The Day Of The Jackal: Season 1 – Review | A Late Addition To Best Shows Of 2024
Through Eddie Redmayne’s work and the development of his character, “The Jackal,” we get perhaps one of the best antiheroes of the year.
With car chases, life or death moments, and usually someone driven to madness, the Thriller tag has productions featuring these kinds of thrills.
Through Eddie Redmayne’s work and the development of his character, “The Jackal,” we get perhaps one of the best antiheroes of the year.
“Werewolves” reminds you why the werewolf trend hasn’t revived like vampires despite multiple movies in a year with no true revival in sight.
“The Fix” is a reminder that sci-fi productions don’t always need a major backer to look good and hold something compelling.
“Heretic” uses the hook of horror as an entry point for a deeper conversation about the role and purpose of religion in society.
Dylan Sprouse stars as a veteran who is caught in a terrorist attack on American soil, trying to keep his little sister from being killed in action.
“Time Cut” feels so middle of the road, to appeal to maybe too many segments, that it just feels like a poor imitation of a better product.
“Gazer,” thanks to its writing and lead, Ariella Mastroianni, keeps you engaged through its nearly two-hour mystery/investigation as a multitude of questions pop up.
“Carnage For Christmas” gives you a campy horror movie that may have notable visuals, but some may find it lacks substance.
“Smile 2” presents the idea the franchise is perfecting a formula which should be able to get it through a few movies before getting stale.
“Bagman,” starring Sam Claflin and Antonia Thomas of “The Good Doctor,” lacks everything needed to be a compelling horror film, and not just because it is PG-13.
“Never Let Go” may star Halle Berry, but after a certain point, it is all about showcasing her young co-stars and furthering their careers.
“The Substance” pushes the need to question whether its potential message is lost in the pursuit of gore and its desire to show and critique the exploitation of a women.
Aaron Pierre and AnnaSophia Robb star in a too long for its own good revenge tale that lacks what it needs to justify a 2+ hour runtime.
“The Front Room” starring Brandy is the kind of film that needs to be seen with an audience that will make commentary throughout in order to have the best experience.
“Afraid” compensates for not really tapping into the fear it could have consistently produced by giving you characters who deserve a better horror movie.
Willa Fitzgerald and Kyle Gallner star in a violent film where it appears a man is hunting down a woman for reason you’d have to watch the movie to learn why.
Hunter Schafer stars in what can be described as a slightly different horror movie than what usually comes out State side, even if it follows familiar beats.
“I Thought My Husband’s Wife Was Dead,” starring Letoya Luckett starts off complicated and intriguing, but as it has to answer questions, it devolves into your usually over the top and messy drama.
Starring Brittany S. Hall, in this AllBlk release, she finds a potential love in a beautiful man played by Lanre Idewu who, like her, holds secrets that someone wants to use to make one of them into a killer.
Josh Hartnett delivers a notable performance under M. Night Shyamalan’s direction and writing, but while the premise is good, things go downhill once it has to be more than a singular idea.
Naturi Naughton and Tanyell Quian star in “Abducted at an HBCU: A Black Girl Missing Movie,” which explores a fictionalized story of a young woman who gets kidnapped.
Starring actual twins Nicole and Lauren Peters, the two perform in this quick-paced film where actor Shaun Benson plays an intense CEO falling for a lying escort.
Featuring Peyton List, “The Inheritance” delivers a lot of familiar characters, and a well-tread story, but does give a certain creepiness factor.
In this movie featuring Indigenous people and stories, a young woman played by Isa Antonetti, is trying to adjust to her new foster home as her girlfriend is kidnapped by people from her past.
Starring Samantha Neyland Trumbo, we watch as a highly educated surgical resident joins a practice marred by a burgeoning scandal of recent patients being murdered.
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?”
With “Sins of the Bride,” get ready for a slightly different take on the crazy light-skinned character who becomes disruptive to someone’s relationship.
A young woman with notoriety as a game tester and professional gamer is gifted a new headset that syncs with her brain and brings painful memories to life.
“Kill” may seem like your straight forward beat em’ up, but it provides so much more than that, to the point of putting all action films released after it on notice.
Starring Natalie Dormer and Naomi Harris, prepare for twists, reveals, and a shocking ending that reminds you the writing needs to match the performances for any surprises to work.
Friends with secrets and drama between them begin to get killed off right before an infamous music festival.
“Incision” seems to forget to give you reasons to get invested, beyond familiar faces and the assumed empathy for people being victimized.
“Love Kills” loses its luster as you figure out it is using sex and violence to compensate for a lackluster story.
Starring Natasha Marc and Robert Ri’Chard, in this BET+ release, a man decides to get revenge for his fallen wife, and you’re sadly left taking his word due to a lack of character development.
With a shortened season, season 4 of “The Equalizer” tries its best to keep the course for many of its characters, but some are clearly sacrificed to meet the reduced episode count.
Starring Cassiel Eatock-Winnik and Savana Tardieu, this Tubi release sends teenage boys and girls to a Catholic camp to repent and reform from acting depraved.
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.
“Tarot” scrapes the surface of the major arcana to create beings good for a jump scare but delivers a story that is more to holdover horror fans than become a classic.
Ryan Gosling reminds you that while “Barbie” was a high point, there is a reason he has been working for three decades.
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.
Pages