The Holdovers manifests as a priceless relic of a bygone era, a lost 70s classic that doubles as a new Christmas classic.
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.
Monster teems with humanity, using its narrative structure to uncover something prescient and devastating about modern morals.
Jonathan Glazer’s The Zone of Interest is one of the most damning portraits of human consciousness ever committed to celluloid.
The Boy and the Heron is a mature, solemn, and jubilant meditation on loss and legacy, one that deems death to be a transitory act.
Justine Triet’s Anatomy of a Fall, like the most resonant of art, reflects life in all its ambiguity back at us at every opportunity.
For as much as Tom Harper’s spy-actioner Heart of Stone attempts to emphasize humanity, as a film it’s deeply bland and hollow.
Oppenheimer not only breathtakingly marries the sonic with the visual but makes it an explosive volley of indicting conversations.
Mission: Impossible— Dead Reckoning Part One fully acknowledges its existence as an incomplete movie, it unearths itself as anything but.