In banking so much of its genre exercise on setups and backstories Wake Up Dead Man suffocates before it can even get started.
Author: Prabhjot Bains
Unfolding with barbed, acerbic precision, No Other Choice slyly dissects the ouroboric state of corporate and workplace politics.
To enter Sirat’s dominion is to enter a cinematic trance so engulfing that we become one with its oppressively gorgeous desertscape.
Unfolding at a leisurely pace, The Secret Agent eschews conventions to manifest as a living, breathing cinematic novel.
Though Exit 8 struggles to sustain its atmospheric highs, becoming less interesting with each loop, it survives as a daring genre exercise.
The Roses isn’t thorny enough for its scent to linger as Olivia Coleman and Benedict Cumberbatch go to war in The Roses.
Relay quickly turns into the very kind of film its countercultural 70s influences rebelled against.
Thunderbolts* feels stunted by the limitations levied by its shared universe where any new lens is obfuscated by the mold it’s forced to fit into.