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
960 reviews published on Celluloid
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★★★★★
Adolescence stages each of its four episodes as a single unbroken take, and the choice is no stunt — it is the argument, trapping the viewer inside a family's catastrophe with the exits welded shut.
A formal and emotional landmark — the rare experiment where technique and feeling are inseparable. Unmissable, unbearable, essential.
★★★★★
Sean Baker's Anora begins as a Cinderella lark and detonates into something far sadder — a whirlwind of comedy, class fury and tenderness carried by a fearless, star-making Mikey Madison. The Palme d'Or and Best Picture were no accident.
Baker's finest film — a rowdy, big-hearted, formally exhilarating study of who gets to dream in America. An instant classic.
★★★★☆
HBO's Game of Thrones dragged fantasy into the realm of prestige drama with brutal political intrigue and unprecedented scale — a landmark whose early seasons are peerless even as its hurried ending squandered a decade of goodwill.
A genre-redefining epic of extraordinary ambition and craft, dragged down a full star by a rushed, unsatisfying final act. The journey remains essential; the destination disappoints.
★★½☆☆
Disney's live-action Moana is a lavish act of transcription: Catherine Lagaʻaia shines and Oscar Faura's camera gives the ocean real weight, but Thomas Kail's shot-for-shot fidelity to a ten-year-old classic leaves the remake with nowhere of its own to sail.
Handsomely mounted and warmly acted, but creatively becalmed — a faithful copy that never argues for its own existence. Revisit the 2016 original instead.
★★★★★
My Mister trades K-drama spectacle for something rarer — a slow, hushed study of two broken people offering each other kindness without expectation. Anchored by a luminous IU, it is among the greatest Korean dramas ever made.
A profoundly humane, understated masterpiece about decency and endurance. Patient, devastating and quietly perfect.
★★★★★
China's Nirvana in Fire follows a disgraced army's sole survivor who returns as a frail master strategist to engineer justice from the shadows — an intricately plotted, morally serious historical drama widely regarded as one of the finest ever made.
A masterclass in patient, intelligent storytelling — elegant, devastating and impeccably crafted. Among the greatest of all Chinese dramas.
★★★★½
Bilal Lashari's The Legend of Maula Jatt reinvents a Punjabi folk legend as a blood-soaked operatic epic — a watershed for Pakistani cinema, staged with staggering visual ambition and crowned by two titanic performances.
A roaring, gorgeously mounted mythic epic that vaults Pakistani filmmaking onto the world stage. Maximalist, thrilling and unmissable.
★★★★★
The Pitt strips the medical drama of its romance and its time-skips, staging each season as a single punishing shift told hour by hour — a formal constraint that turns triage into tragedy and Noah Wyle's weathered attending into the genre's new benchmark.
Rigorous, humane and relentless — the best medical drama in a generation, built on a real-time structure that earns every emotion. Essential viewing.
★★★★½
Mike White's resort anthology opens each season with a body and spends the rest of its runtime performing the autopsy — not of a victim, but of a class, using the luxury vacation as the perfect laboratory for observing wealth with no witnesses.
Sharp, cruel and compulsively watchable — the defining social satire of its era, even when later seasons coast on the formula. Essential.
★★★★★
Netflix's Arcane shatters the curse of the video-game adaptation with hand-crafted, painterly animation and a genuinely tragic story of two sisters divided by a city's class fault line.
A staggering technical and emotional achievement that redefines what animated television can be. Unmissable, whether or not you know the game.
★★★★☆
Fallout cracks the video-game adaptation not by transcending its source but by trusting it — retro-futurist satire, splattery slapstick and Cold War dread held in a tonal balance television rarely attempts, with Walton Goggins's ghoul as its leathery masterstroke.
Funny, gory and faithful in spirit rather than letter — the video-game adaptation done right. Highly recommended.
★★★★☆
Silo turns its mile-deep bunker into a totalitarian state in miniature and its mystery into a study of engineered ignorance — slow by design, sealed by conviction, and carried on Rebecca Ferguson's grimly capable shoulders.
