In consistently trading provocation for surface-level evocation, West struggles to evolve the horror genre from the inside out with MaXXXine
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 Bikeriders reads as a pretty love letter that’s quick to seduce us but gives us little reason to stay once its true, dull colours are laid bare.
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.
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.
In a political climate of increased censorship, the Monkey Man politics offer a critique of Indian sectarianism and it is a breath of fresh air.
Sugar is exactly what a noir thrust into the 21st century should be: thought-provoking, stylish, and utterly confounding.
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.
Anthony Hopkins downplayed performance in One Life personifies the film’s central values, reminding us of our capacity to make a difference.