Ragamuffin (2025): Review and Summary
“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.
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).
“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.
“Hoops, Hopes & Dreams,” alongside presenting how President Obama used Dr. Martin Luther King Jr.’s playbook, also presents MLK in the most engaging way you’ve ever seen.
“Remember Me” feels like the pitch for an odd, but lovable and relatable show.
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.
Tina decides to go out partying alone in “Luz Diabla” and learns why there is strength in numbers.
“Inkwo for When the Starving Return” has the makings of an anime that could aspire to the levels of “Avatar: The Last Airbender.”
“Ricky” begins as a rarely seen point of view about post-incarceration, follows a recidivisim storyline that is all too familiar.
“Sorry, Baby” is proof that being subtle can work if you know how to craft interesting characters and relationships.
“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.
“Bunnylovr” presents subtle and tame in ways that indeed are not for everyone.
“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.
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.