob Peace” brings you into the world of a brilliant young man whose love for his hood may end up being his downfall.
In a movie that may have more scenes of landscapes and walking than dialog, viewers are pushed to notice the subtle shift in dynamics between a father, daughter, and the father’s odd friend.
Like most Sci-Fi movies void of action or suspense, “Love Me” feels longer than it needs to be, leading to its highlights becoming muddled.
“In The Summers” is an almost bittersweet look at the relationship between a father and his daughters, as you question if his imperfections may sour their relationship to the point of abandonment.
Sean Wang’s “Didi” is an impressive and intimate visual diary of teen life in the early 2000s.
“Exhibiting Forgiveness” might be a challenging watch for anyone who has a less-than-ideal relationship with a parent, especially if drugs and family violence is why.
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.
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.
“Fingernails” is a sluggish two hour movie which lacks a hook.
“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.
Luke Gilford’s queer cowboy movie “National Anthem” exudes so much warmth that it bursts from the screen and wraps its arms around you.
Chestnut,” with its lukewarm three-way romantic drama, is watchable but not must-see cinema.
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.
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.
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.
Kellan Lutz and Torrey DeVitto star in “Divertimento,” a twisty tale about how the games we play can turn deadly. Keyvan Sheikhailshai’s short film has plenty of intrigue and flair to be a full-length film.
“My Eyes Are Up Here” presents to you a romance complicated by more than just someone’s personal baggage.
In this step-by-step short regarding an environmental apocalypse, a couple meets, reaches a high, and falls apart as their means of fighting what’s coming differs short term, and the long-term goal is unable to unite them.
Can you imagine, to hopefully have kids one day, having to go to a room where everyone knows what you are doing and… you know.
While comical in some ways, “Voice Activated” reminds you how much accessibility matters in the development of technology and patience when dealing with other people.
A young woman who has figured out a way to barely survive finds her estranged father at her doorstep, willing to offer help, but there is a question if old memories will impede forgiveness.
In a therapy session, Mara recounts all the people who have died she has grown close to and her anxiety that it could soon happen again.
“Regular Rabbit” is absolutely absurd without having to be violent, slapstick, or implement farce comedy.
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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