Cocaine Bear (2023) – Review/ Summary
“Cocaine Bear” meets the expectations of madness you’d expect it to have.
“Cocaine Bear” meets the expectations of madness you’d expect it to have.
“Disquiet” gives “Angels of Death” vibes, as we watch a man try to escape a hospital with monsters who all want to kill him and some who may be friends or foes.
“Somebody I Used To Know” may have a wonderful “Community” reunion and unexpected friendship worth investing in, but it doesn’t offer much beyond that.
“Knock At The Cabin” is another M. Night Shyamalan film where the trailer may have sold you, but the movie lacks payoff.
“Fear” might be creepy enough to make you uncomfortable, but something about the writing and performances may make you cringe.
“Infinity Pool” is a mesmerizing and seductive nightmare in which Mia Goth plays hostess.
“When You Finish Saving The World” may have a lovely, complicated mother/son relationship front and center, but it isn’t so strong it compensates for all that is avoided.
In the toned-down “Alice, Darling,” the depiction of emotional abuse is on display and given a touch that surprisingly isn’t leaning towards Oscar bait.
While I don’t think anyone was asking for a “House Party” remake, you’ll be glad we got one.
“High Heat” delivers, mainly thanks to its notable kills, but certainly not its comedy.
“Babylon” has wonderful lead characters with potentially engrossing storylines, but it feels so bloated, thanks to putting them together and being three hours long.
In this supernatural crime thriller, Martin Lawrence may not take a career turn like his peers, but he does find himself in one of his best productions in years.
Somehow, “Violent Night” finds a way to be flinch-worthy violent, consistently comical, and even stir up your emotions.
“Bones and All” can be seen as a sometimes brutal horror love story, but it may not go as far as expected.
While “The Menu” handles the pretentious characters with a certain level of comedic flair, the humor may not appeal to those who don’t find the personalities of the rich and pompous entertaining.
“Aftersun” is a dry, slice-of-life family movie that makes you wonder if you missed something of note while watching.
While there are times when the drama of Tess’ life makes this tedious to watch, by the end of “Dear Zoe,” you’ll nonetheless find yourself potentially in tears.
In “Selena Gomez: My Mind & Me,” we’re reminded how easily a celebrity becomes a product, as they are stripped of their humanity and spend their whole career trying to regain what it means to be a normal person.
By having a small cast with volatile emotions paired with a fat suit that is used to elicit sympathy, “The Whale” may make you cry, but its lasting impact is questionable.
In this moving, biographical first feature from writer/director Elegance Bratton not only gives a stirring film but pulls from Jeremy Pope and Gabrielle Union the best performances of their careers.
“Stars At Noon” leans on Margaret Qualley as a crutch, to the point of you imagining it bending and damn near breaking by the end of the film.
“Bro” lives up to the hype and precedent it wants to set as one of the biggest gay romantic comedies, if not one of the best romantic comedies.
“My Best Friend’s Exorcism” is a run-of-the-mill horror film that lacks scares but does attempt to have a sweet friendship at its center.
It’s the start of horror movie season, and “Smile” is a good way to start your annual fix.
“Don’t Worry Darling” solidifies Olivia Wilde’s name as someone who can be trusted when they’re noted as the director.
“Pearl” is an origin story more geared towards being a streaming release than a theatrical one.
While “Margaux” has visual effects not up to the grade you might be used to, the cast and story will keep you around until the end.
“About Fate” is a cute and simple romantic comedy with minor dramatic elements that has the potential to make you swoon a bit.
“Barbarian” has quality jump scares and freaky moments, but it leaves so many questions.
“Into The Deep” lacks the level of mystery needed to make its small cast flourish.
In “Jane,” we’re reminded of the desperation high school seniors have to get into the right school, get the right job and have the lives they desire.
“Three Thousand Years of Longing” is mainly about a Djinn’s attempts at love and freedom over three thousand years.
While over a decade past any fathomable need for it, “Orphan: First Kill” does remind you why the original film was controversial and notable.
“Beast” is an unbelievable action film that presents a meager attempt at an emotional father/daughter relationship.
Insecurities and vying for a married man lead a young woman on a journey of sexual exploration.
Amber Midthunder commands this “Predator” prequel that may lack notable characters beyond hers but provides the kind of violence expected.
“Bodies, Bodies, Bodies” satirical take on Gen Z/late Millennials will leave you giggling and potentially forgiving its ending.
“Bullet Train” reminds you not only of Brad Pitt’s star power but also how action at its best is done in close quarters.
“Not Okay” may star Zoey Deutch and feature her on the poster, but Mia Isaac’s performance and character becomes the shining star.
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.