Founder & Editor · Film & Culture
Kaiser Khan is Founder & Editor of Celluloid and founder of Elite Digital AI Solutions Ltd, which owns CelluloidScore.com. An entrepreneur and cultural producer, he sets the site’s answer-first editorial standard and transparent four-input Celluloid Score.
Founder & Editor, Celluloid · Elite Digital AI Solutions Ltd
Author page (E-E-A-T): Kaiser Khan — Founder & Editor
External profile: mrkaiserkhan.com
904 reviews published on Celluloid
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28 Years Later: The Bone Temple is Nia DaCosta's bold sequel, a stranger, more mythic chapter of the rage-virus saga carried by a superb Ralph Fiennes.
Yes. It is the franchise's most ambitious and unsettling chapter, ideal for horror fans who want ideas with their dread, though sprint-and-scream viewers may find it slow.
Alas Roban is an Indonesian folklore horror about a mother and her blind daughter stranded on a haunted Java road: strong on mood, overstuffed with ideas.
Baca dalam Bahasa Indonesia →Mostly no. The stranded-in-the-forest opening has real dread, but the film sprawls. It is mainly for Indonesian horror completists and folklore fans.
Allegro Pastell adapts Leif Randt's cult novel about a long-distance millennial couple: stylish and faithful in tone, but so cool it keeps its heart at a distance.
It depends. Fans of Leif Randt's novel and of deadpan relationship drama will find plenty to admire; anyone hoping for a warm, swooning romance will find it airless.
The Backrooms is Kane Parsons's feature debut, a liminal-space horror film that turns an internet legend into slow-burning dread rooted in grief and neglect.
Yes, with reservations. It is a patient, unsettling horror film for viewers who prefer atmosphere to jump scares, even if its mythology thins at feature length.
Blue Heron is Sophy Romvari's autofictional Canadian drama about a family's hidden wounds on Vancouver Island, a quiet, precise film about memory and grief.
Yes. It is a delicate, deeply felt debut for patient viewers who value mood, memory and restraint over plot; anyone wanting conventional drama may find it austere.
Çatlı is Deniz Enyüksek's polished Turkish biopic of Abdullah Çatlı's years in European exile, anchored by Vedat İnceefe but too sympathetic to its subject.
Mostly no. It is well mounted and strongly acted, but viewers wanting a searching political drama will find it evasive; best for those already drawn to the history.
Cocktail 2 is Homi Adajania's glossy Sicily-to-India romance with Shahid Kapoor, Kriti Sanon and Rashmika Mandanna, but its love triangle is thin and overlong.
Mostly no. The Sicilian scenery and Rashmika Mandanna's energy help, but the story is too slow and predictable; best left to devoted fans of its stars or the 2012 film.
Crime 101 is Bart Layton's Los Angeles heist thriller from a Don Winslow story, a patient cat-and-mouse film with Chris Hemsworth, Mark Ruffalo and Halle Berry.
Yes, with reservations. It is a smart, grown-up crime thriller that suits fans of patient Los Angeles heist films, if they can live with a long runtime and a familiar shape.
Danur: The Last Chapter sends Prilly Latuconsina's Risa back to her ghosts one final time, with a few creepy scenes lost in an overstuffed franchise mythology.
Baca dalam Bahasa Indonesia →Mostly no. Longtime Danur fans may value the send-off, but newcomers and casual horror viewers will find the tangled lore harder to follow than the scares are worth.
Detective Conan: Fallen Angel of the Highway, the 29th Conan film, pairs a clue-driven highway mystery with some of the series' most thrilling motorcycle action.
Yes, with reservations. It is one of the stronger recent Conan films, a treat for fans and a fair entry point for mystery lovers, though its formula and late info-dumps show.
Dhurandhar: The Revenge is Aditya Dhar's nearly four-hour Hindi spy sequel, a maximalist revenge epic powered by Ranveer Singh and relentless, bloody set pieces.
Yes, with reservations. It is a gripping, overwhelming event film for fans of big Hindi action, provided they can handle its length, gore and chest-thumping patriotism.
