The Killer (2023) – Review/ Summary
Netflix’s “The Killer” showcases David Fincher at his most wry and ruthless. Fedoras and Hawaiian shirts have never been so menacing.
Netflix’s “The Killer” showcases David Fincher at his most wry and ruthless. Fedoras and Hawaiian shirts have never been so menacing.
“It’s A Wonderful Knife” is a bit corny, undeniably bloody, but has a silver lining to it because of its supporting actors.
Daisy Ridley continues to prove she’ll have a career beyond Star Wars as she plays the daughter of a kidnapping and murderer.
“What Happens Later” may feature the archetypes that made Meg Ryan and David Duchovny staples in the entertainment industry, but they lack the chemistry needed to make this film good.
“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.
Martin Scorsese’s “Killers of the Flower Moon” is a disturbing yet necessary story depicting genocide in Osage County and the horrors of greed.
“Fingernails” is a sluggish two hour movie which lacks a hook.
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.
“Vindicta” is a Latin term that refers to “just revenge,” yet after watching “Vindicta,” viewers might want to enact their own justified revenge on the filmmakers.
Josh Sharp and Aaron Jackson’s “Dicks: The Musical” is gross, horrid, and very funny. If you ever wanted to see John Waters’ version of The Parent Trap, this movie is for you.
“Totally Killer,” as its title implies, is a fun horror movie to watch but ultimately is more content to consume than a new movie to put into your annual Halloween rotation.
Like many Sci fi dramas, especially those lacking action, “Foe” is dry and even with its twist, passable.
“The Royal Hotel” pushes you to asks questions, especially regarding perception, over be entertained.
“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.
“The Kill Room” gives what is expected from Tarantino alumnus Uma Thurman and Samuel L. Jackson in a forgettable but likable crime comedy.
Ramon Felipe Pesante and Jenni Ruiza’s “Playing Sam” is a strong showcase for Ruiza’s talents and a love letter to any struggling artist.
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.
Lee Whittaker’s “The Vigilante” is a timely action story about hunting down child traffickers. But it’s heavy on the action and less on the story.
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 Nun II” reminds you that it isn’t just Disney and the Marvel Cinematic Universe that milks its franchises past its prime – the horror genre has been doing that since its inception.
“Deltopia” may be the least fun movie about a party that I’ve ever seen, and writers Michael Easterling and Jaala Ruffman make college seem like a place you never want to go.
“Retribution,” without question, is very on-brand for Liam Neeson, but with his character stuck in a car and not fighting anyone, he channels his trademark intensity in a different way.
“The List” is a simple, cute, though sometimes uninspiring romantic comedy.
Emile Hirsch may be out to save Israel in “The Engineer,” but he can’t save this movie from being a disappointing thriller.
“Birth/Rebirth” in using death as the villain, and humanity as morally grey, gives you an engaging horror film that isn’t dependent on blood, guts, and violence to keep you watching.
“The Baker” entertains throughout its run time but is ultimately forgettable.
“The Beanie Bubble” is a comedic and dramatic tale about the ’90s Beanie Baby mania, but it’s light on comedy and drama.
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In honor of “Final Destination 6,” here are six potential fears the new movie can build death traps around.
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Christopher Nolan has turned one of the most complicated scientists and his horrific creation into a blockbuster movie. The result is a beautifully shot film that pushes Nolan into exciting experimental territory, but an icky feeling of Hollywood tropes may take you out of the film.
“Cobweb” has a wonderful mystery and build that it squanders thanks to its ending.
“The Flood” isn’t as bad as one might think, but because of a dull story, it’s more boring than it should be.
“Earth Mama,” lacking notable male characters, presents a different take on someone who is pregnant, experienced trauma, and is trying to move forward despite a slew of personal and external obstacles in her path.
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“The Lesson” is like a well-crafted book adaptation that knows when to progress the story and when to give its audience time to reflect, theorize, and then press on.
“The Out-Laws” is a pleasant “watch because it is new, and you feel you’ve watched everything else” movie.
“Sheroes” is the generic yet less entertaining version of Spring Breakers, with more guns and less sense. If I could walk out of this movie, I would.
“Surrounded” is a terrific and brutal showcase for Letitia Wright and Jamie Bell with gorgeous scenery in this Western.
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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