For all it does well, it’s a shame that almost every frame of Wicked feels like it was designed by committee rather than with hand-crafted care.
Author: Prabhjot Bains
Prabhjot Bains
Prabhjot Bains is a Toronto-based film writer and critic who has structured his love of the medium around three indisputable truths- the 1970s were the best decade for American cinema, Tom Cruise is the greatest sprinter of all time, and you better not talk about fight club. His first and only love is cinema and he will jump at the chance to argue why his movie opinion is much better than yours. His film interests are diverse, as his love of Hollywood is only matched by his affinity for international cinema. You can reach Prabhjot on Instagram and Twitter @prabhjotbains96. Prabhjot's work can also be found at Exclaim! Tilt Magazine and The Hollywood Handle.
Gladiator II offers audiences the bread and circuses they crave, resulting in one of Scott’s most purely entertaining films.
Form, feel, and style pervade in The Brutalist, whose very construction informs its weighty meditation on American mythmaking.
Luca Guadagnino’s Queer is so overpowering and mesmeric, that it becomes almost instinctual to fall under its sultry spell.
Even if “The Room Next Door” is a minor entry in his canon, Almodóvar still understands how to stir and scintillate.
The worlds of faith and politics don’t so much collide in Conclave but reveal themselves to be intrinsically intertwined with great wit, suspense, and poignancy.
Anora is a rich, layered, and wonderfully lived-in experience that despite how outrageous it becomes, never fails to teem with painfully real emotions.
It’s easy to admire Oppenheimer’s musical vision, but difficult to love. The End recalls the musical greats of yore, with none of the power and style.