Migration ‘s relevance and impact are tied to the attention span of children it repeatedly fails to instill a sense of wonder in.
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 Boys in the Boat unfolds like the cinematic equivalent of a cold bowl of Depression-era oatmeal—filling but flavourless.
Leave The World Behind not only a cut above its streaming contemporaries, but sharper than anything one could’ve expected on the platform.
Napoleon is trapped in an identity crisis, utterly grand and immaculate in one breath, and incredibly zany and confusing the next.
David Fincher’s The Killer unfolds as an absorbing, slice-of-life that doubles as a biting satire of the corporate world.
Fingernails scratches at an immense philosophical itch but fails to satisfy it. Instead, it opts for surface level explorations.
Pain Hustlers not only needs a higher dosage of fresh ideas, but a new prescription altogether in this dull mockumentary.
It’s time to take stock of its best offerings of TIFF 2023, featuring hits from Alexander Payne, Cord Jefferson, and Jonathan Glazer.