Not only does Opus draw too much from the drying well of an increasingly tired horror concept but lacks the bite to make the venture worthwhile.
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.
Heart Eyes (2025) knows how to keep love in the air while splattering heaps of blood on the ground.
Flight Risk wastes no time in clipping its own wings, unfolding not only as a flightless exercise in tedium but a sorely missed opportunity.
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.
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.