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
905 reviews published on Celluloid
Editorial standards: Editorial Policy · Scoring Policy · About & ownership
★★★★☆
Guang is Quek Shio-chuan's gentle Malaysian drama about an autistic young man with a gift for music, and a rare film about autism that avoids easy sentiment.
Yes. It is a tender, unshowy family drama with a fine lead performance, best for viewers who value quiet sincerity over big dramatic payoffs.
★★★★☆
Gully Boy is Zoya Akhtar's vivid Mumbai hip-hop drama, with Ranveer Singh as a young man from Dharavi who finds his voice in rap. It is long but electric.
Yes. It is a lively, well-acted underdog drama with real musical energy, best for viewers who can give it two and a half hours and forgive a familiar arc.
★★★★☆
Gundala karya Joko Anwar membuka jagat Bumilangit dengan superhero yang lahir dari jalanan dan ketimpangan kelas. Kelam, politis, meski paruh akhirnya padat.
Ya, dengan catatan. Film superhero Indonesia yang kelam dan berani bersuara politis, paling cocok untuk penonton yang sabar menunggu aksinya memanas.
★★★★☆
Half Man is Richard Gadd's bruising follow-up to Baby Reindeer, a six-episode British drama tracing two brothers' damaged bond across three decades.
Yes, with a warning. It is raw, uncomfortable and brilliantly acted, best for viewers who admired Baby Reindeer and can handle heavy themes over six tough episodes.
★★★½☆
Half of a Yellow Sun is Biyi Bandele's adaptation of Chimamanda Ngozi Adichie's Biafran War novel: handsome and well acted, but squeezed by its source's scope.
Mostly yes. It is a sincere, well-acted historical romance, best for viewers drawn to its history who can accept a compressed version of a much richer novel.
★★★★☆
Happiness is a 12-episode Korean outbreak thriller set in a locked-down apartment tower, where the neighbours prove more dangerous than the infected.
Yes. It is a gripping, socially sharp lockdown thriller for fans of Korean genre TV, though the conspiracy plot in later episodes is weaker than the tower-block tension.
★★★★½
Happy Valley is Sally Wainwright's Yorkshire crime drama, a three-series story of a police sergeant and the man who wrecked her family, led by Sarah Lancashire.
Yes. It is one of the finest British crime dramas ever made, essential for anyone who likes character-driven policing stories and can take real darkness alongside the humour.
★★★★½
Happyend is Neo Sora's near-future Tokyo drama about two best friends drifting apart as surveillance tightens around their school, and a quietly furious debut.
Yes. It is one of the most distinctive coming-of-age films of recent years, ideal for viewers who like political cinema that works through mood and friendship.
★★★★½
Harakiri is Masaki Kobayashi's austere samurai masterpiece, in which a ronin's request to die becomes a devastating indictment of honour and hypocrisy.
Yes. It is one of the greatest samurai films ever made, best for patient viewers who want a slow-burning moral drama rather than nonstop sword fights.
★★★★☆
Harry Potter and the Chamber of Secrets is Chris Columbus's longer, spookier second Hogwarts film, a mystery that adds real menace to the series' wonder.
Yes. It is an essential second step in the series and a fun, creepy family mystery, though its length and faithfulness make it drag in places.
★★★★☆
Harry Potter and the Deathly Hallows: Part 1 takes the trio out of Hogwarts and onto the run. It is the bleakest, most intimate chapter of the series.
Yes, as part of the series. It is a moody, well-acted road movie that sets up the finale, but its slow middle stretch and lack of an ending will test casual viewers.
★★★★★
Harry Potter and the Deathly Hallows: Part 2 brings the series home with the Battle of Hogwarts: a lean, thrilling and moving finale to a decade of films.
Yes. It is a triumphant, emotionally satisfying ending, essential for anyone who has followed the series and a model of how to close a long-running saga.
★★★★☆
Harry Potter and the Half-Blood Prince mixes teenage romance with Voldemort's past. It is the series' most beautiful-looking film and its quietest before the war.
Yes. It is a handsome, funny and ominous sixth chapter that fans should not skip, though its romantic detours and slow build will frustrate action seekers.
★★★★☆
Harry Potter and the Order of the Phoenix turns Hogwarts into a school under state control, with Imelda Staunton's Umbridge as the series' most hateful villain.
Yes. It is a tight, angry and politically sharp fifth chapter with a superb villain, though squeezing the longest book into one of the shortest films leaves gaps.
★★★★½
Harry Potter and the Philosopher's Stone is Chris Columbus's warm, faithful first trip to Hogwarts, a family fantasy whose sense of wonder still casts a spell.
Yes. It is a charming, beautifully cast family fantasy and the right place to start the series, even if its storybook style and length show their age.
★★★★★
Harry Potter and the Prisoner of Azkaban is Alfonso Cuarón's moody, inventive third chapter, the film that turned a family franchise into real cinema.
Yes. It is the best film in the series and a superb fantasy in its own right, ideal for families with older children and for adults who assume the franchise is only for kids.
★★★★☆
Healer is a 20-episode Korean action thriller in which a night courier and a tabloid reporter uncover a 1980s conspiracy, powered by Ji Chang-wook's dual-mode lead.
Yes. It is an exciting, warm-hearted K-drama that balances conspiracy, action and romance better than most, ideal for newcomers, if a little long in the middle.
★★★★½
Heartstopper is Alice Oseman's Netflix adaptation of her own graphic novels, a gentle, joyful British teen romance about two schoolboys falling for each other.
Yes. It is one of the kindest teen dramas on television, perfect for anyone who wants a warm, hopeful queer love story, though viewers after edgy drama may find it too sweet.
★★★★☆
Hello, Love, Goodbye is Cathy Garcia-Sampana's Hong Kong romance about two Filipino migrant workers, lifted above formula by Kathryn Bernardo and Alden Richards.
Yes. It is a heartfelt, well-acted Filipino romance that gives migrant workers' lives real weight, best for viewers who enjoy a good cry and do not mind a familiar formula.
★★★★☆
Her Private Life is a 16-episode Korean rom-com about a museum curator secretly running an idol fansite, and it is warmer and wiser about fandom than most.
Yes. It is a charming, adult romantic comedy for K-drama fans and anyone who has loved a pop idol, even if the backstory in later episodes overreaches.
★★★★½
Hero is Zhang Yimou's ravishing wuxia epic about a nameless warrior and the King of Qin, told in colour-coded versions that turn swordplay into visual poetry.
Yes. It is one of the most beautiful martial arts films ever made, ideal for viewers who want spectacle and style, even if its characters and politics stay at arm's length.
★★★★☆
Hidden Love is a 25-episode Chinese romance in which a girl's crush on her brother's best friend matures into adult love, lifted by Zhao Lusi and Chen Zheyuan.
Yes. It is a gentle, beautifully played slow-burn romance for C-drama and campus-love fans, though its patient pace and early age gap will not suit everyone.
★★★½☆
His & Hers is Netflix's six-episode Alice Feeney adaptation, a twisty Georgia murder thriller told by estranged spouses played by Tessa Thompson and Jon Bernthal.
Mostly yes. It is a glossy, gripping binge for fans of twist-driven psychological thrillers, as long as you can accept plotting that grows more far-fetched by the episode.
★★★★☆
His Three Daughters is Azazel Jacobs's intimate chamber drama in which Carrie Coon, Elizabeth Olsen and Natasha Lyonne play sisters keeping vigil for their father.
Yes. It is a finely acted, bittersweet chamber piece for viewers who love dialogue and performance, less so for anyone who needs plot or a change of scenery.