Don’t Tell Mom The Babysitter’s Dead (2024) Movie Review
“Don’t Tell Mom The Babysitter Is Dead” might be another remake of a popular property, but for those unfamiliar with the original, you may find yourself enjoying this.
“Don’t Tell Mom The Babysitter Is Dead” might be another remake of a popular property, but for those unfamiliar with the original, you may find yourself enjoying this.
In a world where monsters attack at night, we see yet another world, post-apocalypse, where a handful of people struggle to survive.
“Snack Shack” is fun but may leave you hungry for something more fulfilling.
In a movie that largely sidesteps what the war is about, “Civil War” puts us in the point of view of journalists who make it clear there are no heroes in war, just dead bodies.
This remake focuses again on Damien’s origins, specifically what led to his birth.
In a comedy that evolves over time, a handful of wicked letters explores what it means to be a woman in small-town Britain in the 1920s.
Paired with tapping into fears of arachnophobia is a young girl trying to deal with her mom having a new baby and her stepdad trying to fill in the spot her biological dad abandoned.
Writer and director Rose Glass flexes her pulp chic muscles in “Love Lies Bleeding.”
“Knox Goes Away” is a shakeup to the formula that was set by Liam Neeson’s recent filmography and is rarely challenged.
Like working an actual night shift, the horror movie “Night Shift” starts as fun but becomes a chore to get through.
Let Julio Torres’ “Problemista” shower you in its surreal depiction of our very real struggles.
“Mea Culpa” portrays the struggles of Mea, a defense attorney, balancing career success with personal turmoil amid family conflicts and a high-profile murder case.
“No Way Up” feels like a fine survival drama trapped in a B-movie shark thriller.
While “Upgraded” is predictable and doesn’t pursue standing out, it is enjoyable if you allow it to be.
While it hones in on the comedy, “Scrambled” also recognizes the societal pressure to have kids and a family, and having things figured out by a certain age can trigger a meltdown.
Jenna Ortega matches wits with Martin Freeman, in a movie that has them blur the lines between student and high school teacher.
“Beautiful Wedding” exists because there is an audience more than it has any desire to move the story forward or mature its characters.
In what feels like a wasted opportunity for a show vs. a movie, a man goes on a trial where he knows the cards are stacked against him.
Jake Johnson’s “Self Reliance” is the type of original and breezy comedy more studios should be making.
In this watch and forget you saw it type movie, we learn about a woman who is trying to end her contract killer so that, for the first time in her life, she can have normalcy.
With “The Beekeeper,” Jason Statham continues to be the reigning king of action movies and is likely to deliver the first hit of 2024.
“Society of the Snow” is a harrowing and horrific depiction of survival.
In “Good Grief,” the universality of loneliness is explored, whether single due to death, a break-up, rejection, or just never getting to be “The One.”
In “Anyone But You” two people find themselves in a push and pull situation as they fake a relationship they realize might be just what they needed.
Like Leonard Bernstein himself, Bradley Cooper’s “Maestro” stays intriguing and frustrating in what it decides to show and hide about the legendary composer.
The cast and crew all seem to be part of this bad action movie as a “Last Resort.”
“Poor Things” is a bizarre dark comedy featuring a coming-of-age story and the sexual awakening of a woman given a second chance at life.
“The Iron Claw” may not go far enough to push any specific actor into an accolade conversation, but there is no denying this movie can drive you to tears.
Thanks to cops wanting to get a local dealer by any means necessary, a young mother finds herself becoming an unwilling CI.
Let the “The Holdovers” be your family in what’s possibly my favorite movie this year.
“American Fiction” may not have anything new to say with its social commentary about media, but it still is able to deliver laughs, touching moments, and a handful of frustration.
In this disaster movie, instead of action stars, we get leads known for their dramatic abilities who are tasked with surviving apocalyptic situations with none of them playing the role of the world’s savior.
While Julianne Moore and Natalie Portman face off in ways that remind you of their most wicked characters, Charles Melton, trapped in the middle, finds room to have a remarkable performance, likely to shift his career.
Matthias Hoene and Neil Linpow’s “The Last Exit” is a good rainy day movie with plenty of twists and thrills.
If you wanted violence, gore, and a villain whose madness is almost justifiable, “Thanksgiving” makes up for the rather tame offerings we got in October.
In one of Angus Cloud’s final movies, he plays a Fez-like character who ends up in a situation where you not only question if he may live but damn near everyone in the movie.
Michael Farris Smith and the Phillips Brothers’ “Rumble Through the Dark” makes some bold choices in storytelling, but they don’t quite pay off.
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.
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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