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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Jana Nayagan is Vijay's farewell to cinema, a three-hour Tamil mass action drama that electrifies as a star event but sags under its political messaging.
It depends. Vijay fans and anyone curious about this cultural moment should see it; viewers wanting a tight action drama will find it long and uneven.
Jangan Buang Ibu is an Indonesian family drama about a mother abandoned by her children, lifted by Nirina Zubir's raw performance and a welcome sense of restraint.
Baca dalam Bahasa Indonesia →Yes, with reservations. It is a moving, well-acted tearjerker for viewers who like family drama, though choppy pacing and some heavy dialogue blunt its impact.
Kanto is Ensar Altay's Turkish drama about a woman with dementia who vanishes into the snow, a restrained, quietly devastating study of caregiving and family guilt.
Yes. It is a patient, humane family drama for viewers who value performance and atmosphere over plot, though its slow burn will not suit everyone.
Kardeş Takımı 3 is the Turkish family spy comedy's billed finale, adding time travel to the formula but finding little new to do beyond slapstick and gadgets.
Mostly no. Young fans of the first two films may enjoy the slapstick, but older viewers and newcomers will find a thin, formulaic family comedy.
Kıble: Bitlisli Belkıs is Turkish folk horror about orphaned sisters and a healer said to speak with djinn. Its distinctive folklore is let down by stock scares.
No. Only devoted followers of regional folk horror will find enough atmosphere here to justify 84 minutes; most horror fans can skip it.
Lady is Olive Nwosu's assured debut about a Lagos cab driver drawn into a circle of women working the city's nightlife. A vivid study of friendship and survival.
Yes. It is a confident, atmospheric debut for fans of character-driven festival drama, though viewers who want a strong plot may find it loose.
Leviticus is Adrian Chiarella's Australian queer horror debut, in which two teenage boys face a monstrous force unleashed by conversion therapy. Tender and angry.
Yes. It is a bold, emotionally charged horror debut for viewers who want genre films with something to say, though its bleakness will not suit everyone.
Lucky Strike is Rod Lurie's Battle of the Bulge survival thriller, with Scott Eastwood as an officer trapped behind German lines. It is capable but predictable.
Mostly no. Scott Eastwood gives it his all, but this WWII thriller is too familiar to stand out; only dedicated war-film fans will find enough here.
México 86 is Gabriel Ripstein's satire of how Mexico landed the 1986 World Cup, with Diego Luna as a bluffing bureaucrat. It is breezy and well cast but too polite.
It depends. Diego Luna makes this World Cup comedy fun company for football and satire fans, but viewers wanting a sharp exposé of its scandal will find it lightweight.
Michael is Antoine Fuqua's authorized Michael Jackson biopic, electric whenever Jaafar Jackson performs and cautious to the point of timidity everywhere else.
It depends. Fans who want the music and the moves will get a lavish tribute; viewers hoping for a searching portrait of a contested life should expect less.
Minions & Monsters sends Gru's henchmen into a failing monster-movie studio, and its love of old Hollywood horror makes it the liveliest Minions film in years.
Yes. It is a fast, genuinely funny family comedy with treats for film buffs, as long as you accept that the plot exists mainly to set up the gags.
Disney's live-action Moana is a handsome, near scene-for-scene remake of the 2016 musical. Catherine Lagaʻaia shines, but the film never finds a reason to exist.
Mostly no. Families who love the songs will have a pleasant time, but the 2016 animated original does everything this remake does, and with more life.
Motor City is a near-wordless 1970s Detroit revenge thriller built on Alan Ritchson's physicality and a rock-and-disco soundtrack. Stylish, lean, and thin on story.
Yes, with reservations. It is a bold, kinetic genre exercise for action fans who enjoy style over talk, though the revenge plot itself holds few surprises.
Mutluyuz Mu? is a Turkish family comedy sequel in which divorced parents fake a happy marriage for their daughter's holiday. A promising setup wasted on stale jokes.
No. Unless you loved the first film, this formulaic sequel offers too few laughs and too little insight to justify its 94 minutes; better Turkish comedies are easy to find.
Nirvanna the Band the Show the Movie takes Matt Johnson and Jay McCarrol's cult Toronto mockumentary to the big screen: fearless, ridiculous and often hilarious.
Yes. It is a bold, very funny guerrilla comedy that stands on its own, though fans of the series will get more from it and cringe-averse viewers should beware.
Nouvelle Vague is Richard Linklater's buoyant French-language comedy about Jean-Luc Godard shooting Breathless in 1959 Paris, a love letter to making films on nerve.
Yes. It is a joyous, witty re-creation of the French New Wave's birth, best for cinephiles, and still charming for anyone who likes films about making films.
Obsession is Curry Barker's darkly funny horror romance about a lovesick clerk whose wish for a co-worker's devotion comes true, then curdles into something monstrous.
Yes. It is a nasty, clever and very funny horror film about wanting to be loved too much, ideal for horror fans who can take its uncomfortable, violent turns.
Our Hero, Balthazar is Oscar Boyson's prickly dark comedy about a privileged New York teen chasing a heroic role, with Jaeden Martell and Asa Butterfield.
Yes, with reservations. It is a bold, uncomfortable satire of performative virtue for viewers who like their comedy thorny, though its tone does not always hold.
Peaky Blinders: The Immortal Man brings Cillian Murphy's Tommy Shelby back for a brooding wartime crime film, a handsome send-off built for the show's fans.
Yes for fans of the series, who will relish Cillian Murphy's return; newcomers should watch the show first, as the film leans heavily on its history.
People We Meet on Vacation is Brett Haley's friends-to-lovers romcom from Emily Henry's novel, lifted by Emily Bader and Tom Blyth but cautious in its storytelling.
It depends. Emily Henry readers and romcom fans will enjoy the leads' easy chemistry, but viewers wanting wit or surprise will find it pleasant and forgettable.
Power Ballad is John Carney's warm Dublin music comedy-drama in which Paul Rudd and Nick Jonas are bound together by a hit song and the question of who wrote it.
Yes. It is a likeable, well-played music drama with real songs at its heart, best for fans of Carney's earlier films who prefer warmth to a sharp satirical edge.
Pressure is Anthony Maras's Second World War drama about the forecast behind D-Day, with Andrew Scott as a stubborn meteorologist and Brendan Fraser as Eisenhower.
Yes, with reservations. It is a tense, well-acted war-room drama for history fans who prefer arguments to battle scenes, though its stage roots show.
Project Hail Mary is Phil Lord and Christopher Miller's adaptation of Andy Weir's novel, with Ryan Gosling as a teacher sent to save the Sun and a friendship at its core.
Yes. It is accessible, big-hearted science fiction at its best, ideal for families, sci-fi fans and anyone who loves a story where problem-solving becomes friendship.
Psicópata: El Asesino del Conejo Blanco is a Mexican serial-killer thriller with interesting ideas about trauma, undone by a muddled script and a clashing villain.
No. Despite a promising premise and a committed lead, it is too uneven to recommend; only completists of Mexican genre cinema should seek it out.