Disclosure Day is Steven Spielberg's slow-burn first-contact thriller, less about spectacle than about who controls a truth too big to keep, led by Emily Blunt.
Yes, with reservations. It is a gripping, grown-up Spielberg conspiracy thriller for patient viewers, though anyone expecting alien-invasion spectacle may find it too restrained.
Efes'in Sırrı is a Turkish family fantasy in which two archaeologists are turned back into children at Ephesus. A charming hook, weakly developed.
Mostly no. Young children may enjoy the chases and slapstick, but older viewers will find a promising age-swap idea left largely unexplored.
Epic: Elvis Presley in Concert is Baz Luhrmann's documentary built from restored 1970s Las Vegas footage. It makes Elvis the performer thrillingly present again.
Yes. It is a joyous, loud and beautifully restored concert film for Elvis fans and music lovers alike, best seen on the biggest screen with the best sound you can find.
Evil Dead Burn is Sébastien Vaniček's grief-soaked family siege and the franchise's meanest chapter. The practical gore is ferocious; the characters and wit are thin.
It depends. Gore fans will get exactly what they came for, but viewers who love the series for its mischief and personality may find this entry grim and hollow.
Five Friends 2: Mount Klawih sends Bayu Skak's bickering gang up a new haunted mountain in a warm, well-cast horror-comedy sequel that sticks close to the original.
Baca dalam Bahasa Indonesia →It depends. Fans of the first film will enjoy the reunion and the East Javanese humour, but anyone hoping for fresh scares will find it a familiar climb.
Flies is Fernando Eimbcke's black-and-white Mexico City drama about a guarded woman left in charge of a stranger's young son, and it earns its tears through restraint.
Yes. It is a tender, precisely observed two-hander for viewers who like quiet dramas, even if its premise of a reluctant carer and a lonely child is familiar.
Gail Daughtry and the Celebrity Sex Pass is David Wain's loose, joke-packed Hollywood farce, lifted by Zoey Deutch's plucky lead and a bench of comic cameos.
Yes, with reservations. Comedy fans will laugh often at this silly, cameo-stuffed romp led by Zoey Deutch, as long as they can shrug off the gags that fall flat.
★★½☆☆
Ghost in the Cell is Joko Anwar's gory Indonesian prison horror-comedy, in which an unseen killer forces gangs and guards into an uneasy truce, with satire to spare.
Baca dalam Bahasa Indonesia →Yes, with reservations. Horror fans with strong stomachs will relish its splatter and satire, though its crowded ensemble leaves several subplots underfed.
Hope is Na Hong-jin's first film since The Wailing, a creature epic set near the DMZ whose ferocious first hour outclasses its bloated, over-explained second half.
It depends. Genre fans and Na Hong-jin devotees should see it for a first hour of world-class action, but expect a long, overstuffed back half and a divisive ending.
Hoppers is Daniel Chong's Pixar comedy about a teenager who moves her mind into a robot beaver: a funny, heartfelt eco-adventure and a studio high point.
Yes. It is a sharp, warm and very funny family film that works for children and adults alike, and a welcome return to form for Pixar's original storytelling.
I Love Boosters is Boots Riley's absurdist comedy about a crew of professional shoplifters, a wild, funny satire of fashion, shopping and wanting more.
Yes, for viewers who like their comedy strange and political. It is funny, inventive and angry, though its ideas sometimes crowd out the story.
Is God Is is Aleshea Harris's screen version of her own play: a Southern Gothic revenge road trip that is ferocious, mythic and startlingly funny.
Yes. It is one of 2026's boldest American films, best for viewers who like stylised, theatrical storytelling and can take dark comedy about real cruelty.
Jackass: Best and Last is the crew's billed farewell, a stunt-and-prank comedy that still makes you wince but lands on a surprisingly affectionate note.
Mostly yes for fans: it is a scrappy, sentimental send-off with big laughs. Newcomers and the squeamish can skip it, and some bits feel over-familiar.