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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★★★½☆
Aisha Can't Fly Away is Morad Mostafa's unsettling Egyptian drama about a Sudanese woman trapped in a gang-ruled Cairo district, where realism edges into horror.
Mostly yes. It is a bold, atmospheric migrant drama with a haunting lead, best for patient viewers of festival cinema who don't need clear answers or a brisk pace.
★★★★½
Akira is Katsuhiro Otomo's cyberpunk anime landmark about bikers, psychic power and a city on the brink, and its hand-drawn spectacle is still breathtaking.
Yes. It is one of the most important animated films ever made and a thrilling ride, ideal for science fiction fans who can handle graphic violence and a dense, rushed plot.
★★★★½
Alchemy of Souls is the Hong sisters' lavish Korean fantasy about an assassin trapped in a servant's body, a funny, romantic epic whose first part is close to perfect.
Yes. It is one of the most satisfying fantasy K-dramas, ideal for viewers who want romance, comedy and swordplay in one big world and can commit to 30 long episodes.
★★★★☆
Alice in Borderland drops a drifting young gamer into an emptied Tokyo run by lethal games; it is a slick Japanese survival thriller with real emotional stakes.
Yes, with reservations. It is a tense, inventive survival thriller for genre fans with a strong stomach, even if its mythology and pacing wobble between the big games.
★★★★½
Ridley Scott's Alien (1979) is a slow-burn haunted-house film set aboard a grimy space freighter, and it is still the benchmark for science fiction horror.
Yes. It remains the model for science fiction horror: patient, tactile and genuinely frightening. Essential for genre fans and for anyone who only knows the sequels.
★★★★☆
Alif is a Pakistani spiritual romance about a man torn between worldly ambition and faith; slow and polarising, it is lifted by mood and Sajal Aly's performance.
Yes, with reservations. Viewers who enjoy reflective Pakistani drama will find it rewarding, but its slow, contemplative pace will test anyone expecting brisk melodrama.
★★★★½
All About My Mother is Pedro Almodóvar's Oscar-winning melodrama about a grieving nurse and the women who take her in, and perhaps his most generous film.
Yes. It is Almodóvar at his warmest and most assured, ideal for lovers of European drama, provided you are ready for melodrama played at full volume.
★★★★☆
All of Us Are Dead traps a Korean high school class inside a zombie outbreak; it is brutal, gripping teen horror, though its long episodes stretch the siege thin.
Yes, with reservations. Zombie fans and viewers who like survival horror with a teenage heart should watch; the long, padded middle will test casual viewers.
★★★★½
Edward Berger's All Quiet on the Western Front is a harrowing, Oscar-winning German take on Remarque's novel that strips the First World War of any glory.
Yes. It is one of the most powerful war films of recent years, though its brutality is relentless. Best for viewers ready for a gruelling, serious evening.
★★★½☆
All That's Left of You is Cherien Dabis's sweeping Palestinian family drama across seven decades: moving and urgent, if long and uneven in its structure.
Yes, with reservations. The family story is powerful and the cast excellent, but it asks for patience. Best for viewers ready for a long, heavy multigenerational drama.
★★★★☆
Payal Kapadia's All We Imagine as Light follows three women who work at a Mumbai hospital: a tender, luminous Cannes prize-winner that asks for patience.
Yes, for patient viewers. It is a beautiful, humane portrait of loneliness and friendship in the city, though its slow, drifting rhythm will not suit everyone.
★★★★½
Amélie is Jean-Pierre Jeunet's candy-coloured Montmartre fairy tale about a shy waitress who meddles in strangers' lives, and it still charms decades later.
Yes. It is one of the most enchanting romantic comedies ever made and a perfect comfort watch, though viewers allergic to whimsy should know it never lets up.
★★★★½
American History X is Tony Kaye's searing drama about a former neo-Nazi trying to save his younger brother, driven by Edward Norton's ferocious performance.
Yes. It is a harrowing American drama built around one of the great screen performances of the 1990s, though its violence is extreme and strictly for adults.
★★★★½
Amores Perros is Alejandro González Iñárritu's electrifying debut: three Mexico City stories linked by a car crash and by the dogs their characters love.
Yes. It is one of the most exciting debuts of its era and a cornerstone of modern Mexican cinema, though its violence and length demand a strong stomach.
★★★★½
Michael Haneke's Amour follows an elderly Paris couple after the wife's stroke: a rigorous, devastating Palme d'Or winner about what love asks of us late in life.
Yes, if you are ready for it. It is a masterly, deeply affecting film with two extraordinary lead performances, but its subject makes it an emotionally gruelling watch.
★★★★½
Justine Triet's Anatomy of a Fall is a gripping Palme d'Or-winning courtroom drama in which a writer's murder trial becomes a forensic dissection of her marriage.
Yes. It is one of the finest courtroom dramas in years, with a towering Sandra Hüller performance; just be ready for a long film that refuses easy answers.
★★★★½
Sriram Raghavan's Andhadhun is a Hindi black-comedy thriller about a pianist tangled in a murder: a twisty, wickedly funny crowd-pleaser with a superb Tabu.
Yes. It is one of the smartest, most entertaining Indian thrillers of its decade. Go in knowing as little as possible and forgive a busy final stretch.
★★★★★
Andor rebuilds Star Wars as an adult political thriller about surveillance, prison labour and radicalisation, and it is the finest drama the franchise has produced.
Yes, emphatically. It is essential for adult drama fans, including viewers with no interest in Star Wars; allow a few episodes for its deliberate opening to click.
★★★½☆
Vivian Qu's Angels Wear White is a quietly furious Chinese drama about two girls assaulted in a seaside motel and the teenage witness who says nothing.
Yes, with reservations. It is a clear-eyed, important drama about how adults and institutions fail girls, though its cool restraint can keep viewers at a distance.
★★★★☆
Angry Mom sends a former teenage brawler back to high school to protect her bullied daughter, a K-drama that starts as comedy and grows into a sharp school drama.
Yes, with reservations. It suits viewers who like K-dramas mixing comedy with social bite, though its lurches from slapstick to heavy melodrama will not suit everyone.
★★★★☆
Anikulapo is Kunle Afolayan's lavish Yoruba folk fantasy about a weaver who gains the power to raise the dead: handsome, bold and absorbing, if overlong.
Yes, with reservations. It is one of Nollywood's most ambitious period fantasies and a treat for folklore lovers, though its 142 minutes could use trimming.
★★★½☆
Sandeep Reddy Vanga's Animal is a three-hour-plus Hindi revenge saga about a son's violent devotion to his father: bravura filmmaking with a troubling heart.
Yes, with serious reservations. Ranbir Kapoor is ferocious and the action is bravura, but its view of women and its 201 minutes will put many off. Strictly for adults.
★★★½☆
Luc Besson's Anna is a slick Cold War assassin thriller about a KGB killer posing as a Paris model: stylish, twisty fun, though very familiar territory.
Mostly yes. Genre fans will enjoy its fights, Helen Mirren and its puzzle-box plotting, but anyone who knows Besson's Nikita will feel strong déjà vu.
★★★★★
Sean Baker's Anora follows a Brooklyn stripper who impulsively marries an oligarch's son: a Palme d'Or-winning screwball comedy with a bruised, beating heart.
Yes. It is Sean Baker's best film and one of the essential American movies of the decade: a riotous farce with real tenderness and a star-making Mikey Madison.