Even if “The Room Next Door” is a minor entry in his canon, Almodóvar still understands how to stir and scintillate.
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.
The worlds of faith and politics don’t collide in Conclave but reveal themselves to be intrinsically intertwined with great wit 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.
As admirable as The Seed of The Sacred Fig is, heavy-handed messaging and a clunky third act keep it from greatness.
Borderlands feels like glorified cosplay, where capable performers merely take position and feign emotion to get a nice group picture.
At its best, Deadpool & Wolverine is a raunchy, R-rated comedy that a pre-teen audience would find edgy—as lazy as a blockbuster can get.
In consistently trading provocation for surface-level evocation, West struggles to evolve the horror genre from the inside out with MaXXXine
