Cabo Negro (2024): Review and Summary
“Cabo Negro” gives you a slice of life take on being queer and Muslim, but it may not have what many need to want to watch the full film.
“Cabo Negro” gives you a slice of life take on being queer and Muslim, but it may not have what many need to want to watch the full film.
“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.
“Hoard” may not use its two hours to the best of its abilities, but star Saura Lightfoot-Leon will keep you engaged throughout.
Starring Nick Jonas and Alexandra Shipp, we watch a young man romances one woman while he mourns, with his family, the death of his mother.
In this short film starring India Amateifio of “Queen Charlotte,” Cat Burns’ music is used as inspiration to introduce us to a set of young adults, some of whom are going through it.
Featuring Peyton List, “The Inheritance” delivers a lot of familiar characters, and a well-tread story, but does give a certain creepiness factor.
In this movie featuring Indigenous people and stories, a young woman played by Isa Antonetti, is trying to adjust to her new foster home as her girlfriend is kidnapped by people from her past.
In “Little Deaths,” we watch the ebb and flow of a relationship plagued by a disease that doesn’t cause a lockdown but certainly puts immense stress on a delicate relationship.
“Humanist Vampire Seeking Consenting Suicidal Person” uses people’s love for vampires as a hook, but maintains your attention through its sweet, comical, and awkward characters.
In “Kill Your Lover,” we get a literal depiction of a toxic relationship as a couple finds themselves at a crossroad with one wanting to work things out and the other wanting to leave.
Starring MacKenzie Davis and Christopher Abbott, between them we watch a increasingly estranged couple, potentially towards the end of their relationship, try to enjoy a vacation featuring a young woman enamored by Abbott’s character.
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.
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 Yu Aier, a housewife slowly watches her world fall apart and finds herself in constant search for something to grab onto that will hold her up.
“Love Kills” loses its luster as you figure out it is using sex and violence to compensate for a lackluster story.
In “Guy Friends,” a young woman discovers, despite thinking she is a guy’s girl, she’s really just someone multiple guys are waiting for their chance with – and they all make a move when her relationship goes awry.
Starring Elliot Page, known for “The Umbrella Academy”, in this NewFest Pride release, Page plays a transman returning home for the first time in 4 years since transitioning and dealing with their friends and family awkwardly trying to reintegrate back into his life.
Starring Mark Clennon, based on the experience of director, writer, and editor M.H. Murray, in this theatrical release, we experience the aftermath of a man being assaulted.
While you may think “Wildcat” is a biopic, more so, it is a series of short stories by Flannery O’Connor linked up and barely featuring the writer in a notable capacity.
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“The Brink Of” may have a few catchy indie pop songs, but the will they or won’t they at the heart of it may not win too many over.
In “Parachute,” we’re reminded how love and romance isn’t a cure but sometimes a drug to alleviate symptoms.
As a mutations cause some of humanity to turn into animals, we watch as one family deals with the government’s response.
“Baby Assassins 2: Babies” delivers much of the same, but without the Yakuza and instead wannabe assassins who want to be official like our leads.
“Winnie The Pooh: Blood and Honey 2” moves beyond the shock value of a murderous childhood icon and tries to add depth to its characters.
In a complicated revenge tale, one assault leads to the desire to create revenge porn but when a romance blooms, so begins the question of whether to take things that far?
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.
In the late 1980s, a non-binary person has just moved to Canada and while non-binary, they aren’t ace so crushes arise and sometimes makes things complicated.
Many films claim to be a sex comedy, but “Sex-Positive” truly lives up to its name and title of the subgenre.
“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.
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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