Black and Blue (2019) – Review, Summary (with Spoilers)
Black and Blue is the rare combination of high octane, “That’s what I’m talking about!” moments and a sense of depth rare in action movies.
With car chases, life or death moments, and usually someone driven to madness, the Thriller tag has productions featuring these kinds of thrills.
Black and Blue is the rare combination of high octane, “That’s what I’m talking about!” moments and a sense of depth rare in action movies.
Eli presents the unexpected, time and time again, to the point it will make you wish this was a mini-series, maybe of 2 – 3 episodes, than one movie.
Between characters you may not care to invest in and a plot which would require you to be in a theater to keep your attention, Fractured is a miss.
In the Shadow of the Moon is written more to be the start of a series than a singular movie – and it shows through its characters.
While the story of Rambo: Last Blood is weak and may cause think pieces, you may find the violence more than compensates.
Despite Polaroid’s original US premiere being cancelled, and its release, stateside, being in limbo ever since, it’s a bit hard to fathom why.
Thanks to the performances of Storm Reid and David Oyelowo, Don’t Let Go will have you crying and your chest tight due to fear.
A woman who, after a one night stand, is obsessed with the guy who has moved on from her and she feels slighted. Sound familiar?
Jacob’s Ladder has performances which make you feel there should have been more to this film than what was delivered.
Ready or Not closes summer 2019 as one if the best films of the summer, and will likely be one of the top horrors of the year.
With a few quality jump scares, and two surprisingly emotional stories, driven by Zoe Margaret Colletti, Scary Stories to Tell in the Dark gives you the expected and a surprise.
While the twist, and what comes after, in Running Out Of Time may leave you a little divisive, I’d submit Stokes and Houston are becoming better storytellers.
Secret Obsession doesn’t contain a single secret the trailer doesn’t reveal, or you couldn’t guess.
We Belong Together, like most “That woman is crazy!” films, doesn’t make said woman a complicated figure but more so a generic replica of what you’re already familiar with.
As long as you are looking for a bunch of jump scares and an exhibition of human endurance, when the adrenaline is pumping, you’ll love Crawl.
Point Blank somehow has car chases, bullets, and corrupt cops yet doesn’t present much of a thrill despite all that.
While many of the stories end at their peak, lack closure, and barely feel about Berlin, Berlin, I Love You, still reminds you why this long-running series continues.
Building tension, with a decent payoff, is not common. However, Shannon Kohli and Hannah Levien find a way to do it within 12 minutes.
Anna, while above your generic Russian spy movie, seems like a direct to VoD release that somehow ended up in theaters.
In one movie, Child’s Play (2019) does what the original franchise consistently attempted to do: Be both horrifying yet comical.
Ma definitely pushes the idea we need more Black horror villains, but ones with villains who have better, or a less inundated, backstory.
Over time, you think you build up a tolerance for messed up movies and yet The Perfection will still leave your mouth gaping open.
The WTF Shorts at Tribeca 2019 all live up to the collection’s title, but not all for the same reason.
Clementine, with its score and sometimes eerie characters strings you along to what might be an unsatisfying finish.
While The Intruder doesn’t seem like your yearly dose of generic Black thriller, that doesn’t mean it is necessarily good.
The best thing about Chambers will be its representation of Native Americans. As for the rest? Well, it may depend on how much you dig the horror genre.
While Burn Out has exhilarating races, which may give you a tad bit of anxiety, everything else is very run of the mill.
Cartoon graphics mix with life or death situations creating moments that make you hold your breath in Suits.
While the high that comes from the music and dancing is ecstasy, once the high comes down, Climax pursues shock value to keep you stimulated.
Happy Death Day 2U may feel like an unnecessary sequel, but it is nevertheless a fun time.
Hanna has decent action, and you may love Esme Creed-Miles as the title role, but it doesn’t have the same oomph as the movie.
Velvet Buzzsaw barely lives up to the expectations of what you expect from a horror, lacks the urgency of a thriller, and is mostly just posh art world drama.
Between Miss Bala being curbed to PG-13, and lacking shades of grey, while entertaining, it isn’t necessarily a must see.
Animas’ teen drama and psychological aspects, when combined, neither provides a quality thriller nor horror.
An Acceptable Loss builds upon the patriotism of movies released in the past and questions what is justifiable so Americans can feel safe?
While Bird Box certainly contains some emotional high points, it overstays its welcome.
While Escape Room inspires memories of SaW, it accomplishes much of what SaW originally did while being PG-13.
What begins as a lonely, unwell girl getting her deserved comeuppance, turns into a borderline ridiculous revenge plot.
What starts off as a potentially cute love story, featuring a madman, devolves into you begging for one man to shut up.
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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