Babygirl: Review and Summary | The Ecstasy Of Vulnerability and Risk
“Babygirl” is the rare example where the story deserves more attention than the performances.
“Babygirl” is the rare example where the story deserves more attention than the performances.
“Nosferatu” doesn’t justify bringing back the dead, even with Robert Eggers’ brand of visuals and eccentric performances to expendable characters.
“F Mary Kill” presents a lighter and comical version of “Cat Person ” regarding what women may fear when dating men.
While “Y2K” may bug anyone born in the 1990s and before, it could be a fun film for those who only know the time through Tumblr aesthetics and unearned nostalgia.
“Werewolves” reminds you why the werewolf trend hasn’t revived like vampires despite multiple movies in a year with no true revival in sight.
“Allswell In New York” will likely become a movie you badly wish was at least a mini-series, for while a completed film, it feels like such a tease.
While much of what is to be expected is given with “Sweethearts,” at least the gay character, who feels obligatory/formulaic for films like this, is given a much better storyline than expected.
Like most sequels, decades separated from the first movie, “Gladiator 2” doesn’t justify its existence, though Denzel Washington does act as a silver lining.
“Heretic” uses the hook of horror as an entry point for a deeper conversation about the role and purpose of religion in society.
“Hard Truths” crafts a brilliant love-to-hate lead, but the limitations of movies will make you badly wish this was a miniseries.
It’s a romance, it’s a revenge tale, it is Melissa Barrera proving she doesn’t need “Scream” to be a movie star.
“Anora” is probably going to be one of the funniest sex comedies you’ve seen that are heavy on the sex and got released beyond a limited release in theaters.
“Smile 2” presents the idea the franchise is perfecting a formula which should be able to get it through a few movies before getting stale.
Andrew Garfield and Florence Pugh star in a romance movie made for those in their 30s, who have had significant relationships and aren’t scrambling with money or their career.
“The Outrun” is a bit too dry to recommend to a general audience, unless they love someone involved or starring in the film.
“Joker: Folie à Deux” aims to not only strip down Arthur Fletch and his Joker persona, but also strip away much of what many loved about 2019’s “Joker.”
“Never Let Go” may star Halle Berry, but after a certain point, it is all about showcasing her young co-stars and furthering their careers.
“The Substance” pushes the need to question whether its potential message is lost in the pursuit of gore and its desire to show and critique the exploitation of a women.
While James McAvoy tapping into his crazy brings on some level of entertainment, as a whole, “Speak No Evil” plays it safe for a film despite its violence.
“The Front Room” starring Brandy is the kind of film that needs to be seen with an audience that will make commentary throughout in order to have the best experience.
Lucy Hale and Keir Gilchrist may deliver familiar characters from their repertoire, but amongst the odd story and comedy of “Running On Empty,” they make it work.
“The Deliverance” mixes the family drama Lee Daniels has become known for with a supernatural horror element that, with Glenn Close’s performance, is a notable watch.
Willa Fitzgerald and Kyle Gallner star in a violent film where it appears a man is hunting down a woman for reason you’d have to watch the movie to learn why.
Elizabeth Olsen, Natasha Lyonne, and Carrie Coon star as three daughters, partly estranged, who spend time together as they await their father to take his last breath.
Hunter Schafer stars in what can be described as a slightly different horror movie than what usually comes out State side, even if it follows familiar beats.
Starring Dylan Sprouse and Patrick Warburton, “The Duel” provides just as many laughs as it creates opportunities to discuss the modern state of masculinity.
Kit Harrington stars in a werewolf movie that is more about the human being, the tortured, insecure soul, than the beast within (no pun intended).
Ryan Reynolds is back as Deadpool and Hugh Jackman comes out of Wolverine retirement to deliver a film more focused on nostalgia than anything else.
In the adaptation of Olaf Olafsson’s hit book, “Touch,” we witness a tear-inducing story of an old man trying to reunite with the woman who got away decades prior.
Mia Goth returns as Maxine Minx, and with Pearl in her rear-view, so comes the question if Goth can find a way to justify the latest entry of this franchise as she did in “Pearl?”
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.
Sadie Sink is seduced into joining a cult despite her father, played by Eric Bana, making a career about community and loneliness.
In “I Used To Be Funny,” Rachel Sennott veers towards a more dramatic role, which may struggle at times to hold your attention.
At times feeling like a visual album, “The Young Wife” delivers both the anxiety and sense of overstimulation that can come when two worlds collide via marriage – especially when there are unresolved issues.
Megan Park delivers another coming-of-age story, but this one focuses on a young woman meeting herself in the future and questioning the sexuality she thought she was firm in.
“Babes,” starring Ilana Glazer of “Broad City” and “Survival of the Thickest” star Michelle Buteau, lead Pamela Adlon’s movie depicting the changes a person goes through once they have kids, from their romantic to platonic relationships.
Starring Sasha Pieterse of “Pretty Little Liars” fame, in this digital release, we watch as twin girls attracted to the same man create collateral damage in pursuit of that man.
“Not Another church Movie” is barely a parody of Tyler Perry’s work and person, it is an hour-and-a-half series of insults.
Bloody and gory, as promised, “Boy Kills World” is an action movie that, in the latter half, tries to switch things up to possibly good results.
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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