A patient, handsomely built dystopia that rewards the long game — critics adore it, casual viewers may find it airless. Recommended for those who commit.
★★★★½
The Bear turns a failing Chicago sandwich shop into a study of grief conducted at the speed of a dinner rush, its clattering montage and locked-off close-ups making anxiety itself the show's true subject.
A ferociously well-made drama that channels grief through craft — occasionally self-indulgent in later seasons, but at its best there is nothing sharper on television.
★★★★★
Brady Corbet's The Brutalist is a 215-minute, VistaVision-shot epic of immigration, art and the cruelty buried in American patronage — a monumental swing of a film anchored by a towering Adrien Brody.
A staggeringly ambitious old-Hollywood epic with a modern conscience — occasionally overreaching, but unforgettable. Major, muscular filmmaking.
★★★★½
The Glory turns a survivor of horrific school bullying into a patient architect of vengeance, unfolding her decades-long scheme with chilly, meticulous control. Song Hye-kyo has never been better.
A gripping, immaculately constructed revenge thriller — cold, precise and impossible to stop watching. Prestige K-drama at its sharpest.
★★★★★
HBO's The Sopranos turned the American gangster myth inside out, filtering it through panic attacks and a psychiatrist's couch — the novelistic drama that made television an artform and gave James Gandolfini the role of a century.
The foundational text of the modern television era — funny, brutal, and psychologically bottomless. As essential now as it was revolutionary then.
★★★★½
China's The Untamed spins a lavish tale of two cultivators entangled in rebellion, betrayal and a mystery reaching across the grave — a sumptuous xianwu fantasy whose central bond ignited one of the largest international fandoms Chinese TV has produced.
A gorgeous, sweeping fantasy epic with a deeply felt emotional core — one of the great international breakouts of modern Chinese television.
★★★★★
Andor strips Star Wars of mysticism and merchandise and rebuilds it as a procedural of insurgency — surveillance, prison labour and the grubby arithmetic of revolt filmed with the gravity of adult political drama.
The finest thing the franchise has ever produced, and one of the great television dramas of its era — Star Wars second, serious cinema first.
★★★★★
Craig Mazin's five-hour miniseries stages the 1986 reactor disaster as a horror film about epistemology — a state allergic to truth colliding with physics, which does not negotiate — and produces one of the greatest achievements in television history.
A masterpiece — procedural, terrifying and morally exact. The standard by which historical drama on television is now judged.
★★★★½
Hyun Bin and Son Ye-jin crossed the DMZ in the most beloved K-drama of its era — 95% critics, 96% audiences, and a fairy tale that commits fully enough to earn its tears.
Essential South Korea romance on Best of Asia 2016–2026 — comfort television at its most accomplished.
★★★★½
China's Empresses in the Palace charts a naive noblewoman's transformation into the Qing court's most formidable operator across years of betrayal — a sweeping, richly detailed epic considered a landmark of the palace-drama genre.
An epic, intricately woven court saga that set the standard for the genre — unsparing about power and superbly acted. A touchstone of modern Chinese TV.
★★★★★
Walter Salles's I'm Still Here recounts a Brazilian family's survival under dictatorship through the steady, unbreakable presence of a mother — a restrained true story crowned by a luminous Fernanda Torres and a deserved Oscar for International Feature.
A quietly devastating portrait of grief and defiance, anchored by one of the finest performances of its year. Essential, humane cinema.
★★★★★
FX's Shōgun reinvents Clavell's doorstop novel by quietly shifting the camera off its English castaway and onto the Japanese court around him — a political epic told, at last, from the inside, in its own language.
A sumptuous, intelligent triumph that reclaims a colonial-era story for the culture it depicts. Prestige television at its most assured.
★★★★½
Slow Horses reinvents the British spy drama from the bottom of the org chart — a service run on grudges and budget cuts, seen from the desk of its failures — with Gary Oldman's flatulent, brilliant Jackson Lamb as the great TV creation of the decade.
The best spy series on television — fast, funny, superbly acted and quietly furious about institutional Britain. Unmissable.