No Hard Feelings (2023) – Movie Review and Summary (with Spoilers)
Jennifer Lawrence plays what feels like an embellished version of her public persona in a pleasant film that seems like it should have been released on Hulu.
Jennifer Lawrence plays what feels like an embellished version of her public persona in a pleasant film that seems like it should have been released on Hulu.
Alongside delivering the expected laughs, “Joy Ride” is an emotional story about culture, identity, and how friends can reaffirm who you are.
“The Blackening” is one of the funniest films I’ve seen in years and has the makings of being a classic thank to being funny throughout the whole film, and not just a handful of scenes.
“Bottoms” might be one of the first notable dark-humor teen sex comedies that don’t feel like a female version of something you saw before.
“The Wrath of Becky” largely delivers what is to be expected—a sarcastic, violent, teenage girl killing nationalists who underestimate her.
A few chronically funny mishaps and personalities lead to a half-a-million-dollar reward.
“Robots” is a forgettable comedy that seems to yearn for when men got to be funny and women were meant to be seen and buzzkills.
Margaret Qualley presents a dictionary-worthy depiction of mind f*** that deserves notice.
Robert Rodriguez and Ben Affleck’s “Hypnotic” is a messy but intriguing movie with twists that change the movie’s characters, genre, and entire story.
“Monica,” in avoiding dramatics or the usual trauma porn feel of LGBTQIA+ stories, presents something which leaves you wanting more, in good and bad ways.
The Tutor gives Garret Hedlund and Noah Schnapp a chance to play victim and avenger. While the film’s suspense and thrills can be underwhelming, the final twist is memorable.
An Army sergeant gathering intel on the taliban enlists the aid of an Afghan translator/interpreter who ends up saving his life through impossible odds.
“To Catch a Killer” needs to catch one message and stick to it in a pretty but meandering crime story.
Family togetherness takes a dark turn as Mommy is possessed by the Deadites and looks to unite her whole family in her bloody quest!
This nightmare comedy dives into your worst fears. You could love it and you can hate it, but you should really see Beau is Afraid.
An ancient evil possesses a 12-year-old boy with larger designs on the pope’s exorcist.
Renfield, familiar to Dracula betrays him by seeking a new empowered and purposeful life in heroic pursuits, but there is Hell to pay!
While”Beautiful Disaster” may appear like another strange, bad boy with potential story, it is far better than the movies you’d want to quickly compare it to.
“Mafia Mamma” doesn’t feel like a theatrical release but rather a movie you’d expect to be released on a streaming platform.
“Summoning Sylvia” is one of the funniest horror movies you may ever see, that is intentionally funny and good.
While the narration may feel unnecessary, and many fights don’t pack a punch, Kiana Madeira keeps you locked in.
“Wildflower” brings us one of the most touching stories about families needing to learn to trust they did enough and their kin can make it on their own.
While sometimes the cursing feels like an unnecessary crutch to heighten the drama, “A Good Person” will pull on your heartstrings and make it clear why Florence Pugh is considered a top talent.
In “John Wick: Chapter 4,” the sheer relentless craft in action will amaze you, exhaust you, then amaze you again.
A seasoned Lifetime movie if I had ever seen one would go something like this. A deadly affair that leads to the ultimate loss of possible interrelational development— and a baby.
“Scream 6” is entertaining, but its existence feels more about the last film being profitable more than this franchise still having something to say.
“Children of the Corn” feels like the kind of release done so a studio can hold onto the license.
While Aubrey Plaza sometimes seems out of place, especially when paired with Jason Statham, Hugh Grant immensely compensates.
“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.
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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