Touch (2024) – Review
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.
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.
Zendaya plays the third wheel in one of the most intense love triangles in modern cinema.
While “Abigail” certain has developed characters that could derive interest, the story is made to only be good enough if the only thing you desire is the type of violence only a vampire movie could have.
“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.”
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.