Prabhjot Bains

Though set in a bleak period of history, A Gentleman in Moscow never fails to lend its tale with a distinct brand of heart and humour.

Bad Boys: Ride or Die is micro-content that’s ballooned way past its terminal point, subsisting off influencer cameos, feigned comedy, and gimmicky action.

Inside Out 2 is the rare Pixar sequel that justifies its existence, as a moving, human experience that embraces the magic of the animated form.

In consistently trading provocation for surface-level evocation, West struggles to evolve the horror genre from the inside out with MaXXXine

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.

Borderlands feels like glorified cosplay, where capable performers merely take position and feign emotion to get a nice group picture.

As admirable as The Seed of The Sacred Fig is, heavy-handed messaging and a clunky third act keep it from greatness.

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.

The worlds of faith and politics don’t so much collide in Conclave but reveal themselves to be intrinsically intertwined with great wit, suspense, and poignancy.

Luca Guadagnino’s Queer is so overpowering and mesmeric, that it becomes almost instinctual to fall under its sultry spell.